American cinematographer (Jan-Dec 1941)

thrill this sequence provides. The contribution he makes in process background-plates, while it will probably go unnoticed, is also vital. The film owes an incredible part of its success, both technically and dramatically, to the superb process-work of Farciot Edouart, A.S.C., and his staff. That the production is among the best air films ever made stands much to the credit of Edouart and his associates, for in no previous air-film have the resources of modern transparency processwork been so extensively brought into play. And a very great part of Edouart's work is based upon the tremendous possibilities stemming from his development of the ultra-powered triple-head process projector. Without this, it would have been impossible to get the many long-shots in which the players are seen taking off, flying and stunting in angles which show virtually the entire plane, and convincingly make the plane not merely fly level, but climb, dive and roll — all in angles that give the effect that the camera was flying right alongside, about as near as the plane's own wing-tips. To this writer's mind, the amazing scope and flexibility of the transparency-work is perhaps the outstanding single feature of the film. The picture could never have been made without Edouart's superlative contribution. Gordon Jennings, A.S.C., is broadly credited with "Special Photographic Effects," and he, too, has done a masterful job. "Special Photographic Effects" covers a wide range of achievements in this case: among them are miniatures, matte-shots, and optically-printed composites which very skillfully blend straightforward photography with what this reviewer at least guesses to be animation. Again it can be said that the picture could never have been made without the parts that Jennings and his staff contributed. Inevitably, the film has some faults. Veronica Lake's make-up, both in her earlier scenes and in her closing scenes, has already been mentioned among them. It seems also to this writer that while in the main Film Editor Hugh Bennett has done a fine job of welding into a coherent whole all the incredibly diversified elements of dramatic action, aerial spectacle, thrills and process-work, he has at several times over-emphasized the spectacular atmospheric shots of vast squadrons of planes in the air at the expense of good dramatic balance. Frequently, especially as he necessarily bridges quickly over the progress of the flying cadets' training, it struck this reviewer that intimate, individual scenes of but one or two planes in the air, presumably flown by one of the central trio, would have been much more effective from both the dramatic and the living viewpoints. It would seem that many of these training sequences could have been given more personalized treatment to great advantage. In conclusion, endless praise must be given the many uncredited Army pilots whose spectacular flying gave the ground and flying cameras their spectacular material. Again, orchids to Tover, Dyer, Edouart, Jennings and their associates, and to Paramount for being so generous in recognizing the value of their work. THE SEA WOLF Warner Bros. -First National Picture. Director of Photography: Sol Polito, A.S.C. Special Photographic Effects: Byron Haskin, A.S.C, and Hans F. Koene kamp, A.S.C. Viewing this picturization of Jack London's rugged sea story — the fourth, I believe, since 1913 — < it is hard to believe that it was all done on a studio sound-stage. And yet, thanks to the ingenuity of the technical staff — especially Art Director Anton Grot, Director of Photography Sol Polito, A.S.C, and special-effects specialists Byron Haskin, A.S.C, and Hans Koenekamp, A.S.C. — it was not only done entirely without leaving the studio, but done fully as convincingly as though the company had chartered a ship and spent months at sea. As a matter of fact, it was in some ways more convincing, for working in the stage Polito could secure angles and lightings which would have been difficult, if not downright impossible, working outdoors on an actual ship. The greater part of the picture's footage involves effect-lightings, which Polito has handled excellently. Ordinarily, a picture of this nature is a temptation to the cinematographer to over-play his hand on dramatic effect-lightings, just as it is to the players to "chew scenery." But Polito has kept the situation well in hand. His lightings lend precisely the right note of realism and at the same time heighten the dramatic and atmospheric value of the production: yet they don't call attention to themselves or suggest a cinematographer on an esthetic spree. Few if any of his scenes are intrinsically spectacular: but without the vivid atmosphere his camera creates, two-thirds of the production's dramatic strength would be lost. The photographic treatment of the film shows an interesting and subtle transition, which keeps perfect pace with the emotional accents of the film. The opening sequence — played in a San Francisco fog — begins on a note of visual softness suggesting mystery. This treatment continues through the first sequences aboard the ship, changing gradually as the harsh character of the ship and its crew are brought out to a visually harder note perfectly in key with the characterizations. It is very well done, indeed. The special-effects work of Haskin and Koenekamp — especially the miniatures — is excellent. The miniature-shots of the ship looming mysteriously up through the fog, and then sliding furtively away in the mist like the ghost after which it is named, are pietorially excellent and of the very highest dramatic value. The miniature of the colli sion between the ferryboat and thej freighter is another noteworthy achievement. As a master of fact, "The >ea Wolf's" miniatures are some of the finest we've seen in a long time, and Ha>kin and Koenekamp deserve endless cr-dit for their perfection. Great praise is also due Film-Editor George Amy for his more than ordinarily capable job of cutting, which makes the most of every scene and sequence. THAT UNCERTAIN FEELING LesserLubitsch Production; United Artists Release. Director of Photography: George Barnes. A.S.C. In this production Cinematographer1 Barnes acquits himself with considerably greater distinction than was possible in his other current release, "Meet John Doe." Undeniably, conditions were more favorable: he had a typical Lubitsch farce-comedy — a story which invited deft, decorative high-key photography: and he had as his fellow-worker a director with a keen appreciation of the value of outstanding camerawork. The result is a pictm-e which is both excellent entertainment and a visual treat. From start to finish, Barnes' set lightings excel. The sets Art Director Alex Golitzen has provided are excellent but the way Barnes lights them adds immeasurably to their value. This is particularly evident in one sequence of the film, close to the end, which appears to be a retake or added scene not photographed by Barnes. It occurs in the same sets used for much of the other action of the film — but it is not lig with a comparable pictorial touch, and it appears like an entirely different -e: Much of this pictorial effectiveness is achieved through very deft use of . asl shadow-patterns on the light-toned seti walls. Maybe it is just because this reviewer, to paraphrase a rather wellpublicized line in Barnes' other recent release, is "a sucker for shadow-patterned set-lightings;" but it seemo! new scene offered more pictorial enjoyment than the one before. On the other hand, it appeared to thia writer that Barnes might at times haw favored the players a little bit more sometimes they seemed to be playing second fiddle (photographically) to set lightings and composition. A trifle less diffusion might also have been more ir keeping with the mood of the story. However, it is not easy to judge this accurately, for the picture was previewed in a theatre in which the projection-booth appears to be mourn i an unusually high angle, with the result that an uncommon amount of key stone-distortion is present in the projected picture. This distortion certainly die not help the appearance of the players; neither, for that matter, did son the hats and the coiffeur worn by Melfc Oberon. We'd like to have seen tht picture in a projection-room or theatre with a more straight throw. In one or two scenes minor technea details intruded somewhat, too. For ox 188 April, l'.Hl American Cinematographer