IEC
GREAT CINEMATOGRAPHERS
#2: 1955
#3: 1965
LIONEL LINDON
Born: 2 September 1905, Balboa, Calif., USA, as Lionel A. Lindon. A.k.a. Lionel 'Curly' Lindon.
Died: 20 September 1971, Van Nuys, Calif., USA.
Career: After leaving school, became general asst at Paramount, eventually moving to the studio's camera department. Worked as c.asst and 'foreign negative cameraman' throughout the 1920s. Became c.op from 1930. Prolific output for television from the mid-1950s.
Was a member of the ASC.
Awards: 'Oscar' AA nom [1944; b&w] for 'Going My Way'; 'Oscar' AA [1956; color] for 'Around the World in Eighty Days'; 'Oscar' AA nom [1958; b&w] for 'I Want to Live!'.
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As a Paramount workhorse in the Forties, Lionel Lindon's assignments consisted mostly of studio-bound comedies, offering limited visual opportunities. Only 'Tap Roots' got him out in the fresh air and only 'Alias Nick Beal' gave him much chance to have fun with his lights. He went freelance in 1950 and, presumably in an attempt to change the perception producers had of him, concentrated on manly adventure yarns. His return to Paramount for the period 1952-54 saw him quite immersed in the genre, and also initiated his collaboration [6 films overall] with Edward Ludwig, reckoned by die-hard auteurists to be the last unsung Hollywood master. Be that as it may, Lindon finally quit Paramount for good, and netted the plum 'Around the World in Eighty Days', thanks to his old Paramount buddy John Farrow [who had departed the scene by the time the plum turned out to be a lemon]. Thereafter, Lindon seems to have scorned any notion of a cameraman's hierarchy, switching between 'important' ['I Want to Live!'] or big budget ['Grand Prix'] projects and ultra-quickie TV segments. At all events, he kept on working, and his filmography testifies to the sang froid of a true professional. [Bob Baker in 'Film Dope', Number 35, September 1986.]
'Around the World in Eighty Days' [1955]: "One of the key people Todd hired in Hollywood, before he left for Europe to start the picture, was the cameraman, who was recommended by Skippy Sanford. Skippy was thoroughly familiar with Mike's 'hurry up and grab this' technique of filming and he told Mike that Lionel 'Curly' Lindon was the fastest cameraman in Hollywood. Lindon's experience went back to the silent days and he was totally unflappable. He was one of the first cameramen ever to shoot an underwater sequence, and before aerial shots were commonplace in movies he was once strapped on the wing of a plane with his camera. To seal the matter, Farrow, the director, had done a couple of his pictures with Lindon and approved of the choice. Whatever Todd asked of Lindon, which was often improbable or near impossible, Lindon accomplished with barely a twitch of his pencil-line moustache, and only with occasional angry mutterings to his assistants. Sanford warned Todd that Lindon was a dedicated drinker, but he did it all on his own time and it never had the slightest effect on his work. Lindon needed to be well fortified for this job, since much of the picture was shot on the spur of the moment under chaotic conditions. But his tribulations were more than compensated for when he won the Academy Award for 'Around the World in Eighty Days'." [From 'A Valuable Property, the Life Story of Michael Todd', 1983, by Michael Todd Jr. & Susan McCarthy Todd.]
Four years earlier, in 1963, I had directed the first 'Arrest and Trial', a ninety minute drama with a nine day shooting schedule. The director of photography had been Lionel Lindon. When I reported for that assignment, I only had eleven film directing credits on my resume and I was not the most secure or confident member of the Directors Guild of America. And Lionel Lindon was indeed a force to be reckoned with. I had not had this sort of association with a cameraman up to this time. I would carefully lay out with him [as I was accustomed to doing with my director of photography] the planned set-up that I wanted. I was very clear and meticulous in my explanation. Lionel would look at me as if I were a recent graduate of the local high school drama department, take a rag out of the rear pocket of his trousers, throw it to the ground and gruffly say, 'Put the damn camera here.' To put it bluntly, he had me totally intimidated. On the sixth day when we were shooting away from the studio on location, Lionel was involved in a dispute with a member of the transportation group and made an anti-Semitic remark. He was removed from the production. But before he left, he came over to say goodbye to me and to wish me well. Nothing was said about the incident, the reason he was leaving the production. It was just a warm, unexpected gesture so that now I was totally confused.
When one reported to Universal for an assignment, one never knew who the cameraman on the production would be. But on the seven intervening shows that I had directed at Universal since 'Arrest and Trial', I always planned that if Lionel Lindon was the director of photography, I would request either a change in cameramen or my release. But this was four years later [ep #14, 'Girl in the Night', of the series 'Ironside', November 1967]. I decided it was time I met up with Goliath again, even if he owned an Oscar for his work on 'Around the World in Eighty Days'. Well this was a totally different experience. I never saw Lionel without a hat on his head, so I'm not sure where his nickname, Curly, came from. But on this show he was Curly and all smiles. Our set was a constant ball. And boy was he a good cameraman - and fast. One day at about 3:30 in the afternoon I got wind of the fact that we were going at such a great pace, there were plans to have us move to another stage and start work on the next day's schedule. I went to Curly and asked him if he wanted to move to another stage when we finished our work on this one. 'Heavens, no,' he said. Except he didn't say 'Heavens'. 'Well then for God's sake, slow down because that's what they're planning.' So Curly slowed down, we finished around 5:30, which was a nice early end of the day for us and not enough time to move to another stage to continue shooting for them. [Director Ralph Senensky on his blog.]
| FILMS | |
|---|---|
|
1943 |
Let's Face It [Sidney Lanfield] b&w; process ph: Farciot Edouart; spec pfx: Gordon Jennings |
|
1943 |
Going My Way [Leo McCarey] b&w; uncred ph (opening scenes): John F. Seitz; spec pfx: Gordon Jennings |
|
1943 |
Road to Utopia [Hal Walker (replaced Sidney Lanfield)] b&w; process ph: Farciot Edouart; spec pfx: Gordon Jennings; filmed 1943-44 |
|
1944 |
A Medal for Benny [Irving Pichel] b&w; process ph: Farciot Edouart; spec pfx: Gordon Jennings |
|
1944 |
Duffy's Tavern [Hal Walker] b&w; process ph: Farciot Edouart; spec pfx: Gordon Jennings |
|
1945 |
Masquerade in Mexico [Mitchell Leisen] b&w; process ph: Farciot Edouart; spec pfx: Gordon Jennings |
|
1945 |
The Blue Dahlia [George Marshall] b&w; process ph: Farciot Edouart |
|
1945 |
The Trouble with Women [Sidney Lanfield] b&w; process ph: Farciot Edouart; spec pfx: Gordon Jennings; released in 1947 |
|
1945 |
Monsieur Beaucaire [George Marshall] b&w; process ph: Farciot Edouart; spec pfx: Gordon Jennings; add scenes filmed in 1946 |
|
1946 |
O.S.S. [Irving Pichel] b&w; process ph: Farciot Edouart; spec pfx: Gordon Jennings |
|
1946 |
Welcome Stranger [Elliott Nugent] b&w; process ph: Farciot Edouart; the UK version is slightly different |
|
1946 |
My Favorite Brunette/The Private Eye [Elliott Nugent] b&w; process ph: Farciot Edouart; spec pfx: Gordon Jennings |
|
1946 |
Variety Girl [George Marshall] b&w + c (Puppetoon seq); cph: Stuart Thompson; process ph: Farciot Edouart; spec pfx: Gordon Jennings; filmed 1946-47 |
|
1947 |
Tap Roots [George Marshall] c; cph: Winton C. Hoch |
|
1947 |
The Sainted Sisters [William D. Russell] b&w; process ph: Farciot Edouart; spec pfx: Gordon Jennings |
|
1948 |
Isn't Romantic? [Norman Z. McLeod] b&w; process ph: Farciot Edouart; spec pfx: Gordon Jennings |
|
1948 |
Alias Nick Beal/The Contact Man [John Farrow] b&w |
|
1948 |
Top o' the Morning [David Miller] b&w; process ph: Farciot Edouart; spec pfx: Gordon Jennings |
|
1949 |
Without Honor/Woman Accused [Irving Pichel] b&w |
|
1949 |
Red, Hot and Blue [John Farrow] b&w; uncred fill-in ph; ph: Daniel L. Fapp |
|
1949 |
Quicksand [Irving Pichel] b&w |
|
1949 |
The Great Rupert/A Christmas Wish [Irving Pichel] b&w; prod George Pal |
|
1949 |
Destination Moon [Irving Pichel] c; prod George Pal |
|
1950 |
The Sun Sets at Dawn [Paul Sloane] b&w |
|
1950 |
Prehistoric Women/The Virgin Goddess [Gregory G. Tallas] c |
|
1950 |
Only the Valiant [Gordon Douglas] b&w |
|
1950 |
Drums in the Deep South [William Cameron Menzies] c; spec pfx: Jack Cosgrove |
|
1950 |
Submarine Command/The Submarine Story [John Farrow] b&w; process ph: Farciot Edouart; spec pfx: Harry Barndollar & Gordon Jennings; filmed 1950-51 |
|
1951 |
Rhubarb [Arthur Lubin] b&w; spec pfx: Gordon Jennings |
|
1951 |
Hong Kong/Bombs Over China [Lewis R. Foster] c |
|
1951 |
Japanese War Bride [King Vidor] b&w; loc ph: Paul Ivano |
|
1951 |
The Blazing Forest [Edward Ludwig] c |
|
1951 |
The Turning Point [William Dieterle] b&w; process ph: Farciot Edouart; spec pfx: Gordon Jennings |
|
1952 |
Caribbean/Caribbean Gold [Edward Ludwig] c |
|
1952 |
Tropic Zone [Lewis R. Foster] c |
|
1952 |
The Stars Are Singing [Norman Taurog] c; uncred 2uc: Loyal Griggs; process ph: Farciot Edouart; spec pfx: Gordon Jennings |
|
1952 |
The Vanquished [Edward Ludwig] c |
|
1952 |
Jamaica Run [Lewis R. Foster] c; uncred 2uc: Loyal Griggs; process ph: Farciot Edouart |
|
1952 |
Here Come the Girls [Claude Binyon] c; spec pfx: Gordon Jennings & Paul K. Lerpae; filmed 1952-53 |
|
1953 |
Sangaree [Edward Ludwig] Paravision (3-D)/c; 2uc: W. Wallace Kelley; process ph: Farciot Edouart; spec pfx: John P. Fulton & Paul K. Lerpae; Paramount's first 3-D film (first 10 days of filming was done in standard format) |
Adolph Zukor - Skippy Sanford - L. Lindon - W. Wallace Kelley - "Sangaree"
|
1953 |
Sangaree [?] Paravision (3-D)/c; trailer/?m; cph: W. Wallace Kelley; the feature being advertised was part of the first wave of 3-D films, and its trailer comprised specially shot material, e.g. a statement by Adolph Zukor (Paramount's chairman of the board) |
From the trailer
|
1953 |
Those Redheads from Seattle [Lewis R. Foster] Paravision (3-D) + flat version/c; 2uc: Wallace Kelley; process ph: Farciot Edouart; spec pfx: John P. Fulton & Paul K. Lerpae |
|
1953 |
Jivaro/Lost Treasure of the Amazon [Edward Ludwig] Paravision (3-D) + flat version/c; 2uc: W. Wallace Kelley; process ph: Farciot Edouart; spec pfx: John P. Fulton |
|
1953 |
Casanova's Big Night/Mr. Casanova [Norman Z. McLeod] c; process ph: Farciot Edouart; spec pfx: John P. Fulton |
|
1953 |
Secret of the Incas [Jerry Hopper] c; ph Peru: Irmin Roberts; process ph: Farciot Edouart; spec pfx: John P. Fulton |
|
1953 |
Conquest of Space [Byron Haskin] c; spec pfx: Ivyl Burks, Jan Domela, John P. Fulton, Paul K. Lerpae & Irmin Roberts; process ph: Farciot Edouart; released in 1955; prod George Pal |
|
1954 |
The Big Moment [Jerry (Nathan) Juran] b&w; short/28m (3 seg); for United Israel Appeal, American Jewish Joint Distribution Committee & United Service for New Americans |
|
1954 |
Hell's Island/South Sea Fury [Phil Karlson] vv/c; process ph: Farciot Edouart; spec pfx: John P. Fulton |
|
1954 |
Lucy Gallant/Oil Town [Robert Parrish] vv/c; spec pfx: John P. Fulton |
|
1955 |
A Man Alone [R(ay) Milland] c |
|
1955 |
The Scarlet Hour [Michael Curtiz] vv/b&w; process ph: Farciot Edouart; spec pfx: John P. Fulton |
#1: "Around the World in Eighty Days"
#2: [Left] with prod Michael Todd
|
1955 |
Around the World in Eighty Days [Michael Anderson (replaced John Farrow) & (add dir) Michael Todd] tao70 (+ 35mm & cs)/c; 2uc: William N. Williams, Stanley Horsley & Ellis Carter; vfx superv: Fred Sersen |
|
1956 |
The Lonely Man [Henry Levin] vv/b&w; process ph: Farciot Edouart; spec pfx: John P. Fulton |
|
1956 |
The Big Caper [Robert Stevens] b&w |
|
1956 |
Bailout at 43,000/Bale Out at 43,000 [Francis D. Lyon] b&w; derived from ep #53 (dir by John Frankenheimer) of the CBS-tv series 'Climax!' |
|
1956 |
The Black Scorpion [Edward Ludwig] b&w |
|
1958 |
I Want to Live! [Robert Wise] b&w |
|
1958 |
Alias Jesse James [Norman Z. McLeod] c; 2uc: W. Wallace Kelley; process ph: Farciot Edouart; spec pfx: John P. Fulton |
|
1959 |
The Young Savages [John Frankenheimer] b&w |
|
1961 |
Too Late Blues [John Cassavetes] b&w; spec pfx: John P. Fulton; 'Cinematographer Lionel Lindon conjures gritty black and white images that viscerally capture the late-night, soul-eroding atmosphere of sleazy bars and tacky dance halls. Lindon grounds 'Too Late Blues' in a subdued visual reality that accentuates the spiritual cul-de-sacs in which the characters exist, and that helps redeem the film’s sometimes-theatrical dialog. The veteran cinematographer also proved a fortuitous choice given Cassavetes' frequent use of close-ups. Much of the film consists of extreme tight shots that underscore the characters' emotional isolation, a camera approach that could easily have led to visual boredom. Yet Lindon displays a unique ability to frame and light the innumerable close-ups in consistently interesting and revealing ways. His insightful and subtle work is responsible for much of the film's poetic resonance.' [Dean Brierly, Cinema Retro website.] |
|
1961 |
All Fall Down [John Frankenheimer] b&w; spec vfx: Robert R. Hoag |
|
1962 |
The Manchurian Candidate [John Frankenheimer] b&w |
|
1962 |
The Brazen Bell [James Sheldon] c; originally ep #5 of tv-series 'The Virginian'; released theatrically outside USA (1963) |
|
1962 |
The Devil's Children [James Sheldon] c; originally ep #11 of tv-series 'The Virginian'; released theatrically outside USA (1963) |
|
1962 |
The Final Hour [Robert Douglas] c; originally ep #30 of tv-series 'The Virginian'; released theatrically outside USA (1963) |
|
1965 |
McHale's Navy Joins the Air Force [Edward J. Montagne] c; inspired by the ABC-tv series 'McHale's Navy' |
|
1965 |
Three Guns for Texas [David Lowell Rich (DLR), Paul Stanley (PS) & Earl Bellamy (EB)] c; ph ep #3; other ph (ep #11 & #22): Andrew Jackson; comp of 3 ep (#3 'Yahoo' dir by DLR, #11 'Jinx' dir by PS & #22 'No Bugles, One Drum' dir by EB) of tv-series 'Laredo'; released theatrically outside USA |
|
1965 |
The Trouble with Angels [Ida Lupino] c |
|
1966 |
Boy, Did I Get a Wrong Number! [George Marshall] c |
|
1966 |
Dead Heat on a Merry-Go-Round [Bernard Girard] c |
| TELEVISION | |
|---|---|
|
195? |
Letter to Loretta (first 20 ep)/The Loretta Young Show/The Loretta Young Theatre (reruns) [ep dir by various] 257-part dramatic anthology series/b&w; 1953-61 (NBC-tv) |
|
1955 |
Frontier [ep #5 'In Nebraska' dir by Sidney Lumet] 31-part western anthology series/b&w, 1955-56 (NBC-tv) |
|
1956 |
The Adventures of Ozzie and Harriet [ep #156 'The Jet Pilot' dir by Ozzie Nelson (ON), #158 'The Editor' dir by ON & #160 'Ricky, the Drummer' dir by ON] 435-part sitcom series/b&w-c (14th season), 1952-66 (ABC-tv); 5th season/b&w, 1956-57 |
|
1957 |
Alfred Hitchcock Presents [ep #74 'The West Warlock Time Capsule' dir by Justus Addiss & #78 'The Dangerous People' dir by Robert Stevens] 268-part suspense anthology series/b&w, 1955-62 (CBS-tv & NBC-tv); 2nd season, 1956-57; other ph: Reggie Lanning, John L. Russell, a.o.; when the show was expanded to an hour (September 1962), the title was changed to 'The Alfred Hitchcock Hour' |
|
1957 |
Schlitz Playhouse of Stars/Schlitz Playhouse [ep #297 'Storm Over Rapallo' dir by Paul Henreid] (367)-part dramatic anthology series/b&w, 1951-59 (CBS-tv; started live; all ep on film from September 1956); 6th season, 1956-57 |
|
1957 |
Jane Wyman Presents Fireside Theatre (1955-56)/Jane Wyman Theater (1956-58)/Jane Wyman Presents (reruns on ABC-tv, 1963) [ep #72 'The Way Home' dir by Allen H. Miner (AHM) & #80 'The Perfect Alibi' dir by AHM] 96-part dramatic anthology series/b&w, 1955-58 (NBC-tv); 3rd season, 1957-58; other ph: Mack Stengler, Gilbert Warrenton, a.o.; followed 'Fireside Theatre' (1949-55) |
|
1957 |
Bachelor Father [ep #1 'Bentley and the P.T.A.' dir by Jerry Hopper] 157-part sitcom series/b&w, 1957-62 (CBS-tv, NBC-tv & ABC-tv); 1st season, 1957-58 |
|
1957 |
The Millionaire/If You Had a Million [ep #102 'The Roy Delbridge Story' dir by Gerald Mayer & #126 'The Susan Birchard Story' dir by R.G. Springsteen] 207-part dramatic anthology series/b&w, 1955-60 (CBS-tv); 4th season, 1957-58 |
|
1957 |
General Electric Theater/G.E. Theater/Star Showcase (syndication) [ep #6.1 'The Questioning Note' dir by John Brahm] 300-part dramatic anthology series/b&w, 1953-62 (CBS-tv); 6th season, 1957-58 |
|
1957 |
M Squad [ep #5 'Face of Evil' dir by Don Weis & #25 'The Chicago Bluebeard' dir by David Lowell Rich] 117-part police series/b&w, 1957-60 (NBC-tv); 1st season, 1957-58 |
|
1957 |
Alfred Hitchcock Presents [ep #79 'The Glass Eye' dir by Robert Stevens (RS), #80 'The Mail Order Prophet' dir by James Neilson (JN), #82 'Heart of Gold' dir by RS, #84 'Reward to Finder' dir by JN, #85 'Enough Rope for Two' dir by Paul Henreid (PH), #87 'The Young One' dir by Robert Altman (RA), #88 'The Diplomatic Corpse' dir by PH, #90 'Miss Paisley's Cat' dir by Justus Addiss (JA), #91 'Night of the Execution' dir by JA, #92 'The Percentage' dir by JN, #93 'Together' dir by RA, #94 'Sylvia' dir by Herschel Daugherty (HD), #95 'The Motive' dir by RS, #96 'Miss Bracegirdle Does Her Duty' dir by RS, #98 'On the Nose' dir by JN, #99 'Guest for Breakfast' dir by PH, #100 'The Return of the Hero' dir by HD, #101 'The Right Kind of House' dir by Don Taylor, #102 'The Foghorn' dir by RS & #103 'Flight to the East' dir by Arthur Hiller] 3rd season, 1957-58; see 1957 |
|
1957 |
Studio 57/Heinz Studio 57/Heinz 57 Playhouse [ep #4.12 'A Source of Irritation' dir by Don Weis] (140)-part dramatic anthology series/b&w, 1955-58 (DuMont, 1954-55, & syndication); 4th season, 1957-58 |
|
1957 |
Suspicion [ep #15 'Lord Arthur Savile's Crime' dir by Robert Stevens & #17 'Comfort for the Grave' dir by Jules Bricken] 41-part suspense anthology series/b&w, 1957-58 (NBC-tv); other ph: John L. Russell, Ellsworth Fredricks, Ray Rennahan, a.o. |
|
1958 |
The Jack Benny Program/The Lucky Strike Program/The Jack Benny Show [ep #8.14 'Railroad Station Program' dir by Don Weis] pilot + 256-part comedy series/b&w, 1950-65 (CBS-tv & NBC-tv); 8th season, 1957-58 |
|
1958 |
Schlitz Playhouse of Stars/Schlitz Playhouse [ep #333 'A Contest of Ladies' dir by Paul Henreid] 7th season, 1957-58; see 1957 |
|
1958 |
Cimarron City [ep #3 'To Become a Man' dir by Richard Bartlett (RB) & #17 'Runaway Train' dir by RB] 26-part western series/b&w, 1958-59 (NBC-tv); other ph: John F. Warren |
|
1958 |
Lux Playhouse [ep #2 'The Four' dir by Jules Bricken & #14 'This Will Do Nicely' dir by Harry Horner] (21)-part dramatic anthology series/b&w, 1958-59 (CBS-tv) |
|
1958 |
General Electric Theater/G.E. Theater/Star Showcase (syndication) [ep #7.7 'Battle for a Soul' dir by Ray Milland & #7.24 'Train for Tecumseh' dir by Herschel Daugherty] 7th season, 1958-59; see 1957 |
|
1958 |
Alfred Hitchcock Presents [ep #128 'And the Desert Shall Blossom' dir by Arthur Hiller (AH), #129 'Mrs. Herman and Mrs. Fenimore' dir by AH, #130 'Six People, No Music' dir by Norman Lloyd, #132 'A Personal Matter' dir by Paul Henreid, #135 'The Last Dark Step' dir by Herschel Daugherty (HD), #137 'The Diamond Necklace' dir by HD, #139 'The Right Price' dir by AH, #140 'I'll Take Care of You' dir by Robert Stevens (RS), #141 'The Avon Emeralds' dir by Bretaigne Windust & #144 'The Waxwork' dir by RS] 4th season, 1958-59; see 1957 |
|
1959 |
State Trooper [ep #(100) 'Love on the Rocks' dir by William Witney] pilot (ep of NBC-tv series 'Star Stage') + 105-part police series/b&w, 1956-59 (syndication); 3rd season, 1959; other ph: Bert Glennon, Jack MacKenzie, a.o. |
|
1959 |
Markham [ep #4 'The Marble Face/The Seance Story' dir by Bretaigne Windust, #5 'The Human Factor' dir by Don Weis, #9 'Vendetta in Venice' dir by Robert Florey (RF), #10 'The Last Bullet' dir by Robert B. Sinclair & #24 'The Father' dir by RF] pilot (ep of series 'Suspicion') + 59-part detective series/b&w, 1959-60 (CBS-tv); 1st season, 1959-60 |
|
1959 |
General Electric Theater/G.E. Theater/Star Showcase (syndication) [ep #8.1 'Miracle at the Opera' dir by Mitchell Leisen] 8th season, 1959-60; see 1957 |
|
1959 |
Staccato/Johnny Staccato [pilot (ep #1) 'The Naked Truth' dir by Joseph Pevney, #2 'Murder for Credit' dir by John Cassavetes (JC), #3 'The Parents' dir by Robert B. Sinclair (RBS), #7 'Evil' dir by JC, #8 'Murder in Hi-Fi' dir by Bernard Girard, #11 'The Poet's Touch' dir by Robert Parrish, #14 'The Return' dir by James Hogan, #16 'The Man in the Pit' dir by Sidney Lanfield, #18 'The Only Witness' dir by RBS & #24 'An Angry Young Man' dir by Richard Whorf] 27-part detective series/b&w, 1959-60 (NBC-tv); other ph: John F. Warren, Bud Thackery, a.o. |
|
1959 |
Riverboat [ep #2 'The Barrier' dir by Richard H. Bartlett & #3 'About Roger Mowbray' dir by Felix Feist] 45-part adventure series/b&w, 1959-61 (NBC-tv); 1st season, 1959-60; other ph: Ray Rennahan, a.o. |
|
1959 |
Laramie [ep #1 'Stage Stop' dir by Herschel Daugherty (HD), #2 'Glory Road' dir by HD, #6 'The Lawbreakers' dir by Lesley Selander & #11 'Dark Verdict' dir by HD] 124-part western series/b&w, 1959-63 (NBC-tv); 1st season, 1959-60; other ph: Ray Rennahan, William A. Sickner, a.o. |
|
1959 |
Alfred Hitchcock Presents [ep #157 'Coyote Moon' dir by Herschel Daugherty (HD), #160 'Dry Run' dir by John Brahm, #163 'Special Delivery' dir by Norman Lloyd (NL), #167 'Graduating Class' dir by HD, #168 'Man from the South' dir by NL & #174 'Hitch Hike' dir by Paul Henreid] 5th season, 1959-60; see 1957 |
|
1959 |
The Deputy [ep #4 'Shadow of the Noose' dir by Robert B. Sinclair] 76-part western series/b&w, 1959-61 (NBC-tv); 1st season, 1959-60 |
|
1959 |
Whispering Smith [ep #2 'The Grudge' dir by Herbert Coleman (HC), #18 'Dark Circle' dir by HC & #19 'Swift Justice' dir by R. Harner Norris] 26-part western/detective series/b&w, 1961 (NBC-tv); the series was filmed in 1959 (26 ep), but aired on NBC-tv (20 ep) in May-October 1961 |
|
1959 |
M Squad [ep #96 'Pitched Battle at Bluebell Acres' dir by Earl Bellamy, #107 'Let There Be Light' dir by Paul Stewart & #115 'Fire in the Sky' dir by Dann Cahn] 3rd season, 1959-60; see 1957 |
|
1959 |
Bachelor Father [ep #59 'Bentley and the Bartered Bride' dir by Earl Bellamy (EB), #60 'The Blonde Issue' dir by Sidney Miller (SM), #62 'Bentley, the Model Citizen' dir by SM, #68 'Bentley, the Stage Mother' dir by Norman Abbott & #75 'Bentley and the Beach Bum' dir by EB] 3rd season, 1959-60; see 1957 |
|
1959 |
Overland Trail [ep #3 'West of Boston' dir by David Butler] 17-part western series/b&w, 1960 (NBC-tv); other ph: William Sickner, Jack MacKenzie, Bud Thackery, a.o. |
|
1960 |
Markham [ep #48 'The Silken Cord' dir by Robert Florey, #49 'Escorts a la Carte' dir by Mitchell Leisen & #50 'The Cruelest Thief' dir by R. Harner Norris] 1st season (continued), 1959-60; see 1959 |
|
1960 |
Checkmate [ep #2 'Interrupted Honeymoon' dir by Herschel Daugherty (HD), #4 'Lady on the Brink' dir by Frank Arrigo (FA), #6 'Runaway' dir by Don Medford, #7 'Target: Tycoon' dir by FA, #9 'The Dark Divide' dir by Don Weis (DW), #14 'The Terror from the East' dir by HD, #16 'Hour of Execution' dir by John English (JE), #18 'Laugh Till I Die' dir by DW, #19 'Between Two Guns' dir by JE, #20 'A Matter of Conscience' dir by Richard Irving & #21 'Melody for Murder' dir by Don Taylor] 71-part detective series/b&w, 1960-62 (CBS-tv); 1st season, 1960-61; other ph: Jack MacKenzie, John F. Warren, John L. Russell, a.o. |
|
1960 |
Coronado 9 [ep #18 'Film Flam' dir by Frank Arrigo & #39 'They Met in Honolulu' dir by Dann Cahn] 39-part private eye series/b&w, 1960-61 (syndication); other ph: Bud Thackery, a.o. |
|
1960 |
The Deputy [ep #56 'Past and Present' dir by Tay Garnett (TG), #58 'The Dream' dir by TG, #73 'The Deathly Quiet' dir by Otto Lang & #75 'Lorinda Belle' dir by Sherry Shourds] 2nd season, 1961; see 1959 |
|
1960 |
Thriller [ep #1 'The Twisted Image' dir by Arthur Hiller, #9 'Girl with a Secret' dir by Mitchell Leisen, #16 'The Hungry Glass' dir by Douglas Heyes, #19 'Choose a Victim' dir by Richard Carlson, #23 'Well of Doom' dir by John Brahm, #25 'Trio for Terror' dir by Ida Lupino, #26 'Papa Benjamin' dir by Ted Post & #36 'Pigeons from Hell' dir by John Newland] 67-part suspense anthology series/b&w, 1960-62 (NBC-tv); 1st season, 1960-61; hosted by Boris Karloff |
|
1961 |
Frontier Circus [ep #3 'Lippizan' dir by William Witney] 26-part western/circus drama series/b&w, 1961-62 (CBS-tv); other ph: Bob Gough, Ray Rennahan, a.o. |
|
1961 |
Checkmate [ep #43 'Kill the Sound' dir by James Wong Howe, #44 'The Crimson Pool' dir by Alan Crosland Jr. & #46 'Death Beyond Recall' dir by Herman Hoffman] 2nd season, 1961-62; other ph: Ray Flin, Benjamin H. Kline, William Margulies, a.o.; see 1960 |
|
1961 |
Bachelor Father [ep #135 'How Howard Won His 'C'' dir by Earl Bellamy] 5th season, 1961-62; see 1957 |
|
1961 |
Thriller [ep #51 'Portrait Without a Face' dir by John Newland] 2nd season, 1961-62; see 1960 |
|
1961 |
87th Precinct [ep #1 'The Floater' dir by Herschel Daugherty, #10 'My Friend, My Enemy' dir by Don Weis & #12 'Til Death' dir by Alan Crosland Jr.] 30-part police series/b&w, 1961-62 (NBC-tv); uncred cph (#10 & #12): William Margulies |
[Left] with Grace Kelly - "A Look at Monaco"
|
1962 |
A Look at Monaco [Douglas Heyes] doc special/48m; with Princess Grace (Grace Kelly) and Prince Rainier as hosts; filmed in May; for CBS-tv |
|
1962 |
The Virginian/The Men from Shiloh (9th season) [ep #2 'Woman from White Wing' dir by Burt Kennedy, #3 'Throw a Long Rope' dir by Ted Post, #4 'The Big Deal' dir by Earl Bellamy, #5 'The Brazen Bell' dir by James Sheldon, #6 'Big Day, Great Day' dir by Harmon Jones, #7 'Riff-Raff' dir by Bernard Girard, #8 'Impasse' dir by Maury Geraghty, #9 'It Tolls for Thee' dir by Samuel Fuller, #11 'The Devil's Children' dir by William Witney, #14 'The Man from the Sea' dir by Herschel Daugherty, #26 'Echo of Another Day' dir by William Graham, #28 'The Mountain of the Sun' dir by Bernard McEveety & #29 'Run Away Home' dir by Richard L. Bare] 249-part western series, 1962-71 (NBC-tv); 1st season, 1962-63; other ph: Benjamin H. Kline (e.g. pilot 'The Executioners'), Fred Mandl, Neal Beckner, William Margulies & John L. Russell |
|
1962 |
McHale's Navy [2 ep dir by various] 138-part sitcom series/b&w, 1962-66 (ABC-tv); 1st season, 1962-63 |
|
1962 |
The Alfred Hitchcock Hour [ep #19 'To Catch a Butterfly' dir by David Lowell Rich, #22 'Diagnosis: Danger' dir by Sydney Pollack, #24 'The Star Juror' dir by Herschel Daugherty & #32 'Death of a Cop' dir by Joseph M. Newman] 93-part suspense anthology series/b&w, 1962-65 (CBS-tv & NBC-tv); 1st season, 1962-63 |
|
1963 |
McHale's Navy [4 ep dir by various] 2nd season, 1963-64; see 1962 |
|
1963 |
Bob Hope Presents The Chrysler Theatre/Universal Star Time [ep #3 'Seven Miles of Bad Road' dir by Douglas Heyes, #6 'One Day in the Life of Ivan Denisovich' dir by Daniel Petrie & #21 'Her School for Bachelors' dir by David Butler] 114-part dramatic anthology & variety ('Chrysler Presents a Bob Hope Special') series, 1963-67 (NBC-tv); 1st season, 1963-64 |
|
1963 |
The Alfred Hitchcock Hour [ep #37 'Blood Bargain' dir by Bernard Girard] 2nd season, 1963-64; see 1962 |
|
1963 |
Arrest and Trial [ep #5 'My Name Is Martin Burnham' dir by Ralph Senensky, #14 'Run, Little Man, Run' dir by Richard Irving & #30 'Birds of a Feather' dir by Robert Butler] 30-part crime/legal drama series/b&w, 1963-64 (ABC-tv); each episode was in two halves - aired on the same night: part 1 - The Arrest (45m) & part 2 - The Trial (45m) |
|
1963 |
Kraft Suspense Theatre/Crisis (syndication)/Suspense Theatre [ep #3 'The End of the World, Baby' dir by Irvin Kershner, #9 'The Hunt' dir by William Graham & (uncred) Robert Altman, #14 'Leviathan Five' dir by David Lowell Rich, #24 'The Sweet Taste of Vengeance' dir by Roy Huggins & #28 'A Cruel and Unusual Night' dir by Leslie H. Martinson] 59-part dramatic anthology series, 1963-65 (NBC-tv); 1st season, 1963-64 |
|
1963 |
Channing [ep #7 'Collision Course' dir by Harvey Hart] 26-part drama series/b&w, 1963-64 (ABC-tv) |
|
1963 |
The Virginian/The Men from Shiloh [ep #52 'Smile of a Dragon' dir by Andrew V. McLaglen] 2nd season, 1963-64; other ph: Walter Strenge, John F. Warren, Benjamin H. Kline, a.o.; see 1962 |
|
1963 |
Destry [ep #1 'The Solid Gold Girl' dir by Don Siegel] 13-part comedy-western series/b&w, 1964 (ABC-tv); other ph: Ray Rennahan |
|
1963 |
Wagon Train/Major Adams - Trailmaster (reruns, 1963-65) [ep #246 'The Grover Allen Story' dir by Joseph Pevney (JP), #251 'The Duncan McIvor Story' dir by Herschel Daugherty & #252 'The Ben Engel Story' dir by JP] 284-part western series/b&w-c, 1957-65 (NBC-tv & ABC-tv); 7th season/c, 1963-64 |
|
1964 |
McHale's Navy [25 ep dir by various] 3rd season, 1964-65; see 1962 |
|
1964 |
The Munsters [ep #1 'Munster Masquerade' dir by Lawrence Dobkin + 6 ep dir by various] 2 unaired pilots + 70-part sitcom series/b&w, 1964-66 (CBS-tv) |
|
1964 |
See How They Run [David Lowell Rich] tvm; regarded as the first 'movie made for tv' |
|
1964 |
Kraft Suspense Theatre/Crisis (syndication)/Suspense Theatre [ep #37 'Threepersons' dir by Alex March, #57 'Kill Me on July 20th' dir by Robert Douglas & #58 'The Rise and Fall of Eddie Carew' dir by Joseph Pevney] 2nd season, 1964-65; see 1963 |
|
1965 |
Laredo [ep #3 'Yahoo' dir by David Lowell Rich] 56-part western series, 1965-67 (NBC-tv); 1st season, 1965-66 |
|
1965 |
Run for Your Life [2 ep dir by various] 86-part adventure series, 1965-68 (NBC-tv); 1st season, 1965-66 |
|
1967 |
The Second Hundred Years [ep #1 'Dear Father Come Home with Me Now' dir by Jud Taylor] 26-part sitcom series, 1967-68 (ABC-tv) |
|
1967 |
Ironside/The Raymond Burr Show [13 ep dir by various] 196-part police series, 1967-75 (NBC-tv); 1st season, 1967-68 |
|
1969 |
Don't Push, I'll Charge When I'm Ready [Nathaniel Lande] tvm (1977) |
|
1969 |
The Movie Murderer [Boris Sagal] tvm (1970) |
|
1969 |
Ritual of Evil/Next Time, My Love [Robert Day] tvm (1970) |
|
1970 |
Do You Take This Stranger? [Richard Heffron] tvm (1971) |
|
1970 |
Vanished [Buzz Kulik] 2-part tvm (1971) |
|
1970 |
Columbo [2nd pilot 'Ransom for a Dead Man' dir by Richard Irving] 2 pilots + 43-part police series, 1968 + 1971-78 (NBC-tv) (+ 24 ep, 1989-2003) |
|
1971 |
[Rod Serling's] Night Gallery [ep #7 'The Boy Who Predicted Earthquakes' (d: John Badham; 22m), 'Miss Lovecraft Sent Me' (d: Gene Kearney; 4m), 'The Hand of Borgus Weems' (d: John M. Lucas; 21m) & 'Phantom of What Opera?' (d: Gene Kearney; 4m); #8 'Death in the Family' (d: Jeannot Szwarc; 22m), 'The Merciful' (d: Jeannot Szwarc; 4m), 'Class of '99' (d: Jeannot Szwarc; 19m), 'Witches' Feast' (d: Jerrold Freedman; 5m; original final seg) & 'Satisfaction Guaranteed' (d: Jeannot Szwarc; 5m; rerun final seg); #9 'Since Aunt Ada Came to Stay' (d: William Hale; 31m), 'With Apologies to Mr. Hyde' (d: Jeannot Szwarc; 2m) & 'The Flip-Side of Satan' (d: Jerrold Freedman; 17m); #10 'A Fear of Spiders' (d: John Astin [replaced first choice dir Steven Spielberg]; 22m), 'Junior' (d: Theodore Flicker; 2m), 'Marmalade Wine' (d: Jerrold Freedman; 12m) & 'The Academy' (d: Jeff Corey; 14m); #11 'The Phantom Farmhouse' (d: Jeannot Szwarc; 33m) & 'Silent Snow, Secret Snow' (d: Gene Kearney; 16m); #12 'A Question of Fear' (d: Jack Laird; 38m) & 'The Devil Is Not Mocked' (d: Gene Kearney); #13 'Midnight Never Ends' (d: Jeannot Szwarc; 20m) & 'Brenda' (d: Allen Reisner); #14 'The Diary' (d: William Hale; 26m), 'A Matter of Semantics' (d: Jack Laird; 2m), 'Big Surprise' (d: Jeannot Szwarc; 11m) & 'Professor Peabody's Last Lecture' (d: Jerrold Freedman; 11m); #15 'House - With Ghost' (d: Gene Kearney; 18m), 'A Midnight Visit to the Neighborhood Blood Bank' (d: William Hale; 2m), 'Dr. Stringfellow's Rejuvenator' (d: Jerrold Freedman; 21m) & 'Hell's Bells' (d: Theodore Flicker; 9m); #16 'The Dark Boy' (d: John Astin) & 'Keep in Touch - We'll Think of Something' (d: Gene Kearney; 19m); #19 'The Messiah on Mott Street' (d: Don Taylor; 36m; filmed July; Don Taylor: "I liked [Curly] a lot, but a lot of people didn't. They said he was irascible, and kind of 'let's get on with it, what the fuck are you doing there,' you know - and I adored that. He was fast and good.") & 'The Painted Mirror' (d: Gene Kearney; 14m); #20 'The Different Ones' (d: John M. Lucas; 13m), 'Tell David...' (d: Jeff Corey) & 'Logoda's Heads' (d: Jeannot Szwarc; 13m) & #21 'Green Fingers' (d: John M. Badham; 20m), 'The Funeral' (d: John M. Lucas) & 'The Tune in Dan's Cafe' (d: David Rawlins)] pilot + 46-part supernatural anthology series, 1969-73 (NBC-tv); 2nd season, 1971-72; ph the segments in bold; other ph: Leonard J. South (ep #12-13, #16 [replaced L. Lindon, who was recently diagnosed with cancer] & #20-21) & Bud Thackery (ep #21: seg 'The Funeral') |
| FILMS AS CAMERA ASSISTANT/OPERATOR | |
|---|---|
|
1923 |
The Ten Commandments [Cecil B. DeMille] co-c.asst; ph: Bert Glennon, Peverell Marley, Archie Stout, Fred Westerberg & Ray Rennahan |
|
1927 |
Time to Love [Frank Tuttle; 50m] co-add c.op; ph: William Marshall |
|
1934 |
The Notorious Sophie Lang [Ralph Murphy; 64m] c.op; ph: Alfred Gilks |
|
1938 |
You and Me [Fritz Lang] 2nd cam; ph: Charles Lang Jr. |
|
1942 |
Wake Island [John Farrow] co-c.asst; ph: William Mellor & Theodor Sparkuhl |
|
1942 |
No Time for Love [Mitchell Leisen] 2nd cam; ph: Charles Lang Jr. |
