American cinematographer (Jan-Dec 1941)

PHOTOGRAPHY OF THE MONTH BLOOD AND SAND 20th Century-Fox Production (Technicolor.) Directors of Photography: Ernest Palmer, A.S.C., and Ray Rennahan, A.S.C. Comparisons between the silent and sound versions of "Blood and Sand" are inevitable. To thousands of people the title brings back memories of the silentpicture version of 1922 — one of Rudolph Valentino's best-remembered successes and one of the most beautifully-presented films of the silent era. It is a pleasure to report, therefore, that the 1941 version shows clearly how far every department of production has progressed in these nineteen years. Memories or no memories, 1941 has made a far better picture of "Blood and Sand" than 19:22 did — or could. From the photographic point of view the two versions, while in most ways utterly beyond comparison, have at least one thing in common: both must take rank among the top photograuhic achievements of their time. Alvin Wyckoff, A.S.C, gave the earlier production some of the finest cinematography known in 1922; Ernest Palmer, A.S.C., and Ray Rennahan, A.S.C, have given the current version a Technicolor mounting which must inevitably rank high among the finest Technicolor achievements 1941 will produce. But between the ortho-film monochromed version of the past and today's glowing Technicolor, there is an incredible difference. One was at best a pale shadow of reality; the other is reality itself, painted with the sensitive brush of a great artist. A great deal has been said and written about what color could do in painting emotional and dramatic moods. In "Blood and Sand," Palmer and Rennahan, ably abetted by Director Rouben Mamoulian, Technicolor Director Natalie Kalmus and her staff, and Art Directors Richard Day and Joseph Wright, have made color an integral part of the story and its telling. Not that they've done it with any obvious attempt at chromatic symbolism such as has in the past made other color films seem "arty" and unreal. They have kept reality well to the fore, but have at the same time kept the chromatic key of the picture subtly attuned to the dramatic mood of each scene and sequence. And they've done it as naturally and smoothly as a monochrome einematographer's parallel trick of suiting the visual key of his lighting to coordinate with the dramatic requirements of scene and sequence. To this reviewer's mind, it is a technique which must ultimately become as completely a part of good color cinematography as is the use of lighting to create visual moods in monochrome. In "Blood and Sand" these two photodramatic techniques are used side by side, to impressive effect. In a good monochrome treatment, such sequences as the introduction which shows "Gallardo's" poverty-stricken childhood and unconquerable determination to become the world's greatest matador — which we sense can lead only to ultimate tragedy— would inevitably be presented in a sombre key. In this understandingly Technicolored version, it is presented not only in a low visual key, but in sombre colorings. In the same way, the sequences showing his success would be presented in a higher key; here they are given the added touch of lighter colors. In monochrome, the sequences in which the bedazzled bullfighter succumbs to the wiles of the glamorous "Dona Sol" would be given lightings tending to enhance the lush textural values of sets and costumes, with stronger tonal contrasts (as differentiated from lighting contrasts) to heighten the mood. This treatment is used in the color presentation, infinitely heightened by the use of brighter — often arresting— color combinations and contrasts. And in the final sequences of "Gallardo's" decline and death, sombre, low-key treatment would be increasingly used; and here again this treatment is made more effectively foreboding by the combination of low-key lighting and sombre coloring. The way in which this treatment as applied to costuming enhances the characterizations of the players — especially Rita Hayworth's "Dona Sol," in which voluptuous appeal is definitely heightened by the use of warm colors and particularly good rendition of flesh tones — is worthy of comment. If the present "Blood and Sand" seems more vibrant with life than its predecessor, this intelligent use of color must be given fully half the credit. Lighting and composition in this Technicolored "Blood and Sand" are of the highest order. Merely to single one scene or sequence out for especial mention would be to do an injustice to a picture every inch of which seems an exciting example of camera pictorialism. What Palmer and Rennahan have done should be seen — and studied. The nighteffect sequences, beginning with the film's introduction and extending through various other sequences, are notable. So, too, are the exteriors, especially when it is considered how artfully they are handled to fit into the film's visual moods. There are also some excellent projected-background process scenes. The work of Director Rouben Mamoulain deserves praise, too. He is, as always, one of the few directors who seems fully aware of the possibilities of the camera; repeatedly he makes brilliant use of the visual in storytelling, as, for example, in the scene in the cafe in which "Dona Sol" trans fers her attention from "Gallardo" to his successor. And his handling of bull-fight sequence is such as will bringj home the genuine thrill of this sport! to even a non-Latin audience. We're! no judge of bull-fighting form, but ti i = picture, we believe, is the first to cap-1 tare in any way the grace, daring audi pageantry which have made bull-fight irg the favorite sport of Spain and the J] Spanish-American nations, and do it in I a way even a Nordic can appreciate, such it should be a constructive step t in cementing Pan-American relations. The make-up in "Blood and Sand" is ' excellent, and represents a distinct advance over the make-up in previous J Technicolor films from the same studio. The print previewed is also a very great credit to the Technicolor laboratory. And to those interested in the enhancing ef ' feet of fine musical backgrounds, the musical score of Alfred Newman can be whole-heartedly recommended. SHE KNEW ALL THE ANSWERS Columbia Production. Director of Photography: Henrv Freulich, A.S.C. Henry Freulich, A.S.C, has done a highly pleasing job of photography in bringing this diverting little picture to the screen. He has a wide range of settings and action to cover — from a small-town filling-station to a conservative Wall St. brokerage office to Coney Island to swank apartments — and he has handled every scene excellently What is more he has, in spite of the somewhat limiting atmosphere of light comedy, given the picture a great deal of highly pictorial photography. Freulich's treatment of his principal? and their backgrounds is excellent. He keeps the players — especially Joan Bennett— looking uniformly their best, and brings out every bit of production value offered by the settings. The effect on the screen is definitely rich, with fine pictorial values, yet never for a moment does he let camera pictorialism interfere with the visual comedy and swift tempo of the production. Technically, he has had quite a number of problems which he handled very well. A rather considerable number of backings were used, and in general they are made more than ordinarily convincing. The closing sequences require a good deal of double-exposure camerawork, in which the consciences of the principals appear as visible alter egos, and carry on a considerable dialog with their actual selves. He accomplishes these trick-shots very skillfully; all too often scenes of this nature have been marred by looking too obviously a photographic trick; here they do not seem to interfere at all with the normal, excellent photographic quality of the film. 272 June, 1**1 1 American Cinematographer