JOSEPH RUTTENBERG

GREAT CINEMATOGRAPHERS

#1: 1957

#2: 1952

#3: 1935

JOSEPH RUTTENBERG

Born: 4 July 1889, St. Petersburg, Russia. Moved with his family to the USA in 1893 and settled in Boston.

Died: 1 May 1983, Los Angeles [Cedars-Sinai Medical Center], Calif., USA.

Career: Joined the 'Boston American' newspaper as a copy boy. Became a news reporter and still photographer. By 1914 he started filming and producing his own newsreels. In 1915 he joined Fox Studios [Fox Film Corporation] in New York City [until 1926]. In the late 1920s he spent 4 years at Paramount's Astoria Studios ph short subjects and working with ph George J. Folsey. Moved to Hollywood. Joined MGM in 1935. Retired in 1968.

Was a member of the ASC since 1935. Was a member of the BSC.

Appeared in the doc 'You Can't Fool a Camera' [1941; 10m; ph: Jackson Rose].

Awards: 'Oscar' AA [1938] for 'The Great Waltz'; 'Oscar' AA nom [1940; b&w] for 'Waterloo Bridge'; 'Oscar' AA nom [1941; b&w] for 'Dr. Jekyll and Mr. Hyde'; 'Oscar' AA [1942; b&w] for 'Mrs. Miniver'; 'Oscar' AA nom [1943; b&w] for 'Madame Curie'; 'Oscar' AA nom [1944; b&w] for 'Gaslight'; 'Oscar' AA nom [1953; b&w] for 'Julius Caesar'; Golden Globe Award [1954; color] for 'Brigadoon'; 'Oscar' AA [1956; b&w] for 'Somebody Up There Likes Me'; 'Oscar' AA [1958; color] & Golden Laurel Award '2nd Place' [1959] for 'Gigi'; 'Oscar' AA nom [1960; color; shared] for 'Butterfield 8'.

GO TO FILMS

'The old pro' to studio executives, actors, and film directors, Joseph Ruttenberg was a cinematographer whose technical mastery was matched by a visual artistry that enriched the films of directors more concerned with drama and acting than visual style. When he worked with directors who did care about lighting and composition, the films they made often were nominated for Academy Awards.

At the 'Boston American' Ruttenberg discovered photography. First as a runner who hand delivered news film to the laboratory, then as a darkroom technician, then as a press photographer, Ruttenberg learned how to make pictures with speed and under adverse conditions. [The] combination of expertise and invention won him a commission to photograph European stage sets for the Boston Opera. There, in Paris, on the eve of the First World War, he fell under the spell of the moving picture.

[Back in America], Ruttenberg chose not to return to his previous work. Instead he formed a partnership with a Yale friend. They purchased a hand-cranked movie camera, built a film processing unit in a Boston loft, and for nearly six months produced a weekly newsreel for the local Loew's theaters. Minimal profits and a demanding schedule led the two to eventually abandon the enterprise, but the experience was to be useful when Ruttenberg moved to New York City and employment with William Fox.

Ruttenberg rose through the ranks, from slate-holder and still photographer [at $18 a week] to assistant cameraman and then cinematographer [when he left Fox in 1926 he was making $175 a week].

Lighting, camera movement, and location filming were inhibited in the first years of sound movies. There can be little doubt that Ruttenberg was wary about moving West in such circumstances. So when the Fox production company moved to Hollywood in 1926, Ruttenberg chose to remain in New York, where he soon was making screen tests with sound for MGM, RKO, and Universal.

In 1935 Ruttenberg finally made the move to Hollywood, briefly working at Warner Bros., and then shifting to MGM; by this time the traumatic period of the transition to sound was over, and Ruttenberg's talent as a lighting cinematographer could be used with the same freedom as in the 1920s.

Ruttenberg's camerawork was distinctive for three reasons. First, he composed the film image on two planes. The primary subject of interest, one or more actors, would appear in sharp focus, and the background would be softer, slightly out of focus. In consequence, actors would "project" out of the screen, acquiring an almost three-dimensional weight. Ruttenberg considered the "deep focus" technique used by Gregg Toland for William Wyler and Orson Welles to be a mistake, the loss of an opportunity to direct the eye of the spectator.

The second reason was his lighting. While many cinematographers delegate lighting to assistants, Ruttenberg believed lighting was central to cinematography. With it he could mould and change what was in front of the camera. Often he would defy union rules to handle the lights himself.

The importance of lighting in films like 'Waterloo Bridge', 'Dr. Jekyll and Mr. Hyde' and 'Gaslight', where shadows are atmosphere, does not need to be pointed out. Less obvious is the lighting used for a film like 'A Day at the Races'. Filming the Marx Brothers, Ruttenberg often noted, was an adventure because they never did the same thing twice, especially on retakes. Multiple cameras, and an even, relatively shadowless lighting scheme was necessary if separate shots were to be cut together smoothly when the film was completed. 'Three Comrades', shot in 1938 for Frank Borzage, is one of Ruttenberg's masterpieces of lighting. The "spirituality" of Borzage's characters is given tangible substance in this film: Margaret Sullivan, at times, is almost luminous.

Ruttenberg's camerawork was also distinctive in a third way. Given the opportunity, and at times on his own initiative, he would seek to film whole sequences in a single take. As early as the 1920s, when he was working at the Astoria Studio without screen credit, Ruttenberg constructed dolly mechanisms, camera cranes, even rolling bridges so that shots of 30 or more seconds could be made. Some of his shots defy understanding: in 'Gigi' he films in a room full of mirrors, but the camera and lights are not seen, and in 'Brigadoon' his camera sweeps around dancers on a hilltop, hovering and flying, floating in a space that seems free of gravity. [From article by Robert A. Haller.]

ASSIGNMENT OVERSEAS

By Joseph Ruttenberg, ASC/BSC [1950]

Never before have so many Hollywood productions been photographed abroad. For directors of photography, this has meant - aside from visits to new and interesting foreign lands - working with unfamiliar equipment and technicians and putting up with certain labor restrictions and foibles. In most instances, the visiting cinematographer has fared very successfully. I have nothing but good things to say about associates with whom I worked in England months ago while filming 'The Miniver Story' at Metro-Goldwyn-Mayer's Elstree studios in London.

With actress Greer Garson - "The Miniver Story"

Today, with the growing trend of the off-the-lot production, many cinematographers may expect to receive assignments to photograph a production in Britain, France or Rome - the three most active centers of overseas production at this time. In such event, the thought that naturally comes to mind is, "What are the conditions to be met there with regard to technicians and equipment?"

A London assignment, of course, affords the greatest promise, although conditions in both France and Italy are fast improving. The London studio situation is more comparable to ours here in America. The big hurdle, and one that must be settled before the director of photography lands in England, is that country's rigid restrictions against the use of foreign motion picture technicians and labor. This is understandable, in view of the English industry's economic setbacks during the past year, which have greatly limited the amount of work available for the large number of British motion picture technicians.

We had this problem before starting to shoot 'The Miniver Story'. It required considerable negotiation in advance, but, fortunately, the British technicians saw a way to a solution. It simply narrowed down to this: actress Greer Garson refused to make the picture in England unless I could direct the photography. Making the picture in England meant more than 600 actors and technicians would receive steady paychecks for several months. If the picture was not made there, a lot of people would continue to remain on the unemployed lists. So a compromise was reached whereby I could assume direction of the photography, providing that MGM employed a stand-by cinematographer.

When the picture started, there was the noticeable stiff formality of precisely adhering to the covenants of the technician's union, but before we had concluded the first day's work, the technicians and I were getting along famously. These men are very eager to work with Hollywood cameramen in order to learn more of the advanced Hollywood techniques. As a result, there is a strong feeling for a mutual interchange of technicians on productions both here and abroad as a means of increasing the British technicians' skills.

Actually, many of these men are as skilled and resourceful as most of our technicians. But there are a lot of men among them who are comparatively new in the industry and therefore haven't the experience of years that most of our technicians have. Another thing, they haven't developed the drive and systematic handling of equipment that you find in Hollywood studios; as a result, average production schedules are much longer than in Hollywood. There, the 'lighting cameraman' [comparable to our director of photography] lights the sets, as does the gaffer in Hollywood. Certain technicians in Hollywood would blush to see me swinging a lamp in place or moving cables, gobos and barn doors, as I frequently did on this picture. However, I think our crew greatly benefited by their experiences in making this picture, for wherever possible, I reorganized their working procedures to more nearly conform with those followed in Hollywood. As a result, we greatly speeded up production.

I think that the British motion picture industry and its technicians are presently in about the same stage of growth as we were a decade ago. Most of the men are 'eager beavers' - extremely willing to learn and progress, and yet getting a lot of personal satisfaction from their work. In my opinion, the big men of Britain's future motion picture industry are now being developed.

As for equipment, the British have the best that can be found anywhere. Perhaps the greatest single factor that retards development of the technical side of the industry here is the practice of using a different camera crew for each production. In Hollywood, most directors of photography have the same camera and grip crews on every picture. At the British studios, the cinematographer invariably is given a new and strange crew of men, all of whom must acquaint themselves with the general working conditions and habits of the cinematographer to whom they are assigned. Working with Hollywood technicians, I think, has had tremendous influence on these men, and the 'team' idea seems to be catching on.

Early in the production of 'The Miniver Story', Freddie Young, the president of the British Society of Cinematographers, and I became fast friends. Months later, I was guest of honor at one of the Society's monthly dinner meetings. Subsequent to this meeting, I was voted in as a member of the BSC, and in due time received a welcoming letter and my membership card. [From 'American Cinematographer', October 1950.] [See also Freddie Young]

FILMS [1 reel = c. 10m]
1917	The Blue Streak [William Nigh] b&w; 5 reels; cph: A. Lloyd Lewis; prod Fox Film Corporation (FFC)
1917	The Slave [William Nigh] b&w; 5 reels; or ph: A. Lloyd Lewis; prod FFC
1917	Wife Number Two [William Nigh] b&w; 5 reels; prod FFC
1917	Thou Shalt Not Steal [William Nigh] b&w; 5 reels; prod FFC
1917	The Painted Madonna [Oscar Lund] b&w; 5 reels; prod FFC
1917	A Heart's Revenge [Oscar Lund] b&w; 5 reels; prod FFC
1918	The Debt of Honor/Her Debt of Honor [Oscar Lund] b&w; 5 reels; prod FFC
1918	Peg of the Pirates [Oscar Lund] b&w; 5 reels; prod FFC
1918	Doing Their Bit/Doing Our Bit [Kenean Buel] b&w; 5 reels; prod FFC
1918	The Woman Who Gave [Kenean Buel] b&w; 6 reels; prod FFC
1918	Woman, Woman! [Kenean Buel] b&w; 5 reels; prod FFC
1919	A Fallen Idol [Kenean Buel] b&w; 5 reels; prod FFC
1919	My Little Sister [Kenean Buel] b&w; 5 reels; prod FFC
1920	The Shark [Dell Henderson] b&w; 5 reels; prod FFC
1920	From Now On [Raoul Walsh] b&w; 5 reels; prod FFC
1920	The Tiger's Club [Charles Giblyn] b&w; 6 reels; prod FFC
1920	The Thief [Charles Giblyn] b&w; 6 reels; prod FFC
1921	The Mountain Woman [Charles Giblyn] b&w; 6 reels; prod FFC
1921	Know Your Men [Charles Giblyn] b&w; 6 reels; prod FFC
1921	Beyond Price [J. Searle Dawley] b&w; 5 reels; prod FFC
1921	A Virgin Paradise [J. Searle Dawley] b&w; cph: Bert Dawley; prod FFC
1922	Silver Wings [Edwin Carewe & (prologue seq) John Ford] b&w; cph: Robert Kurrle; prod FFC
1922	The Town That Forgot God [Harry Millarde] b&w; cph: Albert Wilson; prod FFC
1922	Who Are My Parents?/A Little Child Shall Lead Them [J. Searle Dawley] b&w; or ph: Bert Dawley; prod FFC
1922	My Friend the Devil [Harry Millarde] b&w; prod FFC
1923	If Winter Comes [Harry Millarde] b&w; prod FFC
1923	Does It Pay? [Charles Horan] b&w; prod FFC
1925	School for Wives [Victor Hugo Halperin] b&w; cph: Jack Zanderbrock; prod Victory Pictures
1925	The Fool [Harry Millarde] b&w; prod FFC
1926	Summer Bachelors [Allan Dwan] b&w; prod FFC

[Left/glasses] with dir D.W. Griffith [hat] - "The Struggle"

1931	The Struggle [D.W. Griffith] b&w; last film dir by D.W. Griffith
1932	The Wiser Sex [Berthold Viertel] b&w; uncred cph; ph: George Folsey
1933	Million Dollar Melody [Jack White] b&w; short/22m
1933	Hizzoner [Ray McCarey] b&w; short/20m
1933	The Good Bad Man [Jack White] b&w; short/22m
1933	Poppin' the Cork [Jack White] b&w; short/24m
1933	North of Zero [Jack White] b&w; short/18m
1934	The Knife of the Party [Leigh Jason] b&w; short/20m
1934	Bubbling Over [Leigh Jason] b&w; short/20m
1934	Frankie and Johnnie [Chester Erskine & (uncred retakes in 1935) John H. Auer] b&w; 67m
1934	Woman in the Dark/Woman in the Shadows [Phil Rosen] b&w; 68m
1934	Gigolette/Night Club/Mistaken Heiress [Charles Lamont] b&w; 65m
1935	The People's Enemy/Racketeers [Crane Wilbur] b&w; 65m
1935	Men Without Names [Ralph Murphy] b&w; 67m; uncred cph (?); ph: Ben Reynolds
1935	Man Hunt [William Clemens] b&w; 60m
1935	Three Godfathers/Miracle in the Sand [Richard Boleslawski] b&w
1936	Fury [Fritz Lang] b&w
1936	Piccadilly Jim [Robert Z. Leonard] b&w
1936	Mad Holiday [George B. Seitz] b&w
1936	A Day at the Races [Sam Wood] b&w + tinted (sepia/blue); uncred cph (?): Leonard South
1937	Double Wedding [Richard Thorpe] b&w; uncred add loc ph (Carmel-By-the-Sea); ph: William Daniels & (uncred; replaced Daniels) Harold Rosson
1937	Big City/Skyscraper Wilderness [Frank Borzage & (uncred Jack Dempsey seq) George B. Seitz] b&w; ph Jack Dempsey seq: Clyde De Vinna
1937	Live, Love and Learn [George Fitzmaurice] b&w; fill-in ph (while R. June was ill); ph: Ray June
1937	Everybody Sing [Edwin L. Marin] b&w
1938	The First Hundred Years [Richard Thorpe] b&w
1938	Three Comrades [Frank Borzage] b&w; replaced ph Karl Freund after 2 weeks of filming; montages: Slavko Vorkapich
1938	The Shopworn Angel [H.C. Potter] b&w; uncred cph (?): William Daniels; montages: Slavko Vorkapich
1938	The Great Waltz [Julien Duvivier; (uncred) Victor Fleming (retakes) & Josef von Sternberg] b&w
1938	Spring Madness [S. Sylvan Simon] b&w
1938	Dramatic School [Robert B. Sinclair] b&w; uncred cph (?); ph: William Daniels
1938	The Ice Follies of 1939 [Reinhold Schünzel] b&w-c; b&w ph; color ph (Cinderella finale): Oliver T. Marsh
1939	Tell No Tales [Leslie Fenton] b&w; montages: Peter Ballbusch
1939	On Borrowed Time [Harold S. Bucquet (replaced H.C. Potter before start of filming)] b&w
1939	The Women [George Cukor] b&w + c (fashion show); cph: Oliver T. Marsh
1939	Balalaika [Reinhold Schünzel] b&w; cph: Karl Freund
1939	Broadway Melody of 1940 [Norman Taurog] b&w; cph: Oliver T. Marsh

1940	Waterloo Bridge [Mervyn LeRoy] b&w
1940	The Philadelphia Story [George Cukor] b&w
1940	Comrade X [King Vidor] b&w; uncred spec night ext ph: Karl Freund; sfx ph: A. Arnold Gillespie
1940	Ziegfeld Girl [Robert Z. Leonard & (mus numbers) Busby Berkeley] b&w; uncred cph; ph: Ray June
1941	Dr. Jekyll and Mr. Hyde [Victor Fleming] b&w; montages: Peter Ballbusch
1941	Two-Faced Woman [George Cukor] b&w; sfx ph: Warren Newcombe

With actress Katharine Hepburn

"Woman of the Year"

1941	Woman of the Year [George Stevens] b&w
1941	Mrs. Miniver [William Wyler] b&w; sfx ph: A. Arnold Gillespie & Warren Newcombe
1942	Crossroads [Jack Conway] b&w

[Center/glasses] with Mervyn LeRoy [with viewfinder]

& actress Susan Peters - "Random Harvest"

1942	Random Harvest [Mervyn LeRoy] b&w
1942	Nostradamus and the Queen (Prophecies of Nostradamus #3) [prod: Carey Wilson] b&w; short/12m
1942	Presenting Lily Mars [Norman Taurog & (uncred; add scenes) Roy Del Ruth] b&w; sfx ph: Warren Newcombe
1943	Madame Curie [Mervyn LeRoy (replaced Albert Lewin)] b&w; sfx ph: Warren Newcombe
1943	Gaslight/Murder in Thornton Square [George Cukor] b&w; sfx ph: Warren Newcombe
1944	Mrs. Parkington [Tay Garnett] b&w; sfx ph: A. Arnold Gillespie & Warren Newcombe
1944	The Thin Man Goes Home [Richard Thorpe & (uncred; add scenes) Norman Taurog] b&w; uncred fill-in ph (while K. Freund was ill); ph: Karl Freund
1944	The Valley of Decision [Tay Garnett & (uncred; fill-in dir add scenes) George Cukor] b&w; sfx ph: A. Arnold Gillespie & Warren Newcombe
1945	Adventure [Victor Fleming] b&w; sfx ph: Warren Newcombe
1946	Desire Me/A Woman of My Own [(uncred) Jack Conway (?), George Cukor (dir most of the film), Mervyn LeRoy (finished the film) & Victor Saville (fill-in dir while Cukor was ill)] b&w; sfx ph: A. Arnold Gillespie & Warren Newcombe
1947	Killer McCoy [Roy Rowland] b&w
1947	B.F.'s Daughter/Polly Fulton [Robert Z. Leonard] b&w; sfx ph: Warren Newcombe; montages: Peter Ballbusch
1948	Julia Misbehaves [Jack Conway] b&w; sfx ph: Warren Newcombe
1948	The Bribe [Robert Z. Leonard] b&w; sfx ph: A. Arnold Gillespie & Warren Newcombe
1948	That Forsyte Woman/The Forsyte Saga [Compton Bennett] c

1949	Side Street [Anthony Mann] b&w; sfx: A. Arnold Gillespie
*1949*	Summer Stock [Charles Walters] ph: Robert Planck; some sources credit Ruttenberg with cph (late December 1949-early January 1950), the time he was shooting 'The Miniver Story' in the UK, but maybe he returned to the USA for Christmas and the New Year
1949	The Miniver Story [H.C. Potter & (uncred; replaced Potter) Victor Saville] b&w; pfx: Tom Howard; shot in the UK September 1949-February 1950; see above
1950	Cause for Alarm! [Tay Garnett] b&w
1950	It's a Big Country [: An American Anthology] [Clarence Brown, Don Hartman, John Sturges, Richard Thorpe, Charles Vidor, Don Weis & William A. Wellman] b&w; 8 seg (but seg #3 was cut from film); other ph: John Alton, Ray June & William Mellor; filmed April-September
1950	The Magnificent Yankee/The Man with 30 Sons [John Sturges] b&w; sfx ph: A. Arnold Gillespie & Warren Newcombe
1950	The Great Caruso [Richard Thorpe] c; sfx ph: Warren Newcombe; montage seq: Peter Ballbusch
1950	Kind Lady [John Sturges] b&w
1951	Too Young to Kiss [Robert Z. Leonard] b&w; uncred cph (?): Ray June; montage seq: Peter Ballbusch
1951	Young Man with Ideas/Young Man in a Hurry [Mitchell Leisen] b&w; sfx ph: A. Arnold Gillespie
1951	Because You're Mine [Alexander Hall] c; sfx ph: A. Arnold Gillespie & Warren Newcombe
1952	The Prisoner of Zenda [Richard Thorpe] c; sfx ph: Warren Newcombe
1952	Small Town Girl [Leslie (= László) Kardos] c

[Right] with Joseph L. Mankiewicz, James Mason & Deborah Kerr

"Julius Caesar"

1952	William Shakespeare's Julius Caesar [Joseph L. Mankiewicz] b&w; (+ 70bu [1969]); sfx: Warren Newcombe
1952	Invitation to the Dance [Gene Kelly] c; ph seg #3 'Sinbad the Sailor'; ph seg #1 'Circus', #2 'Ring Around the Rosy' & (deleted) 'Dance Me a Song': F.A. Young; released in 1957
1952	Latin Lovers [Mervyn LeRoy] c; sfx ph: A. Arnold Gillespie & Warren Newcombe
1953	The Great Diamond Robbery [Robert Z. Leonard] b&w
1953	Her Twelve Men/Her 12 Men/Miss Baker's Dozen [Robert Z. Leonard] c; sfx ph: A. Arnold Gillespie & Warren Newcombe; montage seq: Peter Ballbusch
1953	Brigadoon [Vincente Minnelli] cs/c; sfx ph: Warren Newcombe
1954	The Last Time I Saw Paris [Richard Brooks] c; uncred loc ph France: Freddie Young; sfx ph: A. Arnold Gillespie
1954	The Prodigal [Richard Thorpe] cs/c; sfx ph: A. Arnold Gillespie & Warren Newcombe
1954	Interrupted Melody [Curtis Bernhardt] cs/c; cph: Paul Vogel (replaced Ruttenberg, who was injured in an automobile accident); sfx ph: Warren Newcombe
1955	Kismet [Vincente Minnelli & (uncred; finished film) Stanley Donen ] cs/c; sfx ph: Warren Newcombe
1955	The Swan [Charles Vidor] cs/c; cph: Robert Surtees (replaced Ruttenberg, who fell ill)

[Left] with Robert Wise [right/bottom]

"Somebody Up There Likes Me"

1956	Somebody Up There Likes Me [Robert Wise] b&w; sfx ph: Warren Newcombe
1956	The Vintage [Jeffrey Hayden] cs/c
1956	Man on Fire [Ranald MacDougall] b&w
1957	Until They Sail [Robert Wise] cs/b&w; sfx ph: A. Arnold Gillespie & Lee LeBlanc
1957	Gigi [Vincente Minnelli] cs/c; retakes ph by Ray June and dir by Charles Walters in February 1958
1958	The Reluctant Debutante [Vincente Minnelli] cs/c

[Right] with Sessue Hayakawa - "Green Mansions"

1958	Green Mansions [Mel Ferrer] c; sfx ph: A. Arnold Gillespie, Lee LeBlanc & Robert R. Hoag; presented as a CinemaScope prod, but shot with Panavision lenses
1959	The Wreck of the Mary Deare [Michael Anderson] cs/c; addph: Freddie Young & Harold E. Wellman; sfx ph: A. Arnold Gillespie & Lee LeBlanc
*1959*	Please Don't Eat the Daisies [Charles Walters] scheduled as ph (?), but replaced by Robert Bronner
1959	The Subterraneans [Ranald MacDougall (replaced Denis Sanders after 2 weeks of shooting)] cs/c; sfx ph: Lee LeBlanc; replaced ph Robert Bronner
1960	Butterfield 8 [Daniel Mann] cs/c; cph: Charles Harten
1960	Two Loves/Spinster [Charles Walters] cs/c; sfx ph: Robert R. Hoag & Lee LeBlanc
1961	Ada [Daniel Mann] cs/c; spec vfx: Lee LeBlanc
1961	Bachelor in Paradise [Jack Arnold] cs/c
1962	Who's Got the Action? [Daniel Mann] p/c; process ph: Farciot Edouart
1962	It Happened at the World's Fair [Norman Taurog] p/c
1962	The Hook [George Seaton] p/b&w
1963	Who's Been Sleeping in My Bed? [Daniel Mann] p/c; spec pfx: Paul K. Lerpae; process ph: Farciot Edouart
1963	A Global Affair [Jack Arnold] Metroscope/b&w
1964	Sylvia [Gordon Douglas] b&w; sfx ph: Paul K. Lerpae
1964	Love Has Many Faces [Alexander Singer] c
1965	Harlow [Gordon Douglas] p/c
1966	The Oscar [Russell Rouse] c; process ph: Farciot Edouart; sfx ph: Paul K. Lerpae
1967	Speedway [Norman Taurog] p/c; spec vfx: Carroll L. Shepphird

MISCELLANEOUS
1929	The Cocoanuts [Robert Florey & Joseph Santley] uncred c.op; ph: George Folsey
1929	Applause/Every Day Is Sunday [Rouben Mamoulian] ?; ph: George Folsey
1931	The Smiling Lieutenant [Ernst Lubitsch] ?; ph: George Folsey
1931	The Cheat [George Abbott] uncred 2nd cam; ph: George Folsey