NICHOLAS MUSURACA

GREAT CINEMATOGRAPHERS

#2: [Right] with dir John Brahm - "The Locket" [1946]

#3: [Right] with crew member [1937]

NICHOLAS MUSURACA

Born: 25 October 1892, Riace, Reggio Calabria, Italy. Went to the USA as a child.

Died: 3 September 1975, Los Angeles, Calif., USA.

Career: Started as chauffeur for silent film producer J. Stuart Blackton. Became projectionist, editor and asst dir with the Vitagraph Company of America in Brooklyn, New York. Went to California in the early 1920s and joined the Robertson-Cole Company at their studio [built in 1921] on Gower Street and Melrose Avenue in Hollywood. Stayed with the company as it evolved into Film Booking Offices of America [FBO] in 1922 and RKO Radio Pictures in 1928. He became one of RKO's' prime directors of photography in the 1930s. After working briefly at Warner Bros. in the late 1950s, Musuraca returned to RKO, then renamed Desilu, where he spent his last active years in TV work.

Was a member of the ASC.

Awards: 'Oscar' AA nom [1948] for 'I Remember Mama'.

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'A cameraman at RKO since the founding of the studio, Nicholas Musuraca was confined for most of his career to B movies. Nevertheless, he made his mark in the '40s with some of the finest low-key photography produced in Hollywood. In particular, he photographed a number of films in the Val Lewton horror series and, above all, some of the key films noir. Indeed, as cameraman on 'Stranger on the Third Floor', he was one of the founder members of the noir visual style: although very much a B production, the film finds a visual correlative for the hero's paranoia in harsh chiaroscuro lighting effects and, most famously, an extraordinary expressionist nightmare sequence.

As early as February 1941 [in an interview in 'American Cinematographer'] Musuraca said that he would always try and 'simplify' his lighting setups, by which he meant use the minimum number of lights.

For 'Cat People', Musuraca was teamed with Jacques Tourneur, a collaboration which enabled him to refine his style and which produced a number of superbly conceived and executed little scenes, in which what we don't see [in the shadows] is more effective than what we do.

The claustrophobic feel of the little-known film noir 'The Fallen Sparrow' is again aided immensely by Musuraca's skill with shadows, which seem to hem in and enclose John Garfield. But it was his teaming with Siodmak for 'The Spiral Staircase' that produced the finest example of his work to date. Siodmak undoubtedly had a talent for bringing out the best in his cameramen [compare Woody Bredell's work before and after 'Phantom Lady'] and 'The Spiral Staircase', a Gothic thriller, is full of stunning images, combining deep focus [in particular, with silhouettes in the foreground] with a range of dramatic low-key effects.

With John Brahms brilliant 'The Locket' and Tourneur's masterful 'Out of the Past', Musuraca must, surely, have established his pre-eminence in RKO's roster of cameramen. His next assignment was the prestigious 'I Remember Mama', for which he was nominated for an 'Oscar'. But something seems to have happened. After the memorable noir western 'Blood on the Moon' [the noir elements largely the consequence of Musuraca's photography], he was reassigned to low grade B westerns. And, although there were some fine films to come - notably the underrated 'Where Danger Lives' and, of course, the two Fritz Lang movies - the final years of his career scarcely do justice to a man who was one of the supreme exponents of low-key photography.' [From article by Michael Walker in 'Film Dope' #46, March 1991.]

Nicholas Musuraca's name remains unjustly obscure among the ranks of cinematographers from Hollywood's golden age. In his prime years at RKO during the 1940s, Musuraca shuttled back and forth between A- and B-films, prestige pictures, and genre potboilers. For this reason, and because many of the motion pictures photographed by Musuraca have attained a classic or landmark status only recently, he remains a neglected master.

Along with Gregg Toland's work on 'Citizen Kane', Musuraca's cinematography for 'Stranger on the Third Floor' defined the visual conventions for film noir and codified the RKO look for the 1940s. Musuraca's photography begins and ends with shadows, owing a major debt to German Expressionism, and can be seen as the leading factor in the resurrection of the style in Hollywood in the 1940s. The dominant tone in his work is black, a stylistic bias that lent itself to film noir and the moody horror films of Val Lewton. But even within the confines of the studio system Musuraca succeeded in transposing his style to other genres. Through the conventions of varying genres and the differing requirements of numerous directors, Musuraca maintained a uniform personal aesthetic.

The whole of Musuraca's readily identifiable style can be broken down into five consistent fragments: the use of the complete tonal range of black and white; the low placement of lighting sources; narrow beams of high-key light within a dark frame; a silhouetting technique with an emphasis on lighting for contour; and a penchant for abstraction. The first of these stylistic signatures is the use of the full tonal range of black and white. Best exemplified by the outdoor sequences in 'Out of the Past', Musuraca created the moving equivalent of Ansel Adams's 'Zone System' of photography in which deep blacks, smooth grays, and sharp whites coexist within the frame. The motion pictures which Musuraca photographed possess a richness and variety of tone that give even the low-budget films an opulent texture. His second rule provided a naturalistic means to achieve an expressionistic result. The low placement of light sources - often in the guise of table lamps, but also fireplaces and campfires - netted a highly expressionistic look as the illuminated subject was trapped by his or her own shadow looming on the walls and ceiling above. The third Musuraca trait called for tightly defined high-key light focused on objects, most often faces, in the black void. The technique simultaneously directs the eye to the primary point of interest within the frame while emphasizing the surrounding darkness leading to a tension as the conflicting tones attempt to dominate. Musuraca's fourth and most readily identifiable trademark is a skimming-silhouetting technique. Figures or faces in the foreground are lit from the side or rear, emphasizing contour while leaving the front largely dark. The resulting highlighted contour of the silhouetted object separates it from the background adding depth to the frame. It is this individual trait that accounts for much of the 'archetypal' noir look of 'The Locket' and 'Out of the Past'.

A strong reliance on tonal tension featuring large areas of black led Musuraca to the verge of abstraction in many cases. This fifth trait is evident in a number of the films he photographed as the frame is shattered into geometric patterns of light and shadow. In 'The Seventh Victim' a cosmetics factory at night becomes little more than a collection of rectangular shapes of varying tone. Similarly, many shots of nocturnal San Francisco in 'Out of the Past' suggest that the city is constructed of black quadrangles and white squares of light rather than brick and mortar. In 'Cat People' threat is conveyed by the changing density of the reflected patterns of rippling water on the walls and ceiling surrounding an indoor pool. Musuraca formulated a personal style in a more pronounced way than many other cinematographers working within the studio system, a style that dictated that any place could be threatening at any time. With darkness and light as his instruments, Musuraca charted the topography of menace with unparalleled consistency and artistry. [From article by Eric Schaefer on the filmreference.com website.]

FILMS [1 reel = c. 10m]
1922	The Glorious Adventure [J. Stuart Blackton] c; 7 reels; uncred cph (+ uncred title des); ph: William Crespinel; prod J. Stuart Blackton Photoplays
1922	The Virgin Queen [J. Stuart Blackton] b&w-c; 7 reels; prod J. Stuart Blackton Feature Pictures Inc.
1922	A Gypsy Cavalier/A Gipsy Cavalier [J. Stuart Blackton] b&w; 7 reels; prod International Artists
1923	On the Banks of the Wabash [J. Stuart Blackton] b&w; 7 reels; prod Vitagraph Company of America
1925	The Happy Warrior [J. Stuart Blackton] b&w; 8 reels; ?; ph: Paul Allen; prod Vitagraph Company of America
1926	Bride of the Storm [J. Stuart Blackton] b&w; 7 reels; addph: William Adams; prod Vitagraph Company of America
1926	The Gilded Highway [J. Stuart Blackton] b&w; 7 reels; prod Warner Brothers Pictures (WB)
1926	Hell-Bent for Heaven/The Hypocrite [J. Stuart Blackton] b&w; 7 reels; prod WB
1926	The Passionate Quest [J. Stuart Blackton] b&w; 7 reels; prod WB
1926	Shameful Behavior? [Albert Kelley] b&w; 6 reels; prod Preferred Pictures
1926	His New York Wife/The Secret Wedding [Albert Kelley] b&w; 6 reels; prod Preferred Pictures
1926	Lightning Lariats/A Throne for a Saddle [Robert De Lacey] b&w; 5 reels; prod R-C Pictures Corporation
1927	The Sonora Kid [Robert De Lacey] b&w; 5 reels; prod R-C Pictures Corporation
1927	Cyclone of the Range [Robert De Lacey] b&w; 5 reels; prod FBO Pictures (FBO)
1927	Splitting the Breeze [Robert De Lacey] b&w; 5 reels; prod R-C Pictures Corporation
1927	Tom's Gang [Robert De Lacey] b&w; 5 reels; prod R-C Pictures Corporation
1927	The Cherokee Kid/The Stranger [Robert De Lacey] b&w; 5 reels; prod FBO
1927	The Bandit's Son [Wallace W. Fox] b&w; 5 reels; prod FBO
1927	South Sea Love [Ralph Ince] b&w; 7 reels; prod R-C Pictures Corporation
1928	When the Law Rides [Robert De Lacey] b&w; 5 reels; prod FBO
1928	Red Riders of Canada [Robert De Lacey] b&w; 7 reels; prod FBO
1928	Phantom of the Range [James Dugan] b&w; 5 reels; prod FBO
1928	Last Lap [Bruce Mitchell] b&w; 7 reels; prod Dailey Productions
1928	Dog Justice [Jerome Storm] b&w; 6 reels; prod FBO
1928	Terror/Tom's Vacation [Louis King] b&w; 5 reels; prod FBO
1928	The Charge of the Gauchos/The Beautiful Spy [Albert Kelley] b&w; 6 reels; cph: George Benoit; prod Ajuria Productions
1928	The Avenging Rider [Wallace Fox] b&w; 6 reels; prod FBO
1928	Rough Ridin' Red [Louis King] b&w; 5 reels; prod FBO
1928	Tyrant of Red Gulch/The Sorcerer [Robert De Lacey] b&w; 5 reels; prod FBO

[Behind camera] with dir Robert Vignola [seated] and actors

"Tropic Madness"

1928	Tropic Madness/The Price of Pleasure [Robert G. Vignola] b&w; 7 reels; prod FBO
1928	Orphan of the Sage [Louis King] b&w; 6 reels; prod FBO
1928	The Trail of the Horse Thieves/Double Lives [Robert De Lacey] b&w; 5 reels; prod FBO
1929	The Red Sword/Three Days to Live [Robert G. Vignola] b&w; 7 reels; prod FBO
1929	Gun Law/A Swift Lover [Robert De Lacey & John Burch] b&w; 6 reels; prod FBO
1929	The Freckled Rascal [Louis King] b&w; 5 reels; prod FBO
1929	Idaho Red [Robert De Lacey] b&w; 6 reels; prod FBO
1929	The Pride of Pawnee [Robert De Lacey] b&w; 6 reels; prod FBO
1929	Side Street/Three Brothers [Malcolm St. Clair] b&w; 7 reels; cph: William Marshall; silent & sound versions; prod RKO Productions, Inc.
1929	Love Comes Along [Rupert Julian] b&w; 8 reels; ?; ph: J. Roy Hunt; silent & sound versions; prod RKO Productions, Inc.
1930	Conspiracy [Christy Cabanne] b&w; 67m
1930	The Cuckoos [Paul Sloane] b&w-c
1930	Inside the Lines [Roy J. Pomeroy] b&w
1930	Half Shot at Sunrise [Paul Sloane] b&w
1930	Hook, Line and Sinker [Eddie Cline] b&w
1930	The Sin Ship [Louis Wolheim] b&w; 65m; pfx: Lloyd Knechtel
1930	Cimarron [Wesley Ruggles] b&w; cph Land Rush seq; ph: Edward Cronjager
1931	Cracked Nuts [Eddie Cline] b&w; 65m
1931	Everything's Rosie [Clyde Bruckman] b&w
1931	Three Who Loved [George Archainbaud] b&w; pfx: Lloyd Knechtel
1931	Too Many Cooks [William A. Seiter (replaced Wesley Ruggles)] b&w
1931	Smart Woman [Gregory La Cava] b&w; 68m
1931	Men of Chance [George Archainbaud] b&w; 67m
1932	The Most Dangerous Game/The Hounds of Zaroff [Ernest B. Schoedsack & Irving Pichel] b&w; 63m; loc ph (+ some glass shots/process plates); studio ph: Henry Gerrard; process ph: Kenneth Peach; optical efx: Linwood Dunn
1932	Come on Danger! [Robert F. Hill] b&w; 60m
1932	The Bride's Bereavement; or, The Snake in the Grass [Robert F. Hill] b&w; short/20m; ep series 'Masquer Club Burlesque'
1932	Haunted Gold [Mack V. Wright] b&w; 58m
1932	The Cheyenne Kid/The Fighting Test [Robert F. Hill] b&w; 55m
1932	Scarlet River [Otto Brower] b&w; 57m
1933	Lost in Limehouse or Lady Esmeralda's Predicament [Otto Brower] b&w; short/21m; ep series 'Masquer Club Burlesque'
1933	Son of the Border [Lloyd Nosler] b&w; 55m
1933	The Gay Nighties [Mark Sandrich] b&w; short/20m
1933	Cross Fire [Otto Brower] b&w; 57m
1933	Flying Devils/The Flying Circus [Russell Birdwell] b&w; 62m; uncred aph: Harry Perry
1933	Headline Shooter/Evidence in Camera [Otto Brower] b&w; 65m
1933	Midshipman Jack [Christy Cabanne & (assoc dir) Thomas Atkins] b&w; cph: Alfred Gilks
1933	Chance at Heaven [William A. Seiter] b&w
1933	Snug in the Jug [Ben Holmes] b&w; short/19m
1933	What Fur [George Stevens] b&w; short/21m
1933	Long Lost Father [Ernest B. Schoedsack] b&w; 64m
1933	In the Devildog House [Ben Holmes] b&w; short/21m
1933	Bedlam of Beards [Ben Holmes] b&w; short/18m
1933	Love and Hisses [Sam White] b&w; short/18m
1933	Sing and Like It [William A. Seiter] b&w
1934	Love on a Ladder [Sam White] b&w; short/20m
1934	Where Sinners Meet/The Dover Road [J. Walter Ruben] b&w; uncred cph: David Abel
1934	Murder on the Blackboard [George Archainbaud] b&w
1934	We're Rich Again [William A. Seiter] b&w
1934	Contented Calves [Sam White] b&w; short/21m
1934	The Richest Girl in the World [William A. Seiter] b&w
1934	By Your Leave [Lloyd Corrigan] b&w; pfx: Vernon Walker
1934	Romance in Manhattan [Stephen Roberts] b&w; pfx: Vernon Walker
1934	Bandits and Ballads [Friedrich Hollaender] b&w; short/20m
1934	Murder on a Honeymoon [Lloyd Corrigan] b&w; pfx: Vernon Walker; filmed 1934-35
1935	Village Tale [John Cromwell] b&w
1935	A Night at the Biltmore Bowl [Alf Goulding] b&w; short/17m; see 1946
1935	Old Man Rhythm [Edward Ludwig] b&w
1935	To Beat the Band [Ben Stoloff] b&w; 67m
1935	Two in the Dark [Ben Stoloff] b&w
1936	Alladin from Manhattan [Ben Holmes] b&w; mus short/17m
1936	The Farmer in the Dell [Ben Holmes] b&w; 67m
1936	Silly Billies [Fred Guiol] b&w; 65m; cph: J. Roy Hunt; pfx: Vernon Walker
1936	Murder on a Bridle Path [Edward Killy & William Hamilton] b&w; 66m
1936	Melody in May [Ben Holmes] b&w; mus short/20m
1936	Second Wife [Edward Killy] b&w; 60m
1936	Who's Looney Now [Leslie Goodwins] b&w; short/19m
1936	So and Sew [Jean W. Yarbrough] b&w; short/15m
1936	The Plot Thickens/The Swinging Pearl Mystery [Ben Holmes] b&w; 69m
1936	The Hillbilly Goat [Leslie Goodwins] b&w; short/18m
1936	We're on the Jury [Ben Holmes] b&w
1936	China Passage [Edward Killy] b&w; 65m; filmed 1936-37
1937	Too Many Wives [Ben Holmes] b&w; 61m
1937	There Goes My Girl [Ben Holmes (replaced Edward Killy)] b&w; uncred cph; ph: Joseph H. August
1937	Border Cafe [Lew Landers] b&w; 67m
1937	The Big Shot [Edward Killy] b&w; 60m
1937	Flight from Glory [Lew Landers] b&w; 60m
1937	Saturday's Heroes [Edward Killy] b&w; 60m
1937	Living on Love [Lew Landers] b&w; 61m
1937	Trailing Along [Jean W. Yarbrough] b&w; mus short/16m; cph: Harry J. Wild; ep series 'RKO Headliner Comedies'
1937	Danger Patrol [Lew Landers] b&w; 60m
1937	Quick Money/Taking the Town [Edward Killy] b&w; 60m
1937	Everybody's Doing It [Christy Cabanne] b&w; 67m; cph: Paul Vogel
1937	Crashing Hollywood [Lew Landers] b&w; 61m; cph: Frank Redman
1937	Harris in the Spring [Leslie Goodwins] b&w; mus short/20m
1937	The Stupor-Visor [Charles Roberts] b&w; short/18m
1937	Night Spot [Christy Cabanne] b&w; 60m
1938	False Roomers [Leslie Goodwins] b&w; short/17m
1938	His Pest Friend [Leslie Goodwins] b&w; short/18m; a Leon Errol Comedy
1938	Condemned Women [Lew Landers] b&w
1938	Law of the Underworld [Lew Landers] b&w; 61m
1938	Blind Alibi [Lew Landers] b&w; 65m
1938	Sky Giant [Lew Landers] b&w
1938	Smashing the Rackets [Lew Landers] b&w; 69m
1938	The Mad Miss Manton [Leigh Jason] b&w
1938	Tarnished Angel [Leslie Goodwins] b&w; 68m
1938	Pacific Liner [Lew Landers] b&w
1938	Twelve Crowded Hours [Lew Landers] b&w; 64m
1939	They Made Her a Spy [Jack Hively] b&w; 69m; vfx: Vernon L. Walker
1939	Sorority House/That Girl from College [John Farrow] b&w; 63m

[Left/standing] with dir John Farrow [seated/glasses] and c.op Joe Biroc

"Five Came Back"

1939	Five Came Back [John Farrow] b&w
1939	Golden Boy [Rouben Mamoulian] b&w; cph: Karl Freund
1939	Allegheny Uprising/The First Rebel [William A. Seiter] b&w
1939	Swiss Family Robinson [Edward Ludwig] b&w
1939	A Bill of Divorcement/Never to Love [John Farrow] b&w
1940	Tom Brown's School Days/Adventures at Rugby [Robert Stevenson] b&w

1940	Stranger on the Third Floor [Boris Ingster] b&w; 67m; sfx: Vernon L. Walker
1940	Little Men [Norman Z. McLeod] b&w
1940	Play Girl [Frank Woodruff] b&w
1941	Repent at Leisure [Frank Woodruff] b&w; 67m
1941	Hurry, Charlie, Hurry [Charles E. Roberts] b&w; 65m
1941	Lady Scarface [Frank Woodruff] b&w; 69m
1941	The Gay Falcon [Irving Reis] b&w; 67m; 1st film in 13-part 'The Falcon'-series (RKO, 1941-46)
1941	Westward Ho-Hum [Clem Beauchamp] b&w; short/16m
1941	Obliging Young Lady [Richard Wallace] b&w
1941	Call Out the Marines [Frank Ryan & William Hamilton] b&w; 66m; cph: J. Roy Hunt
1941	The Tuttles of Tahiti [Charles Vidor] b&w; filmed 1941-42
1942	The Magnificent Ambersons [Orson Welles; (uncred add scenes) Robert Wise, Jack Moss & Freddie Fleck] b&w; addph (with dir J. Moss + final seq with dir F. Fleck); ph: Stanley Cortez (1941-42)
1942	Hold 'Em Jail [Lloyd French] b&w; short/18m
1942	Cooks and Crooks [Henry James (= Harry Edwards)] b&w; short/18m
1942	Bandit Ranger [Lesley Selander] b&w; 56m
1942	Pirates of the Prairie [Howard Bretherton] b&w; 57m
1942	The Navy Comes Through [A. Edward Sutherland] b&w

1942	Cat People [Jacques Tourneur] b&w; pfx: Linwood Dunn
1942	Forever and a Day/The Changing World [Frank Lloyd (London blitz seq), Robert Stevenson, René Clair ('1897' seq; replaced Alfred Hitchcock), Victor Saville, Cedric Hardwicke, Herbert Wilcox & Edmund Goulding] b&w; uncred ph; other (uncred) ph: Robert De Grasse, Lee Garmes & Russell Metty; spec pfx: Vernon L. Walker; filmed May 1941-January 1943
1942	Bombardier [Richard Wallace & (uncred aerial action seq) Lambert Hillyer] b&w; Musuraca started the picture, but Joseph Biroc was his (uncred) replacement
1943	The Fallen Sparrow [Richard Wallace] b&w; + uncred Italian language cons
1943	The Seventh Victim [Mark Robson] b&w
1943	Cutie on Duty [Ben Holmes] b&w; short/18m
1943	Gangway for Tomorrow [John H. Auer] b&w; 69m
1943	The Ghost Ship [Mark Robson] b&w; 69m
1943	The Curse of the Cat People [Robert Wise & Gunther V. Fritsch (started film, but began to fall behind schedule and was replaced by R. Wise)] b&w
1943	Unlucky Dog [Ben Holmes] b&w; short/15m
1943	Wedtime Stories [Ben Holmes] b&w; short/17m
1943	Marine Raiders [Harold Schuster & (uncred add scenes) Robert Wise] b&w; filmed 1943-44
1944	Bride by Mistake [Richard Wallace] b&w
1944	Girl Rush [Gordon Douglas] b&w; 65m; spec pfx: Linwood Dunn & Paul Eagler
1944	The Falcon in Hollywood [Gordon Douglas] b&w; 67m; 8th film in 13-part 'The Falcon'-series (RKO, 1941-46)
1944	[Pearl Buck's] China Sky [Ray Enright] b&w
1944	Back to Bataan/The Invisible Army [Edward Dmytryk] b&w; filmed 1944-45
1945	It's Your Move [Hal Yates] b&w; short/17m
1945	Deadline at Dawn [Harold Clurman] b&w; sfx: Vernon L. Walker; transparency ph: Harold Stine
1945	Bedlam [Mark Robson] b&w; transparency ph: Harold Stine

1945	The Spiral Staircase [Robert Siodmak] b&w; sfx: Vernon L. Walker
1946	The Locket [John Brahm] b&w
1946	The Bachelor and the Bobby-Soxer/Bachelor Knight [Irving Reis & (uncred) Dore Schary] b&w; cph: Robert De Grasse

#1: Rhonda Fleming - Robert Mitchum - Jacques Tourneur - NM - "Out of the Past"

#2: With Robert Mitchum & Jane Greer

1946	Out of the Past/Build My Gallows High [Jacques Tourneur] b&w; fill-in ph: Robert De Grasse
1946	Hollywood Bound [Sam White, Alf Goulding & Leigh Jason] b&w; comp of 3 shorts/61m; ph 'A Night at the Biltmore Bowl' seg; other ph: Harold Wenstrom & J. Roy Hunt; see 1935
1947	I Remember Mama [George Stevens] b&w; filmed May-October
1948	Blood on the Moon [Robert Wise] b&w
1948	Stagecoach Kid [Lew Landers] b&w; 60m
1949	The Mysterious Desperado [Lesley Selander] b&w; 61m
1949	The Woman on Pier 13/I Married a Communist [Robert Stevenson] b&w
1949	Born to Be Bad [Nicholas Ray] b&w
1949	Dynamite Pass [Lew Landers] b&w; 61m
1949	Rider from Tucson [Lesley Selander] b&w; 60m
1949	Groan and Grunt [Hal Yates] b&w; short/17m

1950	Where Danger Lives [John Farrow] b&w
1950	The Company She Keeps [John Cromwell] b&w
1950	Hunt the Man Down/Seven Witnesses [George Archainbaud] b&w; 68m
1950	The Whip Hand [William Cameron Menzies & (uncred fill-in) Stuart Gilmore] b&w; add scenes filmed in November/December 1950 & May 1951
1950	Roadblock [Harold Daniels] b&w
1951	Hot Lead/A Taste of Hot Lead [Stuart Gilmore] b&w; 60m
1951	A Girl in Every Port [Chester Erskine] b&w
1951	Trail Guide [Lesley Selander] b&w; 60m
1951	Clash by Night [Fritz Lang] b&w
1952	The Hitch-Hiker [Ida Lupino] b&w; pfx: Harold E. Wellman
1952	Three Chairs for Betty [Hal Yates] b&w; short/16m; ep of RKO's 'The Newlyweds'- series (1953)
1952	The Fresh Painter [Hal Yates] b&w; short/16m; filmed in October and released in 1953
1952	Lost in a Turkish Bath [Hal Yates] b&w; short/16m (1953)
1952	Half-Dressed for Dinner [Hal Yates] b&w; short/?m; ep of RKO's 'The Newlyweds'-series (1953)

With dir Dick Powell [left] - "Split Second"

1952	Split Second [Dick Powell] b&w; pfx: Harold E. Wellman
1952	The Blue Gardenia [Fritz Lang] b&w
1953	Devil's Canyon [Alfred Werker] Natural Vision 3-D/c; Natural Vision cons: Lothrop Worth; visual cons: Julian Gunzburg
1953	Susan Slept Here [Frank Tashlin] c; filmed 1953-54
1956	Man on the Prowl [Art Napoleon] b&w
1956	The Story of Mankind [Irwin Allen] c
1957	Too Much, Too Soon [: The Daring Story of Diana Barrymore] [Art Napoleon] b&w; cph: Carl Guthrie
1960	The Lawbreakers [Joseph M. Newman] b&w; ed from ep #2 of the tv-series 'The Asphalt Jungle' + an additional 30m extra footage

TELEVISION
1952	Four Star Playhouse/Star Performance (syndication) [ep #10 'Trail's End' dir by Robert Florey] 129-part dramatic anthology series/b&w, 1952-56 (CBS-tv); 1st season, 1952-53
1954	The Lineup/San Francisco Beat (syndication) [ep #1 'The Paisley Gang' dir by Thomas Carr] 201-part police series/b&w, 1954-60 (CBS-tv); 1st season, 1954-55
1954	The Lone Wolf/Streets of Danger [15 ep dir by various] 39-part detective series/b&w, 1954-55 (syndication); other ph: Frederick Gately, Joseph Biroc & Charles Van Enger
1954	Stage 7/Your Favorite Playhouse (1954) [ep #1 'The Deceiving Eye' dir by Alvin Ganzer, #2 'Appointment in Highbridge' dir by Reginald Le Borg, #3 'The Legacy' dir by Christian Nyby, #7 'The Greatest Man in the World' dir by Roy Kellino, #18 'The Time of Day' dir by Arnold Laven & #19 'Yesterday's Pawnshop' dir by Harry Keller] 25-part dramatic anthology series/b&w, 1954-55 (CBS-tv); other ph: Harry J. Wild & George E. Diskant
1955	The Star and the Story/The Henry Fonda Show [ep #13 'A Matter of Courage' dir by Roy Kellino] 46-part dramatic anthology series/b&w, 1955-56 (syndication); 1st season, 1955 (23 ep)
1955	The Lineup/San Francisco Beat (syndication) [ep #40 'The T.V. Case' dir by Hollingsworth Morse & Harold Schuster (HS) & #73 'The Wharton Case' dir by HS] 2nd season, 1955-56; see 1954
1955	It's a Great Life/The Bachelors [ep #40 'Call Michigan 4099' dir by Christian Nyby] 78-part sitcom series/b&w, 1954-56 (NBC-tv); 2nd season, 1955-56 (39 ep)
1955	The Life of Riley [ep #108 'Love Comes to Waldo Binney' dir by Abby Berlin] 217-part sitcom series/b&w, 1953-58 (NBC-tv); 4th season, 1955-56
1955	Four Star Playhouse/Star Performance (syndication) [ep #103 'High Stakes' dir by William A. Seiter, #108 'Once to Every Woman' dir by Anton Leader, #110 'To Die at Midnight' dir by Don Weis & #122 'Watch the Sunset' dir by Richard Kinon] 4th season, 1955-56; see 1952
1956	DuPont Presents the Cavalcade Theatre/Cavalcade of America/DuPont Theater [ep #94 'A Life to Live By' dir by William A. Seiter] 132-part dramatic anthology series/b&w, 1952-53 (NBC-tv) & 1953-57 (ABC-tv); 4th season, 1955-56; or ph George E. Diskant
1956	Chevron Hall of Stars [ep #? 'The Secret Weapon of 117' dir by William A. Seiter] 41 (?)-part dramatic anthology series/b&w, 1956 (syndication)
1956	The Silver Frame [Hollingsworth Morse] unsold pilot/b&w/30m
1956	The Lineup/San Francisco Beat (syndication) [ep #79 'The Adams Case' dir by Hollingsworth Morse (HM) & #107 'The Robert Avery Case' dir by HM] 3rd season, 1956-57; see 1954
1956	Hey, Jeannie! [ep #5 'Jeannie's Here' dir by John Rich] 32-part sitcom series/b&w, 1956-57 (CBS-tv) & 1960 (in reruns as 'The Jeannie Carson Show' on ABC-tv)
1956	Wire Service/Deadline for Action (reruns) [ep #4 'The Johnny Rath Story' dir by Robert Florey] 37-part newspaper series/b&w, 1956-57 (ABC-tv)
1956	The Adventures of Jim Bowie [ep #13 'Jim Bowie and His Slave/The Tempered Blade' dir by Lewis R. Foster] 76-part western series/b&w, 1956-58 (ABC-tv); 1st season, 1956-57; ep was originally the pilot; other ph: Charles Straumer
1956	Whirlybirds/Copter Patrol [ep #1 'The Big U' dir by Lew Landers & #3 'Boy on the Roof' dir by Allen H. Miner] 111-part adventure series/b&w, 1957-60 (syndicated; originally made for CBS-tv); 1st season, 1957
1957	Date with the Angels [ep #2 'Mother by Proxy', #4 'The Wheel', #5 'The Tree in the Parkway', #6 'The Feud', #7 'Shall We Dance?', #9 'The Blue Tie', #11 'The Surprise' & #12 'Pike's Pique', all dir by James V. Kern] 33-part sitcom series/b&w, 1957-58 (ABC-tv); 1st season, 1957 (12 ep)
1957	Those Whiting Girls [7 ep dir by various] 26-part sitcom series/b&w, 1955 & 1957 (CBS-tv); 2nd season, 1957 (13 ep)
1957	The Lineup/San Francisco Beat (syndication) [ep #114 'The Fleet Queen Case' dir by Andrew V. McLaglen] 4th season, 1957-58; see 1954
1957	The Walter Winchell File [ep #1 'Country Boy' dir by Jerry Thorpe] 41-part crime anthology series/b&w, 1957-58 (ABC-tv); 1st season, 1957; other ph: Maury Gertsman
1957	Maverick [ep #8 'Hostage!' dir by Richard L. Bare] 124-part western series/b&w, 1957-62 (ABC-tv); 1st season, 1957-58
1957	December Bride [ep #112 'Contour Chair' dir by Frederick De Cordova (FDC) & #120 'Aunt Emily' dir by FDC] 157-part sitcom series/b&w, 1954-59 (CBS-tv); 4th season, 1957-58
1958	Westinghouse Desilu Playhouse [ep #6 'The Time Element' dir by Allen Reisner, #7 'Silent Thunder' dir by Ted Post, #9 'The Crazy Hunter' dir by Jerry Thorpe (JT), #15 'Martin's Folly' dir by Robert Ellis Miller & #18 'Chain of Command' dir by JT] 47-part dramatic anthology series/b&w, 1958-60 (CBS-tv); 1st season, 1958-59; ep #6 was also the 'unofficial' pilot for the series 'The Twilight Zone'
1959	The Lucy-Desi Comedy Hour/The Lucille Ball-Desi Arnaz Show/We Love Lucy [ep #10 'Lucy's Summer Vacation' dir by Jerry Thorpe] 13-part series of full-hour sitcom specials/b&w, 1957-60 (CBS-tv)
1959	The Lineup/San Francisco Beat (syndication) [ep #184 'Wake Up to Terror' dir by Jesse Hibbs] 6th season, 1959-60 (ep are now 60m); see 1954
1959	Westinghouse Desilu Playhouse [ep #26 'A Diamond for Carla' dir by Claudio Guzmán & #28 'Six Guns for Donegan' dir by Douglas Heyes] 2nd season, 1959-60; see 1958
1959	Alcoa Theatre/Turn of Fate (umbrella title first 4 months)/Award Theatre (syndication) [ep #3.13 '333 Montgomery Street' dir by Paul Wendkos] ?-part dramatic anthology series/b&w, 1957-60 (NBC-tv); 3rd season, 1959-60
1960	The Barbara Stanwyck Show [ep #1 'The Mink Coat' dir by Jacques Tourneur, #5 'The Key to the Killer' dir by Richard Whorf, #11 'Out of the Shadows' dir by Robert Florey & #31 'Little Big Mouth' dir by James Neilson] 36-part dramatic anthology series/b&w, 1960-61 (NBC-tv)
1960	The Islanders [various] 24-part adventure series/b&w, 1960-61 (ABC-tv)
1960	The Asphalt Jungle [ep #2 'The Lady and the Lawyer' dir by Joseph M. Newman] 13-part police series/b&w, 1961 (ABC-tv); ep #2 was originally the pilot

1961	The Jack Benny Program/The Jack Benny Show/The Lucky Strike Program [9 ep dir by Frederick De Cordova] 258-part comedy series, 1950-64 (CBS-tv) & 1964-65 (NBC-tv)/b&w; 12th season, 1961-62
1962	The Lucille Ball Show/The Lucy Show [ep #1 'Lucy Waits Up for Chris' dir by Jack Donohue (JD), #2 'Lucy Digs Up a Date' dir by JD & #5 'Lucy Buys a Sheep' dir by JD] 156-part sitcom series, 1962-68 (CBS-tv); 1st season/b&w, 1962-63; show returned in September 1968 as 'Here's Lucy' (1968-74)
1962	The Jack Benny Program/The Jack Benny Show/The Lucky Strike Program [21 ep dir by Frederick De Cordova] 13th season, 1962-63; see 1961
1963	The Jack Benny Program/The Jack Benny Show/The Lucky Strike Program [15 ep dir by Frederick De Cordova & 10 ep dir by Norman Abbott] 14th season, 1963-64; see 1961
1964	The Jack Benny Program/The Jack Benny Show/The Lucky Strike Program [26 ep dir by Norman Abbott] 15th season, 1964-65; see 1961
1964	McHale's Navy [ep #97 'Send This Ensign to Camp' dir by Hollingsworth Morse] 138-part sitcom series/b&w, 1962-66 (ABC-tv); 3rd season, 1964-65
1965	McHale's Navy [ep #136 'An Ensign's Best Friend' dir by Hollingsworth Morse (HM) & #138 'Wally for Congress' dir by HM] 4th season, 1965-66; see 1964
1965	Run for Your Life [ep #13 'Make the Angels Weep' dir by Leslie H. Martinson] 85-part adventure series, 1965-68 (NBC-tv); 1st season, 1965-66
1966	Tammy [ep #25 'Uncle Lucius Returns' dir by ?] 26-part sitcom series, 1965-66 (ABC-tv)
1966	F Troop [ep #42 'The Ballot of Corporal Agarn' dir by Seymour Robbie, #43 'Did Your Father Come from Ireland?' dir by David Alexander (DA) & #44 'For Who the Bugle Tolls' dir by DA] 65-part military sitcom series/b&w-c, 1965-67 (ABC-tv); 2nd season/c, 1966-67; other ph: Louis Jennings