American cinematographer (Jan-Dec 1924)

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Twelve AMERICAN CINEMATOGRAPHER August, 1924 "The Sea Hawk's" Cinematography With Frank Lloyd's "The Sea Hawk" enjoying unprecedented success in New York, Chicago, and Los Angeles, it is only fitting to pay tribute to the splendid photography of Norbert F. Brodin, A. S. C. Mr. Brodin, cinematically speaking, has made rapid strides in photographic achievement during the past two years — his interior scenes of "Black Oxen" his exteriors of "Brass" "Pleasure Mad," and his work on "Dulcy" being of unusual artistry, but in filming "The Sea Hawk," Mr. Lloyd's camera chief has given the screen one of the finest negatives it has known. The most severe critics of New York and Los Angeles in reviewing "The Sea Hawk," have given credence to the statement and Mr. Brodin has received nearly as much praise for his work on "The Sea Hawk" as any of the featured players and several noted writers have said that Mr. Brodin shares honors with Mr. Lloyd, an unusual tribute to a cinematographer. Never Failed Making the photography of "The Sea Hawk" the great achievement it unquestionably is, was quite a man sized job but, according to Mr. Lloyd, despite his many unusual demands upon the cinematographer, never once did Mr. Brodin and his assistants, Dewey Wrigley and Edward Henderson, fail to give even more than was expected, and numerous of the effects which go to make "The Sea Hawk" as pictorially brilliant, as it was literally colorful, are the outcome of Mr. Brodin's photographic expertness. Unique Effects One of the oustanding photographic bits of the "Sea Hawk" is the running night sea battle between a large Moorish gallease, manned by 350 galley slaves and fighting men, and a gigantic 235 foot English frigate with a crew of nearly 400 men. This scene was photographed on the Northern Coast of Santa Catalina at ten in the morning with climatic conditions anything but favorable, with a special filter, and on the screen the accuracy of the lighting is truly uncanny. 35 Feet in the Air Several unusually active fighting scenes were photographed from a mast about 35 feet above the combatants. By J. L. Johnston Norbert F. Brodin, A. S. C. The scenes of the duelling maintained the minutest detail of every movement plus delicately lighted background that provides excellent contrast. Shooting on Ledge More than a score of scenes made at Catalina had to be made from the side of a high cliff where it was very difficult for the camerman to stand, Following are a few newspaper review excerpts which are indicative of how the most famous critics received the cinematography of Norbert Brodin, A. S. C. in "The Sea Hawk '" GUY PRICE, Los Angeles Herald : "I could sit and look at the sea scenes by Norbert F. Brodin until the Democrats get together on their candidate." FLORENCE LAWRENCE Los Angeles Examiner : "The photography is a great credit to Mr. Brodin." PEARL RALL, Los Angeles Evening Express: "Too much credit cannot be given the photographer of 'The Sea Hawk.' " EDWIN SCHALLERT, Los Angeles Time*: "Frank Lloyd must share honors with his cameraman, Norbert F. Brodin, in the achievement of 'The Sea Hawk. " Norbert Brodin's Accomplishment Is Lauded By Press and Profession Alike let alone set his camera and keep it balanced while shooting. Night Scenes Impressive The night scenes which arrive on the screen near the conclusion of the picture when the English frigate is lashed to the Moorish gallease and The Sea Hawk and Lady Rosamund taken from the latter ship, provided innumerable problems to the cameraman, but in spite of the large spaces to be lighted and the many conflicting shadows to be overcome that the lighting of natural moonlight and ship's lanterns might be made accurate, Mr. Brodin worked out his effects with exceptional speed and correctness. The night scene which shows in close-up the prow of the massive English frigate coming from nothingness toward the camera, won a round of applause on the opening night of "The Sea Hawk" in New York and in Los Angeles. Praised by Hays Mr. Brodin made the most of his possibilities in developing his composition and sea scapes in long shots for "The Sea Hawk," the scenes showing the Spanish galleon coming into view beyond a Minorcan headland, and another of the English tramp ship "The Swallow" making a sharp starboard turn directly toward the lens having won enthusiastic commendation from Will H. Hays and many magazine critics. "Third Dimension" So splendidly did Mr. Brodin diaphram a number of exterior scenes taken on the wharf of the Santa Catalina location that the jamissaries and slaves on parade prior to boarding the Moorish gallease seem to have a third dimension. So noticeably "rounded" were these scenes that on the occasion of the opening at the Astor theatre, New York, more than a score of patrons wrote notes about the effect to First National officials and newspaper editors. Photographic Emphasis The quality of Mr. Brodin's interior scenes in the English and Moorish sequence is deserving of special mention, particularly that of the wedding of Rosamund and Lionel, so abruptly interupted by the arrival of The Sea Hawk and corsairs. Throughout the entire picture Mr. (Continued on page 21)