American cinematographer (Jan-Dec 1963)

tion picture. Even the two areas that might conceivably be called sets, in the usual sense, are clearly established as not being that at all. The first, the Win¬ ters bed-chamber, is given an illusion of glamour and solidity by “walls” that turn out to be gossamer strands of cloth. The other is the office of the “establishment” — solid-looking enough on the inside, but quite obviously formed of backless and topless flats hut¬ ted together. In the establishing shot of the stage, the vast expanse seems to be dotted with tiny sets and pools of light. The sets are actually nothing but arrange¬ ments of tables, chairs, rugs and pieces of cloth hanging down beside frag¬ mentary walls or flats. A stairway, part of the permanent geography of the stage, which leads up to the catwalks around the ceiling, is also used. In material terms there was actually little, but it was made to take form through ingenuity. Standard tools of picture-making — such as backings, drops, photo-murals and newsreel clips were thrown to¬ gether in a helter-skelter mosaic de¬ signed to say: “Cast aside your ordi¬ nary way of looking at things and let go for a hit.” This is in key with the underlying idea of the film: that most people go through life playing a kind of charade, acting out roles that others expect of them, whereas what is really valuable is that which each person has as an individual, rather than the facade he assumes in order to conform to accepted standards. That idea is ex¬ pressed in the film by portraying real situations as charades, suggesting that everything in life is a pose, to a certain extent. Photographically the theme is car¬ ried out through the use of simple but effective techniques. For example, in one scene a realistic view of a Cape Cod cottage fills the screen. Suddenly a live character, all out of proportion to the cottage, walks in front of it and we realize that we have actually been view¬ ing a huge painted background mural. A similar effect is created when another player suddenly overwhelms a pano¬ ramic vista of Monument Valley. In another sequence, a judge harangues a sober-faced, attentive jury. Only when the camera cuts to a side angle do we realize that the “jurors” are actually life-size photographic cutouts mounted in a jury box. Long shots of the “establishment” en¬ compassed the entire sound stage, in 1 XCLUSIVE • NEW • EXCLUSIVE • NEW • EXCLUSIVE new, improved super-efficient CINE VOICE CONVERSION Designed and developed by Florman & Babb’s Chief Engineer, Ray Emeritz, after extensive testing in the field by several of New York’s top-notch cam¬ eramen, F & B has finally achieved maximum efficiency and absolutely silent operation in a new 400 ft. Cine Voice Conversion. \ • A true torque motor — Idles at V3 power, when camera is turned on. Assumes full power. This system prevents excessive heating. • Torque motor and Veeder counter assembly completely encased in insulated housing for protection from cold, rain, dust, etc. • Veeder counter effectively silenced. • Torque motor provides sufficient power to take either 400 ft. or 1200 ft. Mitchell magazines. • Neon camera running light. Accessories Available: Behmd-the-lens filter slot $45.00 Lens Turret Lock for Zoom Lens operation $25.00 NEW ANGENIUX 12mm 120mm ZOOM LENS "C" MOUNT WITH SIDE-VIEW FINDER IN STOCK! $895.00 CINE VOICE CAMERA CONVERSION $44500 (price does not include Mitchell magazines) At present we can promise delivery within 15 days. • y-m.1 ■ m3 8 1 John Fletcher, ABC cameraman, with Ray Emeritz, F & B’s Chief Engineer, who developed the new Cine Voice Conversion. Serving the World’s Finest Film Makers FLORMAN & BABB, INC. 68 West 45th St., New York 36, N. Y. MU 2-2928 3AISfl10X3 • M3N • 3AISm3X3 • M3N • 3AISfTOX3 Automatic Daylight Processing DEVELOPING TANK • Processes up to 200 Ft • 8mm1 6mm-35mm-70mrn • Movie — X-Ray — Microfilm • Motor-driven, portable • Uniform Density Assured • 400 Ft. Tank Available FILM DRYER • Motor driven — Heated • Speedv dryinq • Automatic shrinkage allow¬ ance • Stainless steel and aluminum construction • Easilv assembled without tools • Compact, Portable Guaranteed. Write tor Free Literature 487-14 South Ave Beacon. N Y Micro Record Corp. Cieanatt . . . the phantom cleanser Advertised on radio KFI (NBC). Safel Con¬ tains no acids, caustics, ammonia or hydro¬ carbons. Made with an herb imported from Italy. Will positively clean movie equip¬ ment, stainless steel, porcelain cabinets, developing tanks, cutting tables, etc. Ex¬ cellent hand cleanser. $1.50 Money-back Guarantee CLEANALL BOX 548, BURBANK, CALIFORNIA Phone: TH 6-6860 AMERICAN CINEMATOGRAPHER, MAY. 1963 299