International photographer (Jan-Dec 1934)

A Camera Without a Cameraman Is Merely a Triumph of Engineering Skill. It Has No Soul. THE CAM Vol. I. MONTHLY NEWS OF PRODUCTI By COLUMBIA BOB TOBEY FOX CARTOC "ONE NIGHT OF LOVE." directed by Victor Schertzinger. The old maestro Joe Walker as usual photographs Production No. 1 on Columbia's new schedule. If George Kelley were not his assistant there would be a millenium of some sort, so the result is that George Kelley is his assistant — we can't go around having millenia at this critical period. Vic Scheurich is the operative cameraman, Roy Babbitt his assistant, and Adolph I Whitey to you) Schaeffer is doing his customary artistic bulb-pushing. With Schertzinger directing, this ought really to be a railroad train picture — vou get it, sch-sch, sch-sch, sch-sch. Heighho! Walker lias with him his inseparable (and in isl excellent) gaffer, George Hagar, and the mixer is a new one on the Columbia lot, Paul Neal. The set is full of melody, as it is the first vehicle for Columbia of that songbird, Grace Moore. Vic Schertzinger himself wrote some beautiful numbers for the picture. "TWENTIETH CENTURY," directed by Howard Hawks. Joe August, the low-key enthusiast, is directing the photography on this one. I walked „i the set the other day and thought nothing was on hut the practicals, and lo and behold they were si tin;; a scene. The results are beautiful, however, and that is what counts. Dave Ragan is operative cameraman, and Marcel Grand and Jack Andersen are the assistants. Irving Lippman totes the snapshot equipment, Eddie Bernds is the mixer, and Jimmy Gaffer punts the lights — pardon my twirping, I mean Jimmy Ganter puffs the lights — oh, well, the guy's name is Jimmy Punter. Jack Barrymore, Carole Lombard, and the train whistle off the Twentieth Century Limited are starred in the picture, which I have on good authority is a humdinger — yes. so's the whistle. The boys are all looking forward for the next six productions to Jack Andersen giving imitations of John Barrymore. "THE PARTY'S OVER." directed by Walter Lang. Benny Kline is Chief Cinematographer, with F. M. Browne doing the panhandling, and Fred Dawson and Jack Russell feverishly operating the focus-changing devices. Bill Fraker provides the 8-10 art work, Howard Robertson is gaffing, George Cooper fiddles with the dials, and Walter Meins does the hard work, or in other words is gripping the picture. In the cast are lovely Arlene Judge, Stuart hi win, (hick Chandler, and Billy Bakewell. With this fun-loving cast the picture has been more play than work for the crew. But there's a shadow on the horizon. Brownie has just purchased a new Leica camera, and he complains that every time lie wants to use it he finds Jack Russell off with it somewhere gaily snapping ream after ream of pictures. A love triangle with a new twist, it would seem. Fred Dawson and Russell are both very anxious for Brownie to buy some more lenses for it so they can try it out in bigger and better ways. Brownie contends that the old adage of loving one's neighbor as oneself has its moments of impracticability. "MOST PRECIOUS THING IN LIFE," directed by Lambert Hillyer. John Stumar takes the bows on this, with Henry Freulich as his second, and Al Keller and Rod Tolmie assisting. Earl Crowley grabs the stills, Homer Planett is gaffing, and dial-twisting is by Lambert Day. The cast has Dick Cromwell, Jean Arthur, Don Cook and Anita Louise. This picture sort of interrupted Freulich right in the middle of painting that yacht of his. but Henry says it's nice to keep working. He carries his paint brush right with him, however, in case he gets a day off. Tolmie is sporting a new Voightlander camera, and a continual clicking is being heard on the set these days. It's remarkable how these cameramen never tire. Postmen on a holiday — if they're not working at taking pictures they're playing at it. I can't see the idea myself — all I have is a 5x7, a graflex, a Rolliflex, and an Expo Watch Camera. And let me tell you something about that Watch Camera — oh, well, skip it. Andre Barlatier's work has been pretty quiet since his cross-country cruise in February — the same old round of inserts and process shots prevails. He did make a trip to Catalina for three days not long ago, to make background shots for tli.it old master of background shots, Roy David son. Of course Andre took with him his insepar "THE WORLD MOVES ON." Producer. Winheld Sheeban; author of story and screenplay. Reginald Berkeley; director, John Ford; assistant director, Ed. O'Fearna; first cameraman, George Schneiderman; operative cameraman, P. Lockwood and J. Van Wormer; stills, Anthony Ugrin; sound engineer, Eugene Grossman; film editor. Paul Weatherwax. Cast; Madeleine Carroll, Franchot Tone, Reginald Denny, Paul Roulien, Siegfried Rumann, Stepin Fetchit, Ferdinand Schumann-Heink, Brenda Fowler, Marcelle Corday. "NOW I'LL TELL." Producer, Winfield Sheehan. Story by Mrs. Arnold Rothstein; screenplay by Edwin Burke; director, Edwin Burke; assistant director, Jack Boland; first cameraman, Ernest Palmer; second cameraman. Bud Mautino and Robert Mack; stills, Emraett Schoenbaum; sound engineer, Donald Flick. Cast: Spencer Tracy, Alice Faye, Helen Twelvetrees, Hobart Cavanaugh, G. P. Huntley, Jr., Barbara Weeks, Robert Gleckler, Ray Cook, FrankMarlowe, Theodore Newton, Jr. "CHANGE OF HEART." Producer, Winfield Sheeban; story by Kathleen Norris; screenplay by Sonya Levien and James Gleason; director, John BIystone; assistant director, Jasper Blystone; art direction, Jack Otterson; first cameraman, Hal Mohr; second cameraman, William Skall ; assistant cameramen, Robert Surtees and M. B. Rugg; stills. Mack Elliott; sound engineer, Joseph Aiken; film cutter, Margaret Clancy. Cast: Janet Gaynor, Charles Farrell, James Dunn, Ginger Rogers, Beryl Mercer, Gustav von Seyffertitz, Irene Franklin, Fiske O'Hara, Jane Darwell, Nella Walker, Drue Leyton, Kenneth Thomson, Mary Carr, Barbara Barondess. "MERRY ANDREW." Producer, Sol M. Wurtzel. Based on the play by Lewis Beach; adaptation, Kubee Glasmon; screenplay by Wm. Conselman and Henry Johnson; director, David Butler; assistant director, Ad Schaumer; musical director, Samuel Kaylin; first cameraman, Arthur Miller; assistant cameramen, L. B. Abbott and Alfred Lebovitz; stills, Cliff Maupin; sound engineer, E. C. Ward; film editor, Irene Morra. Cast: Will Rogers, Peggy Wood, Mary Carlisle. Paul Harvey, Frank Melton, Roger Imhof, Robert Taylor, Grace Goodall, Jessie Pringle. "SPRINGTIME FOR HENRY." Producer, Jesse L. Lasky. Based on the play by Benn W. Levy; adaptation by Keene Thompson and Frank Tuttle; director, Frank Tuttle; assistant director, George Blair; first cameraman, John Seitz; assistant cameramen. Jack Epstein and Harry Webb; stills, Bill Thomas; sound engineer, A. Bruzlin. Cast: Otto Kruger, Nancy Carroll, Heather Angel, Nigel Bruce, Herbert Mundin, Arthur Hoyt. "CALL IT LUCK7" Producer, John Stone; original story by Dudley Nichols and George Marshall; adaptation by Joseph Qunningham and Harry McCoy; screenplay by Dudley Nichols and Lamar Trotti; director, James Tinling; assistant director, Percy Ikerd; first cameraman, Joseph Valentine; assistant cameraman, Warner Cruze and Harry Dawe; stills, Frank Powolny; sound engineer, A. W. Protzman; film editor, Alex Troffey. Cast: Herbert Mundin, Pat Patterson, Charles Starrett, Georgia Caine, Gordon Westcott, Theodore von Eltz, Ernest Wood, Ray Mayer, Susan Fleming. aide companion and assistant, Enzo Martinelli. I've been doing all right myself the last month or so. Been practically commuting between Los Angeles. Palm Springs, and Agua Caliente. And while I'm on the subject, folks, here's a marvelous example of the pathetic plight in which a cameraman often finds himself. The last time I was at Caliente, I was there for the purpose of catching shots of a few celebs for that Screen Snapshots newsreel I photograph for Columbia. Of course I placed a bet or two on the side, but that's neither here nor there — or rather, it was there, not here. Anyhow, along came the Handicap, the big race of the year. Along it came, and so ilid those ponies — tearing up the track in the most exciting race of the season — for the favorite was running fourth. And just at that moment I spotted Bing Crosby, of whom I had been trying to get a shot all day, so I turned on my camera and ground away while the race thundered to a finish behind me. What a plight! If Bing reads this I hope he can't sleep nights foi contributing to my delinquency. Or something. WELL, TH' "WORLDS'. HERE COMES HOLIV MISEI Fred Jackman, accompanied by his March 19 on the Tatsuta Maru bound Orient. He will obtain backgrounds f tn Warner production, "Oil for the Lamps of ';i which will permit the making of tin pic tin Burbank studios. In addition to ollffl these shots, Jackman will photograph exteri j" backgrounds in other parts of the Orient ai m continue his tour on around the world. I Haskins will be in charge of the Warner g ami special effects department during Ja'flB absence. Max Stengler is back at M-G-M after i I1 ing an assignment in Florida. Lyman Broening has returned to Holl) a visit with Ins father and mother at his olH in Baltimore. He stopped at Washingt ?' New York, arriving in New York just for the biggest and best blizzard they ei ' there. George (John of Gaunt') Lancaster has i from Nevada with a modern version of '" Towns."