IEC
GREAT CINEMATOGRAPHERS
#1: [Right] - "The Unfaithful" [1946]
#2: With Vivien Leigh - "Gone With the Wind" [1939]
ERNEST HALLER
Born: 31 May 1896, Los Angeles, Calif., USA, as Ernest B. Haller.
Died: 21 October 1970, Marina del Rey, Calif., USA [car accident].
Career: After leaving school, worked as a bank clerk; entered film industry as actor for the Biograph Company in 1914. Switched to the camera department in 1915. Freelance since 1951.
Was a member of the ASC.
Awards: 'Oscar' AA nom [1938] for 'Jezebel'; 'Oscar' AA [1939; color; shared] for 'Gone With the Wind'; 'Oscar' AA nom [1940; b&w] for 'All This, and Heaven Too'; 'Oscar' AA nom [1945; b&w] for 'Mildred Pierce'; 'Oscar' AA nom [1950; color] for 'The Flame and the Arrow'; 'Oscar' AA nom [1962; b&w] for 'What Ever Happened to Baby Jane?'; 'Oscar' AA nom [1963; b&w] for 'Lilies of the Field'.
'The longtime Hollywood cameraman Ernest Haller is probably best known for his work on 'Gone With the Wind', for which he earned his only Oscar. But his five nominations in fact tell more about his reputation within Hollywood itself. Haller produced quality work for 45 years. He came into his own during the 1950s and was known within industry circles for his expert location shooting.
Haller's roots in the film business went back to Hollywood's origins. His first work behind the camera came with an early serial, 'The Hazards of Helen'. He then moved his way up through the on-the-job training system which was then in force, and was credited for his first film as cinematographer in 1920.
At Warner Brothers during the early 1930s, work was fast and furious, and Haller helped grind films out at the rate of one every two months. He worked on every possible genre, and did what he was told. By the late 1930s Haller had worked his way up to strictly A-budget feature films. He worked with all the major stars on the Warner lot, from Errol Flynn to Humphrey Bogart to James Cagney. If he had a specialty it was photographing the films of Bette Davis and Joan Crawford. Indeed he won an Oscar nomination for Davis's 'Jezebel' and Crawford's 'Mildred Pierce'. The latter film was one of the pioneering efforts in the early days of film noir.
With the coming of age of independent film production in the 1950s, Haller began to freelance like nearly all other cameramen. He formally left Warner Bros. in 1951 and worked on some poor films, and also on some of Hollywood's best. In the latter category we certainly must include 'Rebel without a Cause', directed by Nicholas Ray and a pioneering effort in CinemaScope, and 'Man of the West' directed by Anthony Mann, a great director of westerns.
Yet despite his long association with Warner Bros. and other distinguished work, Haller will always be remembered for his work on 'Gone with the Wind'. He was not David O. Selznick's original choice for cinematographer, and he started long after production was well underway, replacing Lee Garmes. Historians note that although Haller received sole credit for the camerawork on the film, Lee Garmes was responsible for most of the first hour of the picture. Yet certainly the bulk of 'Gone With the Wind' is Haller's picture, and will always be noted as the most important color film made in Hollywood prior to the 1950s.' [Douglas Gomery]
Ernie Haller, the wizard of gauze, took a good look at ingénue [Bette] Davis, who was to play the role of Malbro, a Park Avenue debutante [in 'The Rich Are Always with Us' (1931)]. She looked somewhat like the Tenniel drawings of 'Alice in Wonderland', with wide forehead, incredibly long neck, tiny mouth, and huge eyes. She also had an inclination to wiggle her body under stress and would squint in close-ups if not watched. Her assets were a good complexion, blue eyes that photographed steel gray, and an engaging profile. With expert makeup and given time to light her properly she could be made to look beautiful. [This he did, plus Orry-Kelly's clothes. For the very first time I had a certain chic.] He was destined to photograph fourteen of her pictures and have the distinction of being her favorite cameraman. [I presented an Academy Award to the winning cinematographer some years ago. I said, "It gives me extreme pleasure to present this award. Without our cameramen, where would we be today? They have made us what we are. True, they are miracle men, to whom we owe so much." Ernest Haller was my miracle man during all the glory years. I wish he were alive today to read this, although I told him so many times.] Thirty years later on 'What Ever Happened to Baby Jane?', he would have the opposite problem. For the first time he would not lie awake nights thinking up tricks to show her to advantage. For in that picture Davis was playing her own age and wanted to look as unattractive as possible. [From 'Bette Davis - Mother Goddam' by Whitney Stine with Bette Davis, 1974.]
| FILMS [1 reel = c. 10m] | |
|---|---|
|
1920 |
Love Is Everything [Whitman Bennett] b&w; ? reels; prod ? |
|
1920 |
Why Women Sin/Neglected Wives [Burton King] b&w; 6 reels; prod Wistaria Productions |
|
1920 |
Mothers of Men [Edward José] b&w; 6 reels; prod Edward José Productions |
|
1920 |
The Inner Voice [R. William Neill] b&w; prod American Cinema Corporation |
|
1920 |
Yes or No [R. William Neill] b&w; 6 reels; prod Norma Talmadge Film Corporation |
|
1920 |
The Discarded Woman [Burton King] b&w; 6 reels; cph: Lon D. Littlefield; prod Burton King Productions |
|
1920 |
For Love or Money/The Road to Arcady [Burton King] b&w; 6 (1920) & 5 (1921) reels; prod Burton King Productions |
|
1920 |
The Common Sin/For Your Daughter's Sake [Burton King] b&w; 6 (1920) & 5 (1921) reels; prod Burton King Productions |
|
1920 |
Trumpet Island [Tom Terriss] b&w; cph: Friend F. Baker; prod Vitagraph Company of America (VCA) |
|
1920 |
Dead Men Tell No Tales [Tom Terriss] b&w; prod VCA |
|
1921 |
The Gilded Lily [Robert Z. Leonard] b&w-c; prod Famous Players-Lasky Corporation (FPLC) |
|
1921 |
Such a Little Queen [George Fawcett] b&w; 5 reels; prod Realart Pictures |
|
1921 |
Salvation Nell [Kenneth Webb] b&w; prod Whitman Bennett Productions (WBP) |
|
1921 |
Wife Against Wife [Whitman Bennett] b&w; 6 reels; prod WBP |
|
1921 |
The Iron Trail [R. William Neill] b&w; prod WBP |
|
1922 |
Outcast [Chet Withey] b&w; prod FPLC |
|
1923 |
The Ne'er-Do-Well [Alfred E. Green] b&w; addph: William Miller; prod FPLC |
|
1923 |
Homeward Bound [Ralph Ince] b&w; prod FPLC |
|
1923 |
Woman-Proof [Alfred E. Green] b&w; prod FPLC |
|
1923 |
Pied Piper Malone [Alfred E. Green] b&w; prod FPLC |
|
1924 |
Rough Ridin' [Richard Thorpe] b&w; 5 reels; prod Approved Pictures |
|
1924 |
Empty Hearts [Al Santell] b&w; 6 reels; prod Banner Productions |
|
1924 |
Three Keys [Edward J. Le Saint] b&w; 6 reels; prod Banner Productions |
|
1924 |
Parisian Nights [Al Santell] b&w; prod Gothic Pictures |
|
1925 |
Any Woman [Henry King] b&w; 6 reels; cph: William Schurr; prod FPLC |
|
1925 |
High and Handsome/Winning His Stripes [Harry Garson] b&w; 6 reels; prod R-C Pictures |
|
1925 |
The New Commandment [Howard Higgin] b&w; addph: Ernest G. Palmer; prod First National Pictures (FN) |
|
1925 |
Bluebeard's Seven Wives [Al Santell] b&w; as Robert Haller; prod FN |
|
1925 |
The Reckless Lady [Howard Higgin] b&w; prod FN |
|
1926 |
The Dancer of Paris [Al Santell] b&w; prod FN |
|
1926 |
Stacked Cards [Robert Eddy] b&w; 5 reels; prod Circle Productions |
|
1926 |
The Wilderness Woman [Howard Higgin] b&w; prod Robert Kane Productions (RKP) |
|
1926 |
The Great Deception [Howard Higgin] b&w; 6 reels; prod RKP |
|
1926 |
Hair Trigger Baxter [Jack Nelson] b&w; 5 reels; or ph Ernest Miller; prod Independent Pictures |
|
1926 |
The Prince of Tempters [Lothar Mendes] b&w; prod RKP |
|
1927 |
Convoy [Joseph C. Boyle] b&w; prod RKP |
|
1927 |
Broadway Nights [Joseph C. Boyle] b&w; prod RKP |
|
1927 |
Dance Magic [Victor Halperin] b&w; prod RKP |
|
1927 |
For the Love of Mike [Frank Capra] b&w; prod RKP |
|
1927 |
French Dressing/Lessons for Wives [Allan Dwan] b&w; prod FN |
|
1927 |
The Whip Woman [Joseph C. Boyle] b&w; 6 reels; prod FN |
|
1928 |
Mad Hour [Joseph C. Boyle] b&w; prod FN |
|
1928 |
Harold Teen [Mervyn LeRoy] b&w; prod FN |
|
1928 |
Wheel of Chance [Alfred A. Santell] b&w; prod FN |
|
1928 |
Out of the Ruins [John Francis Dillon] b&w; prod FN |
|
1928 |
Naughty Baby/Reckless Rosie [Mervyn LeRoy] b&w; silent and sound (efx & music) versions; prod FN |
|
1928 |
Weary River [Frank Lloyd] b&w; as Ernest Hallor; spph: Alvin Knechtel; silent and sound (efx, music & talking seq) versions; prod FN |
|
1929 |
House of Horror/The Haunted House [Benjamin Christensen] b&w; cph: Sol Polito; silent and sound (talking seq, efx & music) versions; prod FN |
|
1929 |
The Girl in the Glass Cage [Ralph Dawson] b&w; silent and sound (talking seq & music) versions; prod FN |
|
1929 |
Drag/Parasites [Frank Lloyd] b&w; as Ernest Hallor; silent and sound versions; prod FN |
|
1929 |
Dark Streets [Frank Lloyd] b&w; 6 reels; as Ernest Hallor; silent and sound versions; prod FN |
|
1929 |
Young Nowheres [Frank Lloyd] b&w; 65m; silent and sound versions; prod FN |
|
1929 |
Wedding Rings/The Dark Swan [William Beaudine] b&w; silent and sound versions; prod FN |
|
1929 |
Son of the Gods [Frank Lloyd] b&w + color seq; silent and sound versions; prod FN |
|
1930 |
A Notorious Affair [Lloyd Bacon] b&w; 67m |
|
1930 |
The Dawn Patrol/Flight Commander [Howard Hawks] b&w; aph: Elmer Dyer |
|
1930 |
One Night at Susie's [John Francis Dillon] b&w |
|
1930 |
Sunny [William A. Seiter] b&w; uncred cph: Arthur Reeves |
|
1930 |
Los que danzan [Alfredo del Diestro & William C. McGann] b&w; Spanish-language version of 'Those Who Dance' (d: William Beaudine; ph: Sid Hickox) |
|
1930 |
The Lash/Adiós [Frank Lloyd] Vitascope & spherical/b&w |
|
1930 |
Ten Cents a Dance [Lionel Barrymore] b&w; cph: Gilbert Warrenton; a Spanish-language version, 'Carne de cabaret', was dir by Christy Cabanne & Eduardo Arozamena and ph by Allen Siegler |
|
1930 |
Millie [John Francis Dillon] b&w |
|
1930 |
The Finger Points [John Francis Dillon] b&w; filmed 1930-31 |
|
1931 |
Chances/Changes [Allan Dwan] b&w |
|
1931 |
I Like Your Nerve [William McGann] b&w; 62m |
|
1931 |
24 Hours/The Hours Between [Marion Gering] b&w; 66m |
|
1931 |
Honor of the Family [Lloyd Bacon] b&w; 63m |
|
1931 |
Blonde Crazy/Larceny Lane [Roy Del Ruth] b&w; cph: Sid Hickox |
|
1931 |
Girls About Town [George Cukor] b&w; 66m |
|
1931 |
Compromised/We Three [John G. Adolfi (replaced John Francis Dillon)] b&w; 65m |
|
1931 |
The Woman from Monte Carlo [Michael Curtiz] b&w; 65m |
|
1931 |
The Rich Are Always with Us [Alfred E. Green] b&w |
|
1932 |
Doctor X [Michael Curtiz] b&w; uncred co-extra cameraman; ph: Richard Towers; film was made in b&w and color (ph: Ray Rennahan) versions |
|
1932 |
Street of Women [Archie Mayo] b&w; 59m |
|
1932 |
Night After Night [Archie Mayo] b&w |
|
1932 |
The Crash [William Dieterle] b&w; 58m |
|
1932 |
Scarlet Dawn [William Dieterle] b&w; 57m |
|
1932 |
King of the Jungle [Max Marcin & H. Bruce Humberstone] b&w; trick ph: Gordon Jennings |
|
1932 |
Murders in the Zoo [Edward Sutherland] b&w; 62m |
|
1933 |
International House [Edward Sutherland] b&w; 68m; spec pfx: Farciot Edouart, Loyal Griggs, Al Myers & Dewey Wrigley |
|
1933 |
The Emperor Jones [Dudley Murphy] b&w; restored in 2003 |
|
1933 |
The House on 56th Street [Robert Florey] b&w; 68m |
|
1933 |
Easy to Love [William Keighley] b&w; 61m |
|
1933 |
Journal of a Crime [William Keighley (replaced G.W. Pabst)] b&w; 65m |
|
1934 |
Merry Wives of Reno [H. Bruce Humberstone] b&w; 64m |
|
1934 |
The Key/High Peril [Michael Curtiz (replaced Archie Mayo)] b&w |
|
1934 |
British Agent [Michael Curtiz (replaced Frank Borzage)] b&w |
|
1934 |
Desirable [Archie Mayo] b&w; 68m |
|
1934 |
The Firebird [William Dieterle] b&w |
|
1934 |
The Secret Bride/Concealment [William Dieterle] b&w; 64m |
|
1934 |
A Midsummer Night's Dream [Max Reinhardt & William Dieterle] b&w; uncred cph (Haller worked on the film for about 8 weeks before leaving over 'disagreements about the lighting'); ph: Hal Mohr (replaced E. Haller); filmed 1934-35 |
|
1935 |
Mary Jane's Pa/Wanderlust [William Keighley] b&w |
|
1935 |
Age of Indiscretion [Edward Ludwig] b&w; uncred cph: George Folsey |
L>R: Luise Rainer - dir Robert Z. Leonard - EH [seated] - c.op Al Roberts [?] - William Powell - "Escapade"
|
1939 |
Gone With the Wind [Victor Fleming (dir 93 days - replaced George Cukor, who was brought onto the project in September 1936 and dir 18 days); add dir: Sam Wood (fill-in for 24 days), Sidney Franklin, William Wellman, a.o.] c; Technicolor assoc ph: Ray Rennahan & Wilfrid M. Cline; replaced ph Lee Garmes; principal ph started 26 January with Lee Garmes as ph; principal ph 26 January-15 February 1939 & 2 March-1 July 1939; retakes ph until 11 November 1939; 'Burning of Atlanta' seq ph on the evening of Saturday 10 December 1938 with 7 cameras by Harold Rosson (ph superv Ray Rennahan); 'The release prints made during the first few years used the technology then available at Technicolor, with a faint b&w 'key' image and sound track printed first, on normal b&w film, then the three color dye-transfer images added to the print. The first copies in the improved Technicolor printing process came forth in 1954, after the dyes were refined to the point at which the b&w 'key' image was no longer needed. In 1967, MGM [Metrocolor] made a single strip interpositive from the 3-strip Technicolor negative. From this interpositive, new printing negatives were made on Eastman Color. In the late 1980s, the film was restored using the Technicolor negatives.' [From article by Richard P. May in 'American Cinematographer', April 1989.] [see Lee Garmes] |
|
1939 |
The Roaring Twenties [Raoul Walsh] b&w; sfx ph: Edwin DuPar & Byron Haskin |
|
1939 |
Invisible Stripes [Lloyd Bacon] b&w; sfx ph: Byron Haskin |
|
1939 |
It All Came True [Lewis Seiler] b&w; sfx ph: Edwin DuPar & Byron Haskin |
|
1940 |
All This, and Heaven Too [Anatole Litvak] b&w; sfx ph: Byron Haskin & Rex Wimpy |
|
1940 |
No Time for Comedy/A Guy with a Grin [William Keighley] b&w |
|
1940 |
Honeymoon for Three [Lloyd Bacon] b&w |
|
1940 |
Footsteps in the Dark [Lloyd Bacon] b&w; sfx ph: Rex Wimpy |
|
1940 |
The Great Lie [Edmund Goulding] b&w; uncred fill-in ph (while Tony Gaudio had influenza); ph: Tony Gaudio |
[Left/seated] with dir William Keighley - "The Bride Came C.O.D."
|
1941 |
The Bride Came C.O.D. [William Keighley] b&w; sfx ph: Byron Haskin & Rex Wimpy |
|
1941 |
Manpower [Raoul Walsh] b&w; sfx ph: Byron Haskin & H.F. Koenekamp |
|
1941 |
Minstrel Days [Bobby Connolly] b&w; mus short/19m; ep series 'Broadway Brevities' |
|
1941 |
The Maltese Falcon [John Huston] b&w; uncred addph; ph: Arthur Edeson |
|
1941 |
Blues in the Night [Anatole Litvak] b&w; montages: Don Siegel |
|
1941 |
The Gay Parisian (Gaîté parisienne) [Jean Negulesco] c; dance short/20m |
|
1941 |
Spanish Fiesta (Capriccio espagnol) [Jean Negulesco] c; dance short/19m; cph: Allen M. Davey |
|
1941 |
In This Our Life [John Huston] b&w; sfx ph: Robert Burks & Byron Haskin |
|
1942 |
The Daughter of Rosie O'Grady [Jean Negulesco] b&w; mus short/20m |
|
1942 |
George Washington Slept Here [William Keighley] b&w |
|
1942 |
Princess O'Rourke [Norman Krasna] b&w |
|
1942 |
Devotion [Curtis Bernhardt] b&w; montages: Don Siegel & James Leicester; filmed 1942-43; released 1946 |
[Left] with Sam Wood, Ingrid Bergman & Gary Cooper - "Saratoga Trunk"
|
1943 |
[Edna Ferber's] Saratoga Trunk [Sam Wood] b&w; uncred fill-in ph: Bert Glennon (while E. Haller was ill); sfx ph: Lawrence Butler |
|
1943 |
Cavalcade of Dance [Jean Negulesco] b&w; mus short/11m |
|
1943 |
The Present with a Future [Vincent Sherman] b&w; War Bonds Trailer/3m |
|
1943 |
Rhapsody in Blue [- The Story of George Gershwin] [Irving Rapper] b&w; cph add mus numbers; ph: Sol Polito |
|
1943 |
Mr. Skeffington [Vincent Sherman] b&w (color tests were made, but film was ph in b&w); montages: James Leicester; filmed 1943-44 |
|
1944 |
The Doughgirls [James V. Kern] b&w |
|
1944 |
Mildred Pierce [Michael Curtiz] b&w; sfx ph: Willard Van Enger; montages: James Leicester; filmed 1944-45 |
|
1945 |
A Stolen Life [Curtis Bernhardt] b&w; cph: Sol Polito (because of the difficulty of the trick photography Polito and Haller shared cinematography credit); sfx: William McGann (dir), E. Roy Davidson (dir), Willard Van Enger & Russell Collings |
|
1945 |
The Verdict [Don Siegel] b&w; uncred fill-in ph (+ sfx ph): Robert Burks; 'My cameraman was Ernie Haller, who was Bette Davis' cameraman. He obviously felt that because I was so young, the picture was beneath him. I found myself stumbling through in a kind of shock at the trouble I had lining up shots. Well one day Haller got pulled off the picture to make a test with Bette Davis and I got my regular cameraman, Robert Burks, who I had wanted in the first place, and all of a sudden, everything was great. When Haller came back I talked to him and found that he had never read the script. From then on I had him read the script in front of me before we shot each scene.' [Don Siegel in 'Don Siegel: Director' by Stuart M. Kaminsky, 1974.] |
|
1945 |
Humoresque [Jean Negulesco] b&w; sfx ph: Willard Van Enger; montages: James Leicester; filmed 1945-46; James Wong Howe was originally scheduled as doph with dir Irving Rapper |
[Right] with actress Bette Davis - "Deception"
While shooting the post-war drama "Deception", directed by Irving Rapper, Bette Davis entertains the camera crew, including Ernest Haller, ASC [who has his back to us here]. [Courtesy of the American Society of Cinematographers]
|
1946 |
Deception [Irving Rapper] b&w; sfx ph: Edwin DuPar; Irving Rapper: 'For 'Deception', I used Ernest Haller as my cameraman instead of Sol Polito, my usual one. The late Sol Polito was a no-nonsense technician, whereas Ernest Haller is almost a cosmetician's cameraman, very concerned with making the stars look beautiful.' - Bette Davis: 'I was not as young anymore, thirty-nine to be exact, and I insisted on Haller - plus I was overweight, due to the fact, as I found out during filming, I was pregnant. I needed him. Irving had nothing to say about it. Thank God cameramen like Haller could make us look better than we did. Why did Irving Rapper resent this? He should have been grateful!!!' [From 'Bette Davis - Mother Goddam'] |
|
1946 |
The Unfaithful [Vincent Sherman] b&w; sfx ph: Robert Burks; filmed 1946-47 |
|
1947 |
My Girl Tisa [Elliott Nugent] b&w; sfx ph: H.F. Koenekamp & Harry Barndollar |
|
1947 |
Winter Meeting [Bretaigne Windust] b&w; sfx ph: H.F. Koenekamp & Harry Barndollar |
|
1948 |
My Dream Is Yours [Michael Curtiz] c; cph: Wilfred M. Cline; sfx ph: Edwin DuPar |
|
1949 |
Chain Lightning [Stuart Heisler] b&w; sfx ph: H.F. Koenekamp, Edwin DuPar, William McGann & Harry Barndollar |
|
1949 |
Always Leave Them Laughing [Roy Del Ruth] b&w |
|
1949 |
The Flame and the Arrow [Jacques Tourneur] c |
|
1950 |
Dallas [Stuart Heisler] c |
|
1950 |
Jim Thorpe - All-American/Man of Bronze [Michael Curtiz] b&w |
|
1951 |
On Moonlight Bay [Roy Del Ruth & (fill-in) Raoul Walsh] c; sfx ph: H.F. Koenekamp |
|
1951 |
Pictura [: Adventure in Art] [E.A. Dupont (framing seq); Luciano Emmer (seg #1 'The Lost Paradise' & #2 'The Legend of St. Ursula'); Lauro Venturi (seg #3 'Francisco Goya'); Robert Hessens & Olga Lipska (seg #4 'Henri de Toulouse-Lautrec'); Alain Resnais (seg #5 'Paul Gauguin'); Mark Sorkin (seg #6 'Grant Wood')] b&w; doc/80m; ph linking scenes; ph: Mario Bava (spec ph & efx seg #2), Mario Craveri, John Lewis & Ubaldo Marelli |
|
1951 |
Monsoon [Rodney Amateau] c; 2uc: Malcolm Gasper; filmed in India |
|
1952 |
Jhansi ki Rani/The Tiger and the Flame [Sohrab Modi] c; assoc ph: M. Malhotra & T.D. Sarpotdar; filmed in India |
|
1953 |
Carnival Story [Kurt Neumann] c; filmed in Germany |
|
1953 |
Rummelplatz der Liebe/Circus of Love [Kurt Neumann] c; German-language version of 'Carnival Story'; filmed in Germany |
|
1954 |
Magic Fire [William Dieterle] c; filmed in Germany |
|
1955 |
Rebel Without a Cause [Nicholas Ray] cs/c; started as a b&w CinemaScope film, but after objections from Twentieth Century-Fox the film was shot in color |
|
1955 |
The Come-On [Russell Birdwell] sus/b&w |
|
1955 |
Dakota Incident [Lewis R. Foster] c; filmed 1955-56 |
|
1956 |
Strange Intruder [Irving Rapper] b&w |
|
1956 |
The Cruel Tower [Lew Landers] b&w |
|
1956 |
Men in War [Anthony Mann] b&w; spec pfx: Louis DeWitt & Jack Rabin |
|
1956 |
The Young Don't Cry [Alfred L. Werker] b&w |
|
1957 |
Hell on Devil's Island [Christian Nyby] Regalscope/b&w |
|
1957 |
Back from the Dead/Bury Me Dead [Charles Marquis Warren] Regalscope/b&w |
|
1957 |
Plunder Road [Hubert Cornfield] Regalscope/b&w; pfx: Louis DeWitt & Jack Rabin |
|
1957 |
God's Little Acre [Anthony Mann] b&w; 106m, 114m & 120m (UCLA reconstructed version); spec pfx: Louis DeWitt & Jack Rabin |
|
1957 |
Hell's Five Hours [Jack L. Copeland] b&w |
|
1958 |
Man of the West [Anthony Mann] cs/c |
|
1958 |
Speed Crazy [William Hole Jr.] b&w |
|
1958 |
The Miracle [Irving Rapper & (uncred battle scenes) Gordon Douglas] tr/c; replaced scheduled ph Harry Stradling, Sr. |
|
1959 |
The 3rd Voice [Hubert Cornfield] cs/b&w |
|
1959 |
The Boy and the Pirates [Bert I. Gordon] Perceptovision/c |
|
1960 |
Why Must I Die?/13 Steps to Death/Girl on Death Row [Roy Del Ruth] b&w |
|
1960 |
Three Blondes in His Life [Leon Chooluck] b&w |
|
1960 |
Rebellion in Cuba/Chivato [Albert C. Gannaway] b&w |
|
1961 |
Armored Command [Byron Haskin] b&w; filmed in Germany |
|
1961 |
[I] Married Too Young [George Moskov] b&w |
|
1961 |
Fear No More [Bernard Wiesen] b&w |
|
1962 |
Pressure Point [Hubert Cornfield] b&w |
Bette Davis delivers the crazy for director Robert Aldrich [seated on motorcycle] while filming the psychological drama "What Ever Happened to Baby Jane?", photographed by Ernest Haller, ASC [standing to the right of Aldrich]. Sixty-six years old at the time, the cinematographer was in semi-retirement, but called in for special assignments, including the second pilot for a little show called "Star Trek" [1966]. His fine work in "Baby Jane" earned Haller his fourth Oscar nomination. [Courtesy of the American Society of Cinematographers]
|
1962 |
What Ever Happened to Baby Jane? [Robert Aldrich] b&w |
Sidney Poitier earned an Academy Award for Best Actor for his performance in "Lilies of the Field", an intimate drama artfully photographed by Ernest Haller, ASC on locations outside Tucson, Arizona. Faced with a tight 21-day schedule, Haller [next to camera, in white, partially obscured by Poitier] and producer-director Ralph Nelson had the benefit of working with a crack Hollywood crew, including operator Fred H. Jackman, Jr. [later ASC], assistant cameraman Richard C. Glouner [later ASC] and gaffer Norman C. McClay. Given the limitations of space in practical interiors, Haller employed lightweight, modified 300-watt aircraft landing lights, dubbed “Garnelites” for enterprising electrician Lloyd Garnell. [Courtesy of the American Society of Cinematographers]
|
1963 |
Lilies of the Field [Ralph Nelson] b&w |
|
1963 |
Dead Ringer/Dead Image [Paul Henreid] b&w |
|
1965 |
The Restless Ones [Dick Ross] b&w; moral propaganda feature film for Billy Graham |
| TELEVISION | |
|---|---|
|
1957 |
Suspicion [ep #9 'The Flight' dir by James Neilson & #28 'Fraction of a Second' dir by John Brahm (with actress Bette Davis)] 41-part suspense anthology series/b&w, 1957-58 (live & film) (NBC-tv) |
|
1958 |
Alfred Hitchcock Presents [ep #133 'Out There - Darkness' dir by Paul Henreid (with actress Bette Davis)] 268-part suspense anthology series/b&w, 1955-62 (CBS-tv & NBC-tv); 4th season, 1958-59; in September 1962 the show was expanded to an hour and retitled 'The Alfred Hitchcock Hour' |
|
1960 |
Route 66 [ep #2 'A Lance of Straw' dir by Roger Kay] 116-part adventure series/b&w, 1960-64 (CBS-tv); 1st season, 1960-61 |
|
1963 |
Trouble in Paradise [Leslie Stevens] unsold pilot for series 'Mr. Kingston' |
|
1966 |
Star Trek [ep #3 'Where No Man Has Gone Before' dir by James Goldstone] 80-part (1 unaired) science fiction series, 1966-69 (NBC-tv); 1st season, 1966-67; E. Haller came out of semi-retirement to serve as doph; director James Goldstone recommended Haller at the last minute, after attempts to locate a cameraman had proved problematic |
|
1967 |
The Christophers [ep 'Father and Son', 'Thomas Jefferson', a.o. dir by Jack Denove] religious series, 1952-? |
| FILMS AS CAMERA ASSISTANT | |
|---|---|
|
1914 |
The Hazards of Helen [J.P. McGowan & James Davis; 119-part serial] ph: Arthur Miller |
|
1917 |
Wolves of the Rail [William S. Hart] ph: Joe August |
|
1917 |
Flare-Up Sal [Roy William Neill] co-c.asst; ph: John S. Stumar |
