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keen, for almost every month was studded with the release of an unusual number of productions that were, so to speak, ‘‘photographers’ pictures,” which gave their directors of photography exceptional opportunities for outstanding camerawork. In such company, it took great achievement to win.
We take pleasure, therefore, in extending to Gregg Toland. A.S.C., our warmest congratulations on capturing the Award for the year's outstanding monochrome cinematography. His achievement is, we believe, unique in that two of his 1939 productions, photographed for different studios, were nominated for the Award balloting— a distinction that seldom if ever before has fallen to a cinematographer. In our opinion, and in that of the majority of cinematographers with whom we have talked, it is almost unfortunate that but one of these films could be singled out to receive the Award, for both were of superlative calibre. In any event, the Award has gone to one whose achievements over a period of years have stamped him, in the general opinion of his fellows, as one of the most progressive of technicians and artists in the camera profession.
We take equal pleasure in extending our congratulations to the three men who shared the Color Award — Ernest Haller, A.S.C., Ray Rennahan, A.S.C., and Wilfrid M. Cline, A.S.C. Not for many years have any cinematographers faced a more difficult assignment than these three had in putting ‘‘Gone With The Wind” on the screen. Not only the immense physical and dramatic scope of the production had to be contended with, but the far more difficult task of achiev
ing perfection in every shot — of living up to the mental images already created in the minds of the millions who read the most widely read hook of the decade. It is too easy to make much of the fact that these cinematographers had at their command virtually unlimited time, money and facilities. These tangible assets helped, undoubtedly, but it took cinematographic ability of the highest order to complete the assignment, not merely adequately, but in triumphant. Awardwinning style.
In past issues, we have commented that the industry is fortunate in its youth, in that while the industry and its methods have advanced enormously, many of the men who pioneered these advances are still among the active leaders. The Award for outstanding Special Effects work, which went to Fred Sersen and E. H. Hansen for their memorable work in “The Rains Came,” is an excellent example of this point, for both men are pioneers in their fields. Sersen is credited with the notable achievement of evolving the old-time “glass shot” into the modern matte shot, and of pioneering many other modern specialprocess methods, including background projection; Hansen is one of the industry’s pioneers in sound recording. Each has enough important pioneering achievements to his credit to build up an ample pile of laurels upon which to rest. But instead, they collaboate on the industry’s foremost achievement in special effects technique! The industry may well take pride in the men behind such achievements.
TVThile we’re speaking of the ^ Awards, we can't help mention
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