Top Ten Contributors - The Sniper (1952)
A very good film noir done in a documentary style by Stanley Kramer Productions in concert with Columbia Pictures. Here are the ten contributors that brought this film to live.
List activity
45 views
• 0 this weekCreate a new list
List your movie, TV & celebrity picks.
10 people
- Writer
- Producer
Edna Anhalt was an American screenwriter, often working as part of a writing team with her husband Edward Anhalt (1914-2000). Her writing credits span the years 1947 to 1957.
Anhalt's claim to fame is winning the Academy Award for Best Story for the film "Panic in the Streets" (1950) concerning an epidemic of pneumonic plague, and for being nominated again for the film "The Sniper" (1952) concerning a spree killer with misogynist tendencies.
In 1957, Edna and Edward Anhalt received a divorce, and stopped working as a writing team. Edna retired, while Edward continued working as a screenwriter until 1989.wrote original story with husband Edward Anhalt- Director
- Editor
- Editorial Department
Edward Dmytryk grew up in San Francisco, the son of Ukrainian immigrants. After his mother died when he was 6, his strict disciplinarian father beat the boy frequently, and the child began running away while in his early teens. Eventually, juvenile authorities allowed him to live alone at the age of 15 and helped him find part-time work as a film studio messenger. Dmytryk was an outstanding student in physics and mathematics and gained a scholarship to the California Institute of Technology. However, he dropped out after one year to return to movies, eventually working his way up from film editor to director. By the late 1940s, he was considered one of Hollywood's rising young directing talents, but his career was interrupted by the activities of the House Un-American Activities Committee (HUAC), a congressional committee that employed ruthless tactics aimed at rooting out and destroying what it saw as Communist influence in Hollywood. A lifelong political leftist who had been a Communist Party member briefly during World War II, Dmytryk was one of the so-called "Hollywood Ten" who refused to cooperate with HUAC and had their careers disrupted or ruined as a result. The committee threw him in prison for refusing to cooperate, and after having spent several months behind bars, Dmytryk decided to cooperate after all, and testified again before the committee, this time giving the names of people he said were Communists. He claimed to believe he had done the right thing, but many in the Hollywood community--even those who came along long after the committee was finally disbanded--never forgave him, and that action overshadowed his career the rest of his life. In the 1970s, as his directing career ground to a halt, Dmytryk recalled some advice once given him by Garson Kanin, and returned to academic life, this time as a teacher. From 1976 to 1981 he was a professor of film theory and production at the University of Texas at Austin, and in 1981, was appointed to a chair in filmmaking at the University of Southern California, a position he held until about two years before his death. During his teaching career, he also authored several books on various aspects of filmmaking, as well as two volumes of memoirs.asked by Stanley Kramer to direct- Harry Brown was born on 30 April 1917 in Portland, Maine, USA. He was a writer, known for A Place in the Sun (1951), Sands of Iwo Jima (1949) and Ocean's Eleven (2001). He was married to Marguerite Lamkin and June. He died on 2 November 1986 in Los Angeles, California, USA.wrote the screenplay for The Sniper
- Music Department
- Composer
- Soundtrack
Composer and pianist, educated at the Curtis Music Settlement School. He studied with Constantin von Sternberg, Ernest Bloch and Clark Smith under a Guggenheim Fellowship. In Europe, he gave piano recitals between 1921-1926. He wrote incidental music to the play "Oedipus". Besides his film music, his compositions include six symphonies, three string quartets, two violin sonatas, two sonatas for violin and piano, and four piano sonatas, plus the "Piano Concerto"; "Violin Concerto"; "Concerto for Flute, Bassoon, Piano"; "Chamber Concerto for 8 Instruments" (on a League of Composers commission); "Crucifixion" (for string orchestra); "Decatur or Algiers"; "McKonkey's Ferry Overture"; "2 Odes of Keats"; "Songs of Experience" (William Blake poems); "Tom Sawyer"; "8 Fragments from Shelley"; "Valentine Waltzes"; and "Serenade for Strings". His ballets include "Ballet Mecanique"; and "The Capital of the World". His operas include "Helen Retires"; "Transatlantic"; "Volpone"; "The Brother"; and "The Wish" (commissioned by the Louisville Orchestra). He joined ASCAP in 1945.responsible for the music- Cinematographer
- Camera and Electrical Department
Entering films in 1923 as an assistant cameraman, Burnett Guffey was picked by John Ford to handle second-unit photography on The Iron Horse (1924). After that film, however, Guffey returned to his assistant cameraman position, a job he held until 1928, when he became a camera operator. In that capacity he photographed such major productions as Ford's The Informer (1935), Alfred Hitchcock's Foreign Correspondent (1940) and Charles Vidor's Cover Girl (1944), among others. Guffey was finally hired as a director of photography by Columbia. Highly regarded by his colleagues for his crisp imaging and superb compositions, Guffey won two Academy Awards, for From Here to Eternity (1953) and Bonnie and Clyde (1967).cinematographer for this film- Arthur Scofield Franz was born in Perth Amboy, NJ, to Dorothy and Gustav Franz, German immigrants. He was a reliable character actor in many 1940s and 1950s "B" pictures, often cast as a friendly small-town businessman or professional (as in The Doctor and the Girl (1949)) or the lead's sympathetic friend (as in Invaders from Mars (1953)). He wasn't confined to just "B" pictures, however. He had good parts in such major productions as Sands of Iwo Jima (1949) and Alvarez Kelly (1966) and acquitted himself well. However, the film he's probably best remembered for is Edward Dmytryk's solid little "B" thriller The Sniper (1952), in which he turned in an outstanding performance as a mentally unstable ex-soldier in San Francisco who, after being rejected by a woman he was interested in, snaps and terrorizes the city by taking out his old army rifle and stalking and picking off women.plays the sniper, Eddie Miller
- Actor
- Producer
- Soundtrack
The words "suave" and "debonair" became synonymous with the name Adolphe Menjou in Hollywood, both on- and off-camera. The epitome of knavish, continental charm and sartorial opulence, Menjou, complete with trademark waxy black mustache, evolved into one of Hollywood's most distinguished of artists and fashion plates, a tailor-made scene-stealer, if you will. What is often forgotten is that he was primed as a matinée idol back in the silent-film days. With hooded, slightly owlish eyes, a prominent nose and prematurely receding hairline, he was hardly competition for Rudolph Valentino, but he did possess the requisite demeanor to confidently pull off a roguish and magnetic man-about-town. Fluent in six languages, Menjou was nearly unrecognizable without some type of formal wear, and he went on to earn distinction as the nation's "best dressed man" nine times.
Born on February 18, 1890, in Pittsburgh, Pennsylvania, he was christened Adolphe Jean Menjou, the elder son of a hotel manager. His Irish mother was a distant cousin of novelist / poet James Joyce ("Ulysses") (1882-1941). His French father, an émigré, eventually moved the family to Cleveland, where he operated a chain of restaurants. He disapproved of show business and sent an already piqued Adolphe to Culver Military Academy in Indiana in the hopes of dissuading him from such a seemingly reckless and disreputable career. From there Adolphe was enrolled at Stiles University prep school and then Cornell University. Instead of acquiescing to his father's demands and obtaining a engineering degree, however, he abruptly changed his major to liberal arts and began auditioning for college plays. He left Cornell in his third year in order to help his father manage a restaurant for a time during a family financial crisis. From there he left for New York and a life in the theater.
Adolphe toiled as a laborer, a haberdasher and even a waiter in one of his father's restaurants during his salad days, which included some vaudeville work. Oddly enough, he never made it to Broadway but instead found extra and/or bit work for various film studios (Vitagraph, Edison, Biograph) starting in 1915. World War I interrupted his early career, and he served as a captain with the Ambulance Corps in France. After the war he found employment off-camera as a productions manager and unit manager. When the New York-based film industry moved west, so did Adolphe.
Nothing of major significance happened for the fledgling actor until 1921, an absolute banner year for him. After six years of struggle he finally broke into the top ranks with substantial roles in The Faith Healer (1921) and Through the Back Door (1921), the latter starring Mary Pickford. He formed some very strong connections as a result and earned a Paramount contract in the process. Cast by Mary's then-husband Douglas Fairbanks as Louis XIII in the rousing silent The Three Musketeers (1921), he finished off the year portraying the influential writer/friend Raoul de Saint Hubert in Rudolph Valentino's classic The Sheik (1921).
Firmly entrenched in the Hollywood lifestyle, it took little time for Menjou to establish his slick prototype as the urbane ladies' man and wealthy roué. Paramount, noticing how Menjou stole scenes from Charles Chaplin favorite Edna Purviance in Chaplin's A Woman of Paris: A Drama of Fate (1923), started capitalizing on Menjou's playboy image by casting him as various callous and creaseless matinée leads in such films as Broadway After Dark (1924), Sinners in Silk (1924), The Ace of Cads (1926), A Social Celebrity (1926) and A Gentleman of Paris (1927). His younger brother Henri Menjou, a minor actor, had a part in Adolphe's picture Blonde or Brunette (1927).
The stock market crash led to the termination of Adolphe's Paramount contract, and his status as leading man ended with it. MGM took him on at half his Paramount salary and his fluency in such languages as French and Spanish kept him employed at the beginning. Rivaling Gary Cooper for the attentions of Marlene Dietrich in Morocco (1930) started the ball rolling for Menjou as a dressy second lead. Rarely placed in leads following this period, he managed his one and only Oscar nomination for "Best Actor" with his performance as editor Walter Burns in The Front Page (1931). Not initially cast in the role, he replaced Louis Wolheim, who died ten days into rehearsal. Quality parts in quality pictures became the norm for Adolphe during the 1930s, with outstanding roles given him in The Great Lover (1931), A Farewell to Arms (1932), Forbidden (1932), Little Miss Marker (1934), Morning Glory (1933), A Star Is Born (1937), Stage Door (1937) and Golden Boy (1939).
The 1940s were not as golden, however. In addition to entertaining the troops overseas and making assorted broadcasts in a host of different languages, he did manage to get the slick and slimy Billy Flynn lawyer role opposite Ginger Rogers' felon in the "Chicago" adaptation Roxie Hart (1942), and continued to earn occasional distinction in such post-WWII pictures as The Hucksters (1947) and State of the Union (1948). His last lead was in the crackerjack thriller The Sniper (1952), in which he played an (urbane) San Francisco homicide detective tracking down a killer who preys on women in San Francisco, and he appeared without his mustache for the first time in nearly two decades. Also active on radio and TV, his last notable film was the classic anti-war picture Paths of Glory (1957) playing the villainous Gen. Broulard.
Adolphe's extreme hardcore right-wing Republican politics hurt his later reputation, as he was made a scapegoat for his cooperation as a "friendly witness" at the House Un-American Activities Commission hearing during the Joseph McCarthy Red Scare era. Following his last picture, Disney's Pollyanna (1960), in which he played an uncharacteristically rumpled curmudgeon who is charmed by Hayley Mills, he retired from acting. He died after a nine-month battle with hepatitis on October 29, 1963, inside his Beverly Hills home. Three times proved the charm for Adolphe with his 1934 marriage to actress Verree Teasdale, who survived him. The couple had an adopted son named Peter. His autobiography, "It Took Nine Tailors" (1947), pretty much says it all for this polished, preening professional.plays police Lt Frank Kafka- Bearing a strong resemblance to Humphrey Bogart certainly helped in typecasting the handsome, hairy-chested Gerald Mohr into "B" film noir. Born in New York City in 1914, he was the son of Sigmond Mohr and Henrietta Noustadt, a Viennese singer. In 1920 his father was killed in a tragic accident while at work when Mohr was five years old, and he was raised primarily by his mother and maternal grandfather, who was a psychologist and associate of Dr. Sigmund Freud, the famed psychoanalyst. Mohr became a fervent student of Freud as a result of this association. He was taught to ride and play piano at an early age and attended the prestigious Dwight Preparatory School in New York. Even as a teen, Mohr possessed a smooth vocal delivery and landed a job as a staff broadcaster for CBS Radio, which in turn opened the door for him to Orson Welles and his Mercury Theatre. Mohr made his Broadway debut in the minor role of a gangster in "The Petrified Forest," the same play that put Bogart on the map.
His first starring role in films came with the serial Jungle Girl (1941), in which he played principal villain Slick Latimer. However, because of his pleasant, distinctive baritone voice, it was radio that became Mohr's meal ticket during the 1940s, and he signed on for a number of popular suspense thrillers such as "The Adventures of Philip Marlowe" and "The Whistler." In 1949, "Radio and Television Life" magazine named Mohr as the Best Male Actor on Radio.
After a number of bit parts, he finally won a noticeable role in Lady of Burlesque (1943) with Barbara Stanwyck, after Welles referred him to the film's director, William A. Wellman. Following WWII service with the Air Force, Mohr returned to acting and found his niche in intrigue, playing the title role in The Notorious Lone Wolf (1946) and its two sequels, along with Passkey to Danger (1946), Dangerous Business (1946) and The Truth About Murder (1946). As much as he wanted to extricate himself from this trenchcoat stereotype, he continued to chug along in the 1950s with the same type of roles represented by The Sniper (1952), Invasion, U.S.A. (1952) and Guns Girls and Gangsters (1959). His final leads were in This Rebel Breed (1960) and the low-grade sci-fi thriller The Angry Red Planet (1959). In 1954-55 he starred as Christopher Storm in 41 episodes of the Swedish-made TV series Foreign Intrigue (1951).
Finding film work scarce in the following decade, he found regular work on TV, guest starring in over 100 dramas, ranging from TV westerns like Maverick (1957), Bronco (1958), Cheyenne (1955) and Bonanza (1959) to action/courtroom series such as 77 Sunset Strip (1958), Hawaiian Eye (1959) and Perry Mason (1957), among many others.
His last movie role came in the top-notch musical Funny Girl (1968) starring Barbra Streisand and Omar Sharif, in which Mohr was featured as Tom Branca, one of Nicky Arnstein's cronies, who offers to help Fanny Brice out by giving the proud but debt-ridden gambler a prime casino job.
Mohr was overseas in Stockholm, Sweden, where he had just completed filming the pilot of a new TV series called "Private Entrance" when he suddenly died of a heart attack at the age of 54.plays police Sgt Joe Ferris - Actor
- Camera and Electrical Department
- Writer
Although Richard Kiley's rich baritone and strong vocal talent was much in evidence and received due respect with his award of a Tony for "Man of La Mancha", it was little used in his television and movie appearances. Won two Tony Awards as Best Actor (Musical): in 1959 for "Redhead" and in 1966 for his signature role, "Man of La Mancha". He was also nominated in the same category in 1962 for "No Strings" and, in 1987, as as Best Actor (Play) for a revival of Arthur Miller's "All My Sons".plays Dr James G Kent, psychiatrist working with the police- Actress
- Soundtrack
Marie Windsor (born Emily Marie Bertelsen) was born in Marysvale, Utah, and attended Brigham Young University. She trained for the stage under Maria Ouspenskaya before she began playing leading roles in B pictures in the late 1940s. So many B films in fact, that she garnered the title of 'Queen of the Bs'.
She was a talent - to paraphrase a cliché - of the right type and the right time. If film noir could have manufactured an archetype, it would most definitely have been Marie.
With Ms Windsor's bedroom eyes ('they didn't fit for a 'goody-goody wife, or a nice little girlfriend' ) she smouldered on screens, in scenes with John Garfield, and many others, in some of her best work. Marie's femme fatale (Ms Windsor was later quoted as saying a femme fatale is '...usually the woman who gets the man into bed... then into trouble') was on screen, most notably her role as the manipulative, double-crossing wife of Elisha Cook Jr. in The Killing (1956) (which earned her "Look" magazine's Best Supporting Actress award).
Marie later said she loved playing them because they're '... the type of character audience's never forget'.
Some of her favourites amongst her own films, in addition to The Killing (1956), are The Narrow Margin (1952) and Hellfire (1949).
Marie married was married twice before she met Jack Hupp, a realtor with whom she had a son. After retiring from films, Marie took up sculpting and painting.
Marie passed away one day before her 81st birthday. She's interred with her husband in her hometown.
Marie said audience's 'loved to hate her', and this is only partially true; audience's love Ms Windsor for the dynamism she portrayed, and as film noir gains new fans every day - more than 3/4 of a century since their heyday, it's a love affair which shows no signs of abating.plays Jean Darr, first victim of the Sniper