1962 - BEST CINEMATOGRAPHY
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- Cinematographer
- Camera and Electrical Department
- Director
Freddie Young was a British cinematographer. He is best known for his work on David Lean's films Lawrence of Arabia (1962), Doctor Zhivago (1965) and Ryan's Daughter (1970), all three of which won him Academy Awards for Best Cinematography.
Young was an cinematographer on 130 films, including Goodbye, Mr Chips (1939), 49th Parallel (1941), Ivanhoe (1952), Lust for Life (1956), The Inn of the Sixth Happiness (1958), Lord Jim (1965), You Only Live Twice (1967) and Nicholas and Alexandra (1971).
He was also the first British cinematographer to film in CinemaScope.
Young died from natural causes in 1998 at the age of 96.
In 2003, a survey conducted by the International Cinematographers Guild placed Young among the ten most influential cinematographers in history.- Cinematographer
- Camera and Electrical Department
- Writer
Vadim Yusov was born on 20 April 1929 in Klavdino, Leningrad Oblast, Russian SFSR, USSR [now Russia]. He was a cinematographer and writer, known for Solaris (1972), The Black Monk (1988) and Pasport (1990). He was married to Inna Zelentsova. He died on 23 August 2013 in Moscow, Russia.- Cinematographer
- Camera and Electrical Department
Stanislav Szomolányi was born on 14 January 1935 in Bánovce nad Bebravou, Czechoslovakia. He is a cinematographer, known for Javor a Juliana (1973), She Kept Asking for the Moon (1982) and Keby som mal pusku (1971).- Cinematographer
- Camera and Electrical Department
Nicolas Hayer was born on 1 May 1898 in Paris, France. He was a cinematographer, known for The Charterhouse of Parma (1948), The Raven (1943) and Orpheus (1950). He died on 29 October 1978 in Saint-Laurent-du-Var, Alpes-Maritimes, France.[LINK=tt0054821]- Cinematographer
- Director
- Camera and Electrical Department
Although Henri Decaë gained fame as a cinematographer, he actually entered the film industry as an editor and soundman. Serving as a cameraman in the French army during WW II, upon his release he began making documentaries and directing and photographing industrial and commercial films, then in 1947 made his first feature. His documentary background showed in the look of the films he photographed, and he worked often with directors Louis Malle and Claude Chabrol. From those early, gritty films, Decae evolved into one of the premier cinematographers of plush, big-budget extravaganzas.- Cinematographer
- Camera and Electrical Department
- Actor
Philip H. Lathrop was born on 22 October 1912 in Merced, California, USA. He was a cinematographer and actor, known for Earthquake (1974), The Pink Panther (1963) and The Americanization of Emily (1964). He was married to Molly Lathrop and Betty Jo Lathrop. He died on 12 April 1995 in Los Angeles, California, USA.- Cinematographer
- Camera and Electrical Department
Gianni Di Venanzo was born on 18 December 1920 in Teramo, Abruzzo, Italy. He was a cinematographer, known for 8½ (1963), The Girlfriends (1955) and Juliet of the Spirits (1965). He died on 3 February 1966 in Rome, Lazio, Italy.- Cinematographer
- Director
- Writer
Jerzy Lipman was born on 10 April 1922 in Brzesc, Poleskie, Poland [now Brest, Belarus]. He was a cinematographer and director, known for Das falsche Gewicht (1971), Knife in the Water (1962) and Gangsterzy i filantropi (1963). He died on 10 November 1983 in London, England, UK.- Cinematographer
- Director
- Actor
Raoul Coutard was born on 16 September 1924 in Paris, France. He was a cinematographer and director, known for Hoa Binh (1970), Alphaville (1965) and Z (1969). He died on 8 November 2016 in Labenne, Nouvelle-Aquitaine, France.- Cinematographer
- Camera and Electrical Department
Born Russell September 16, 1903 in Los Angeles, California to Frank and Bertha Harlan, who hailed from Iowa and Missouri. Russell was raised in Los Angeles along with his younger brother Richard (b. 1911). His paternal grandmother Sarah J. Harlan also lived with the family.
Harlan started in the film industry as an actor and stuntman, and by the early 1930s was working behind the camera as an assistant. His first work as lead cinematographer was in 1937, when he filmed four "Hopalong Cassidy" westerns for Harry Sherman Productions. Harlan had a career as a cinematographer that spanned some thirty-three years from 1937 to 1970. He was nominated six times for the Academy Award for Best Cinematography, including two in 1962 for his work on Hatari! and To Kill a Mockingbird.
Russell was married to Willette Marion Gregg (1914-1963). They had three children together.
Russell Harlan died February 28, 1974 in Newport Beach, California and was laid to rest in Forest Lawn Memorial Park Cemetery, Glendale, California.- Cinematographer
- Camera and Electrical Department
- Additional Crew
Sam Leavitt was born on 6 February 1904 in New York City, New York, USA. Sam was a cinematographer, known for Anatomy of a Murder (1959), The Defiant Ones (1958) and Cape Fear (1962). Sam died on 21 March 1984 in Woodland Hills, Los Angeles, California, USA.- Cinematographer
- Camera and Electrical Department
Jean Bourgoin was born on 4 March 1913 in Paris, France. Jean was a cinematographer, known for The Longest Day (1962), My Uncle (1958) and The Grand Illusion (1937). Jean died on 3 September 1991 in Paris, France.- Cinematographer
- Camera and Electrical Department
- Special Effects
Walter Wottitz was born in 1911. He was a cinematographer, known for The Longest Day (1962), Army of Shadows (1969) and The Widow Couderc (1971). He died on 1 November 1986.- Cinematographer
- Director
- Camera and Electrical Department
Hiroshi Segawa is known for The Face of Another (1966), Woman in the Dunes (1964) and Under the Flag of the Rising Sun (1972).- Cinematographer
- Camera and Electrical Department
Distinguished American cinematographer Ernest Haller started in the industry in 1914 as an actor with Biograph after leaving his first job as a bank clerk. Within one year he discovered his true calling: being on the other side of the camera. By 1920, he had become a full director of photography and would go on to handle prestigious pictures , such as the Samuel Goldwyn-produced Stella Dallas (1925). In 1926, Haller signed with First National and was still there when the studio was absorbed by Warner Brothers in 1930. Despite prolific output, it took him several years to create a reputation, however his breakthrough eventually came with the lavishly produced period drama Jezebel (1938), starring Bette Davis.For this, he received the first of five Academy Award nominations.
It was his work on 'Jezebel' which ultimately prompted David O. Selznick to replace Lee Garmes (with whom he had creative disagreements) with Haller as principal cinematographer for his Technicolour masterpiece, Gone with the Wind (1939). Haller also shot Vivien Leigh's famous first screen test for the role of Scarlett O'Hara. Though his previous work had been almost exclusively in black-and-white, the gamble paid off handsomely, with Haller winning an Academy Award (alongside Ray Rennahan) for Best Colour Cinematography.
Following 'GWTW' , Haller shot some of the best films made at Warner Brothers during the 1940's, his work perfectly suited to the gritty studio look of its product. He was particularly effective with the strong female stars of the company, Joan Crawford and Bette Davis (shooting 14 of her pictures), meticulously balancing make-up and lighting to bringing out their best features. He created an almost expressionistic mood for films like Mildred Pierce (1945) (for which he received another Oscar nomination) and Humoresque (1946). For the remainder of his career, Haller remained at Warners. Even after his contract expired in 1951, he was recalled for special assignments such as Rebel Without a Cause (1955), shot in CinemaScope, and the psychological drama What Ever Happened to Baby Jane? (1962), reuniting him once more with Davis and Crawford, albeit this time concerned with photographing them in a decidedly unglamorous fashion. He freelanced during the remainder of the 1960's and was semi-retired when asked by James Goldstone to step in as director of photography for the second pilot of Star Trek (1966), "Where No Man Has Gone Before". Ernest Haller was killed in a car crash in October 1970, aged 74.- Cinematographer
- Camera and Electrical Department
- Actor
Tonino Delli Colli was born on 20 November 1922 in Rome, Lazio, Italy. He was a cinematographer and actor, known for The Name of the Rose (1986), Life Is Beautiful (1997) and Once Upon a Time in America (1984). He was married to Alexandra Delli Colli. He died on 16 August 2005 in Rome, Lazio, Italy.- Cinematographer
- Camera and Electrical Department
- Producer
Oscar-winning director of photography William Daniels was a master of black-and-white cinematographer most famous for the 21 films he shot that starred the immortal Greta Garbo between 1926 and 1939. Among the Gabro classics he lensed were The Torrent (1924), Flesh and the Devil (1926), Love (1927) (Garbo and home studio MGM's first crack at Lev Tolstoy's "Anna Karenina"), Mata Hari (1931), Grand Hotel (1932), Queen Christina (1933), the sound remake of Anna Karenina (1935), Camille (1936), and Ninotchka (1939).
He won fame for his lensing of Garbo, but to those who claimed that he was essential to his success, Daniels replied, "I didn't create a 'Garbo face.' I just did portraits of her I would have done for any star. My lighting of her was determined by the requirements of a scene. I didn't, as some say I did, keep one side of her face light and the other dark. But I did always try to make the camera peer into the eyes, to see what was there."
Though he was nominated for an Academy Award for Best Cinematography for the 1930 English-language version of Anna Christie (1930) (he also shot the 1931 German-language version Anna Christie (1930)), ironically, it was his only nomination for a Garbo film. He won his Oscar in 1949 for his brilliant B+W cinematography on the classic film noir The Naked City (1948).
Daniels received two other Oscar nominations. He was President of the American Society of Cinematographers from 1961 to 1963.- Cinematographer
- Camera and Electrical Department
Milton Krasner entered the film industry as an assistant cameraman in 1917, and while working at the Vitagraph and Biograph studios in New York City was promoted to camera operator. Graduating to lighting cameraman in 1933, he was assigned mostly second features until the mid-'40s, when his excellence in black-and-white photography was finally recognized. Krasner hit his stride in the 1950s at 20th Century-Fox, where he photographed many of the studio's opulent Technicolor epics (Demetrius and the Gladiators (1954), Désirée (1954), The Rains of Ranchipur (1955), among others). He won an Academy Award for Three Coins in the Fountain (1954).- Cinematographer
- Camera and Electrical Department
One of the outstanding cinematographers of Hollywood's Golden Age, Lang spent most of his career at Paramount (1929-1952), where he contributed to the studio's well-earned reputation for visual style. Lang was educated at Lincoln High School in L.A., then proceeded to the University of Southern California to study law. He quickly changed his career plans, however, and joined his father, the photographic technician Charles Bryant Lang Sr, at the small Realart Studio. He served a lengthy apprenticeship as a laboratory assistant and still photographer, before advancing to assistant cameraman, working with pioneering cinematographers H. Kinley Martin and L. Guy Wilky. Lang left Realart in 1922, had a stint with the Preferred Picture Corporation, then joined Paramount which had, by then, absorbed Realart at the end of the decade. In 1929, he became a full director of photography.
During the 1930's, Lang was one of a formidable team of cinematographers working at Paramount, including such illustrious craftsmen as Lee Garmes, Karl Struss and Victor Milner. At this time, the studio dominated the Academy Awards for cinematography, particularly in the field of black & white romantic and period film. Lang excelled in the use of chiaroscuro, light and shade, and was adept at creating the mood for every genre and style, from the sombre Peter Ibbetson (1935) to the glamour of Desire (1936) and the Parisian chic of Midnight (1939). Lang was an innovator in the use of long tracking shots. He was also liked by many female stars, such as Helen Hayes and Marlene Dietrich (and, later, Audrey Hepburn, because of his uncanny ability to photograph them to their best advantage, often using subdued lighting and diffusion techniques. Though nominated eighteen times for Academy Awards, he won just once, for A Farewell to Arms (1932). Among his many outstanding films of the 30's and 40's, are the lavishly photographed Bob Hope comedy/thriller The Cat and the Canary (1939) and the romantic, atmospheric The Ghost and Mrs. Muir (1947).
Lang's work with chiaroscuro lighting adapted itself perfectly to the expressionist neo-realism of films noir in the 1950's, most noteworthy examples being Ace in the Hole (1951) and The Big Heat (1953). He was at his best working with the directors Billy Wilder and Fritz Lang. The success of films like Sabrina (1954), Separate Tables (1958) and Some Like It Hot (1959) - all Oscar nominees for Lang's cinematography - owed much to his excellent camera work. Though he preferred the medium of black & white, he became equally proficient in the use of colour photography, working with different processes (Cinerama, VistaVision, etc.) on expansive, richly-textured and sweeping outdoor westerns like The Magnificent Seven (1960) and How the West Was Won (1962), as well as romantic thrillers like Charade (1963) and How to Steal a Million (1966). In 1990, Lang received a Special Eastman Kodak Award for colour cinematography.
Lang was known in the industry as one of the 'best-dressed men' behind the cameras, modest, yet a perfectionist and a consummate professional. He lived to the ripe old age of 96, dying in Santa Monica, California, in April 1998.- Cinematographer
- Camera and Electrical Department
Trained as an electrical engineer, Joseph LaShelle entered the film industry as a lab assistant with Paramount in 1920 in order to finance entry to Stanford University. Having worked his way up to superintendent of the Paramount printing room after three years, he decided to stay on. By 1925, he was being mentored by the veteran cinematographer Charles G. Clarke under whose auspices he gained valuable experience behind the camera. Subsequently, LaShelle worked as camera operator for Metropolitan Studios, Pathe and Fox in the 1930s, often in collaboration with Arthur C. Miller. In the wake of a decade-long apprenticeship, he was promoted to full director of photography in 1943, from there on gaining a reputation as one of Hollywood's foremost stylists. His chief talent lay in his ability to employ lighting, decor, close-ups and clever camera angles to convey a grainy realistic, natural look, especially vital to the ambience of films noirs.
Another aspect of LaShelle's artistry lay in suggesting a bigger budget than was sometimes in play. This was notably the case with Laura (1944), for which he won his only Oscar. Virtually every scene takes place indoors, without significant exterior footage beyond a few basic studio shots. In the absence of streets and traffic, LaShelle nonetheless succeeded in creating a believable Park Avenue jet-set, replete with elegant apartments and swank restaurants. He did much of his best work under contract at 20th Century Fox (1943-1954) and for expert directors like Martin Ritt (The Long, Hot Summer (1958)), Otto Preminger ("Laura", Where the Sidewalk Ends (1950) and Billy Wilder (The Apartment (1960), The Fortune Cookie (1966)). He retired in 1969 and died of natural causes twenty years later, aged 89.- Cinematographer
- Camera and Electrical Department
- Additional Crew
Robert L. Surtees began his working life as a portrait photographer and retoucher, before becoming camera assistant at Universal in 1927. He spent a lengthy apprenticeship (15 years) working under such experienced cinematographers as Hal Mohr, Joseph Ruttenberg and Gregg Toland. Between 1929 and 1930, he was seconded to the Universal studios in Berlin, subsequently spending the remainder of the decade at First National, Warner Brothers and Pathe. He settled at MGM in 1943 (remaining under contract until 1962), and soon developed a reputation as one of Hollywood's foremost lighting cameramen.
In keeping with the glamorous, lavish look of MGM product of the time, Surtees typically employed high-key lighting. This particularly suited big budget colour epics, like Quo Vadis (1951) and Ben-Hur (1959) (filmed in the large screen Camera 65 process with anamorphic lenses, which greatly enhanced colour definition and sharpness); expansive outdoor musicals like Oklahoma! (1955) (the first picture shot in 70 mm Todd-AO ultra wide- screen format); or lush, romantic period drama like Raintree County (1957). Forever at the cutting edge of technological innovation, Surtees was an extremely versatile craftsman. He excelled at every genre and photographic process, superb at shooting sweeping scenery (for example, his Technicolor lensing of King Solomon's Mines (1950)on location in Africa), or bringing the best out of his close-ups. An undoubted high point in his career would have to be the 9-minute chariot race from "Ben-Hur".
Surtees received the first of his 16 Oscar nominations for Thirty Seconds Over Tokyo (1944) (when the studio system was at its peak), and his last - some 33 years later - for The Turning Point (1977). Testimony to his ageless endurance was being picked by director Peter Bogdanovich to shoot The Last Picture Show (1971). In the same nostalgic vein, his work on The Sting (1973), photographed in subtle sepia tones (the film was deemed by the Library of Congress as 'aesthetically significant'), contributed greatly to its winning 7 Academy Awards.- Cinematographer
- Camera and Electrical Department
- Actor
Philip H. Lathrop was born on 22 October 1912 in Merced, California, USA. He was a cinematographer and actor, known for Earthquake (1974), The Pink Panther (1963) and The Americanization of Emily (1964). He was married to Molly Lathrop and Betty Jo Lathrop. He died on 12 April 1995 in Los Angeles, California, USA.- Cinematographer
- Camera and Electrical Department
A somewhat underrated figure in cinematographic history, Australian-born Robert Krasker handled some of the most memorable films made in Britain after the Second World War. In his youth he attended art classes in Paris and studied photography at the Photohaendler Schule in Dresden. He briefly worked for Paramount in Paris before joining Alexander Korda's London Films at Denham Studios in 1932. As a camera operator, Krasker cut his teeth on Technicolor spectacles like The Four Feathers (1939) and The Thief of Bagdad (1940). From 1942, he worked as director of photography, showing his flair in all photographic media, from the softly lit, subtle black & white of Brief Encounter (1945) to the gaudy 'cartoon colour' pageantry of Henry V (1944).
He adopted a suitably harsher, almost semi-documentary look working with director Carol Reed on Odd Man Out (1947) and The Third Man (1949). Both films are characterised by expressionistic camera angles, chiaroscuro lighting and conspicuous close-ups. Krasker deservedly won an Oscar for his work on 'The Third Man' and went on to shoot the visually glorious Senso (1954) for Luchino Visconti in Italy, in turn followed by one of the best-looking epics of the 50s: El Cid (1961) -- with its famous long shot of the dead hero, riding away tied upright to his horse. Krasker's style of photography went out of fashion with the increasing popularity of the New Wave in the 1960s. Disenchantment, combining with failing health led to his retirement in 1965. One of the great cameramen of cinema's "Golden Age", he deserves to be remembered.- Cinematographer
- Camera and Electrical Department
Dmitriy Meskhiev was born on 25 August 1925 in Leningrad, RSFSR, USSR [now St. Petersburg, Russia]. He was a cinematographer, known for The Lady with the Dog (1960), Zvezda plenitelnogo schastya (1975) and Pod stuk kolyos (1959). He died on 16 April 1983 in Leningrad, RSFSR, USSR [now St. Petersburg, Russia].- Cinematographer
- Camera and Electrical Department
Jean Rabier was born on 16 March 1927 in Montfort-l'Amaury, Île-de-France, France. He was a cinematographer, known for Elevator to the Gallows (1958), The 400 Blows (1959) and The Umbrellas of Cherbourg (1964). He died on 15 February 2016 in Port-de-Bouc, Bouches-du-Rhône, France.- Cinematographer
- Camera and Electrical Department
Paul Bonis was born in 1940. He was a cinematographer, known for Cléo from 5 to 7 (1962), Mouchette (1967) and Blue Panther (1965). He died on 2 July 2015 in Morbihan, France.- Cinematographer
- Camera and Electrical Department
- Director
Alain Levent was born on 15 September 1934 in Paris, France. He was a cinematographer and director, known for Le bar de la fourche (1972), The 400 Blows (1959) and Cléo from 5 to 7 (1962). He died on 28 August 2008 in Paris, France.- Cinematographer
- Camera and Electrical Department
- Writer
Stefan Matyjaszkiewicz was born on 23 June 1927 in Condé-sur-l'Escaut, Nord, France. He was a cinematographer and writer, known for Bialy niedzwiedz (1959), Trzy opowiesci (1953) and Przygody psa Cywila (1971). He died on 15 February 1988 in Warsaw, Mazowieckie, Poland.- Cinematographer
- Camera and Electrical Department
Leszek Krzyzanski was born on 22 March 1928 in Poznan, Wielkopolskie, Poland. He was a cinematographer, known for Spotkania z Warszawa (1965), The Rafts Sail On (1962) and Nazywa sie Blazej Rejdak (1969). He died on 21 February 2014.