American cinematographer (Jan-Dec 1941)

A*S*Q on Parade They staged a birthday-party to end all birthday-parties at Universal one day recently. Promptly at noon the doors of the stage where Rudy Mate, A.S.C., was filming "Flame of New Orleans" were flung open to admit 20 waitresses from the studio commissary, who entered singing "Happy Birthday, Dear Rudy," and ceremoniously presented him with one battered cup-cake, in which was a single lighted candle. The troupe provided a huge box of "gag" presents, among which was discovered a textbook on romantic approach, inscribed feelingly to "the shyest man in Hollywood." But after the ribbing was over, star Marlene Dietrich provided champagne in which the company toasted Rudy's birthday in approved style. • And speaking of birthdays — John Mescall, A.S.C., over at Paramount to direct the photography of "The Night of January 16th," is instituting a quiet campaign to have the pic's handle changed to "The Night of January 10th," on account of that's his birthday. • Across the back fence at RKO, Roy Hunt, A.S.C., and Russell Cully, A.S.C., have packed their bags and cameracases for a trip to Ft. Benning, Ga., to make scenes for Roy's forthcoming RKOpus, "Parachute Battalion." • Anent anniversaries and such, Columbia's one-man short-subject studio, veteran producer director cinematograRalph Staub, A.S.C., draws a new contract to continue turning out his "Screen Snapshots." This marks the start of his 9th year as a Columbia producer on this series, for which in all he has produced, directed and photographed a total of 531 subjects. Nice going, Ralph — keep it up! • Eddie Cronjager, A.S.C., certainly has the nicest things happen to him. First his bosses at 20th Century-Fox give him a trip to Sun Valley to shoot scenes for their snowpus of that name. Then right in the middle of that, they send Eddie word his option's been picked up for another term of moviemaking at the Westwood plant. Well, after seeing Eddie's work on "Western Union," you can't blame them for wanting him around. • Arthur Miller, A.S.C., is another man whose face will be seen behind Col. Zanuck's cameras for another year. Even before the preview of his latest — "Tobacco Road" — TCF executives handed him a dotted line to sign on. And by the way — have you seen Artie's version of the rhumba? It's terriffic! • By the same token, Paul Ivano, A.S.C., is en route to tackle the tango on its native heath. He's just signed a contract with Baires Films, of Buenos Aires, which will keep him in South America's growing "estudios" for the next three years. • Arthur Todd, A.S.C., gets the camera assignment to "Mother's Boys" at Warner Bros. • Last time we looked in at Paramount, it looked like Old Home Week. Karl Struss, A.S.C., was back filming "Caught In The Draft;" Ted Sparkuhl, A.S.C., was on another stage lensing "Nurses Don't Tell;" and we learn that Victor Milner, A.S.C., for seventeen years a Paramount fixture, will soon be back to direct the photography of Cecil DeMille's next technicolored opus, "Reap The Wild Wind." Before that, though, Vic, who just finished "The Man Who Lost Himself" at Universal, will stop long enough on the RKO lot to put "My Life With Caroline" on film. • Charles G. Clarke, A.S.C., almost always seems to be wearing a smile, but lately it's been beaming even better than usual. Seems as if the executives out 20th Century-Fox way thought so much of his work filming "The Cowboy and the Blonde" that they've signed him up to a new contract. • If there's a dearth of big productions this season, Gregg Toland, A.S.C., doesn't know it. He's had the director of photography assignment on three of the season's biggest (and toughest) ones in quick succession — Walter Wanger's "The Long Voyage Home," "Orson Welles' "Citizen Kane," and Howard Hughes' "The Outlaw"— wnth another big one, Goldwyn's version of "The Little Foxes," with Bette Davis, coming up early in March. With production on the Hughes picture repeatedly delayed, Gregg almost had to forego his longanticipated vacation on director John Ford's yacht off Mazatlan, Mexico. But he finally managed to slip away, turning over completion of "The Outlaw" to the capable hands of A. L. Gilks, A.S.C. Incidentally, Al is loud in his praises of the Hughes organization and of the smooth efficiency of Gregg's crew. • Franz Planer, A.S.C, draws the assignment to photograph Columbia's "Time Out For Rhythm." At least, that's the title up to the time of going to press; it's been changed two or three times already, and may be again. Really, getting out this department would be a simpler task if the studios wouldn't change titles quite so often! • Wonder where is that picture Art Lloyd, A.S.C, promised us for this page ? Glennon, Skall Top Preview Critics Poll Technicolor productions were the heavy winners in the Hollywood Reporter's Critics Preview Poll for January. Bert Glennon, A.S.C. and William V, Skall, A.S.C, co-directors of photography on Paramount's Technicolored "Virginia," captured first honors. Second by a single vote was Tony (Jaudio, A.S.C, for his monochrome camerawork on Warner Bros.' "High Sierra." Third place went to another Technicolor film, Twentieth Century-Fox's "Western Union," the work of Edward Cronjager, A.S.C, and Allen M. Davey, A.S.C The latter film was but three votes behind "High Sierra," making it the closest race of the month, and probably one of the closest in the history of the poll. The patriotism of Vernon Walker, A.S.C, recently stood up under a severe jolt. It seems RKO's special-effects head-man has had to move his yacht from the snug Wilmington dock where it has been moored for years. Reason? Dock-space needed for make room for defense manufacturing. At that, maybe Skipper Walker is lucky; the Navy hasn't yet requisitioned it to add to the mosquito fleet! • Peverell Marley, A.S.C, is purring delightedly over his new Lincoln Zephyr. Get him to tell you sometime about the deal he made in getting it. • Hal Rosson, A.S.C, draws the assignment to MGM's "Washington Melodrama." • By the way, did you see the commanding table ASC-Prexy John Arnold, Joe Ruttenberg, A.S.C, and their fellow MGM-ites had at the Academy Banquet? Looked like the Royal Box at the Opera! Also glimpsed at the Academy blow-out were the Paramountaineers — ■ including head-man Roy Hunter, Victor Milner, A.S.C, Charles Lang, A.S.C, Farciot Edouart, A.S.C, sound -expert Loren Ryder, and others, grouped convivially around another well-placed table. At the next table, Gordon Jennings, A.S.C, surprised us with the Continental gallantry of the way he congratulated Editing Award-winner Anne Bauchens when she returned to her seat with her plaque. We spotted James C Van Trees, A.S.C, and Warner Cameraxec Mike McGreal, with charming partners, doing nobly on the dance-floor, too. The Warner aggregation was too far from our table to make sure, but reliable reports indicate that Fred Gage, A.S.C, shaved in honor of the occasion. As a matter of fact, the A.S.C. was out in force, in its best bib-and-tucker, to honor George Barnes' well-earned victory. American Cinematographer March, 1941 115