American cinematographer (Jan-Dec 1941)

Mate' Tops Preview Poll Rudy Mate, A.S.C., in an extremely close contest, captured First Place in the Cinematography classification of the Hollywood Reporter's Critics' Preview Poll for March, the winning achievement being his outstanding photographic treatment of "That Hamilton Woman!" Second place by but a scant handful of ballots went to Leo Tover, A.S.C., and his associates Farciot Edouart, A.S.C., Gordon Jennings, A.S.C., and Elmer Dyer, A.S.C., for "I Wanted Wings." In third position, again by an unusually narrow margin, was George Barnes, A.S.C., for "Meet John Doe." A*S*C on Parade April seems to be anniversary month among the A.S.C. Over at Paramount, Ted Sparkuhl, A.S.C, celebrated his thirtieth anniversary as a cinematographer by starting "Buy Me That Town." He entered the business as a cameraman in Paris in 1911. And out at 20th Century-Fox, Camera Chief Daniel B. Clark. A.S.C, celebrated his twenty-first anniversary in the business. With the exception of less than half-a-dozen pictures lensed for other studios, Dan has spent all his twenty-one years with a single organization — 20th-Fox and its predecessor, Fox Films, in the process setting a record for the number of consecutive pictures made with one star: he filmed 85 in a row with the late Tom Mix. From Assistant Cameraman to Supervisor of Photography in 21 years isn't a bad record — and when Dan entered pictures in 1920 he was doubtful because he didn't think it looked permanent— ! • Back in Washington, D. C, our staff correspondent, Reed N. Haythorne, A.S. C, has transferred his activities to the U. S. Forest Service, for which he is starting a transcontinental camera-trek shortly. • Spotted Al Gilks, A.S.C, looking at an SVE Picturol projector at Winter's camera store. He says he wants it to analyze his light-tests with the way Clyde De Vinna, A.S.C, and Joe Ruttenberg, A.S.C, described last month. • Another milestone is the assignment of Arthur Miller, A.S.C, to direct the photography of 20th Century-Fox's "How Green Was My Valley." They say it's his 100th feature picture. • Phil Tannura, A.S.C, swings over from Columbia's "Tillie the Toiler" to take charge of photography on Gregory Ratoff's "Tonight Belongs to Us." Henry Freulich, A.S.C, takes over the "Tillie" assignment in "Little Phil's" absence. • And George Barnes, A.S.C, bows gracefully out of Korda's "Illusions" to take over "Ladies In Retirement," and at the last report was due to be succeeded on the Korda assignment by Lee Garmes, A.S.C. • Defense note: currently lensing Army training films are Paul Vogel, A.S.C, making an Infantry training film at M-G-M; Archie Stout, A.S.C, filming the operation of the 240mm. howitzer at Paramount; and James C Van Trees, A.S.C, off to Sun Valley for Col. Zanuck's studio, making a film on skiing. • James Wong Howe, A.S.C, finished "Gentle People" and draws the assignment to "King's Row," both for Warner Bros. • And Victor Milner, A.S.C, just through with "My Life With Caroline" at RKO, climbs the fence to his old home lot — Paramount — to Technicolor "Reap the Wild Wind" for Cecil de Mille. Art Lloyd, A.S.C, finally came through with that picture of "Butch" — and here's the explanation. "Butch" is Art's pet Mexican parrakeet — and it appears "Butch" envies the long-tailed birds in the Lloyd aviary. But "Butch" is a practical little bird: he cuts himself out false tail-feathers of paper, and sticks them in place over his own short ones, as you se him doing in the picture. Art has made two short-subjects about "Butch," one sold and the other optioned to Lew "Monkeys is the Cwaziest people" Lehr. • There's an epidemic of new contracts at 20th Century-Fox: Lucien Andriot, A.S.C, Harry Jackson, A.S.C, and now Glenn MacWilliams, A.S.C, have all inked new dotted lines. • John F. Seitz, A.S.C, at Paramount to direct the photography of Preston Sturges' "Sullivan's Travels." • Franz Planer, A.S.C. taking a postgraduate course in collegiate Americana, photographing Columbia's "Bettv CoEd." Did you know Roy Hunt, A.S.C, haa built himself a super-streamlined land-y cruiser, interchangeably powered by a steam engine and a Mercury motors Built everything but the wheels hin too. His pet short-wave radiopho? in it, and enroute to and from the studio he's worked every continent. Oliver T. Marsh, A.S.C. The camera profession suffered a tragic loss in the passing of Oliver T. Marsh, A.S.C, who died unexpectedly of a heart ailment May 5th, on the eve of his thirtieth anniversary as an active member of the photographic profession. Although a veteran of motion pictures, Marsh was still a comparatively young man. Born in Kansas City in 1893, and brother of Mae Marsh, the famed silentpicture star of early days, Marsh entered the industry as a boy of 18 when in 1911 he joined the photographic staff of the old Biograph Studio in Fort Lee, N. J., with D. W. Griffith. He climbed rapidly to the top of the profession and remained there without interruption. From 1918 to 1924 he was associated with Robert Z. Leonard. photographing Mae Murray in all of her most famous successes. Since that time he has been continuously with Metro and the present Metro-Goldwyn-Mayer organization. During the thirty years of his activity, Marsh's skill has lent glamor to an incredible procession of the screen's most famous beauties, from Lillian Gish and Blanche Sweet to Hedy LaMarr and Lana Turner. In 1938 he won the Academy Award for Outstanding Color Cinematography for his work on "Sweethearts," and at the time of his death he was preparing to undertake another Technicolor assignment, the musical remake of "Smilin' Through." Among other outstanding films on which he was Director of Photography may be mentioned both the silent and sound versions of "The Merry Widow," "Rain," "San Francisco." "David Copperfield," "Maytime," "A Tale of Two Cities." "The Firefly," "Rosalie," and innumerable others. Quiet, unassuming, yet one of the world's truly great cameraartists, "Ollie" Marsh will be missed by all who knew him. To his friends, and to his wife and three children, we extend our heartfelt sympathy. 220 May, 1941 American Cinematographer