American cinematographer (Jan-Dec 1941)

A*S*C* on Parade Apologies to Peverell Marley, A.S.C., for the incorrect credits printed at the head of last month's review of "Moon Over Miami." Seems our printer dropped a line of type at the wrong moment, and when he put it together again he thought Ted Tetzlaff, A.S.C., instead of I Fev, had directed the photography of the 20th-Fox Technicoloropus. We're sorry all around. And thanks to Dan Fapp, A.S.C., for bringing it to our attention! Actor-folk out Universal way are patting Stanley Cortez, A.S.C., on the back on account of his latest invention. His gadget consists of an adjustable standlamp carrying a small colored globe. He places it just out of camera-range to indicate where the player is sup ■ posed to look in his offstage glances. By using lights of different colors, several such objects can be indicated, and players cued accordingly. • Bob Pittack, A.S.C., on one of Hal Roach's new streamlined short-length ! features. • Seen after any A.S.C. Broad Meety ing — Past-Prexy John Arnold and cur ■ rent Prexy Fred Jackman comparing notes about Johnny's ritzy new Packard Clipper and Fred's racy Buick. Looks as though Jackman's got the edge, though — he and Mrs. Jackman have sneaked away for a motoring vacation in Oregon, while MGM's booming production-schedule keeps John tied to his Culver City desk — and his Packard's mileage low! • Ben Reynolds, A.S.C, strolling across the Universal lot, reminiscing about experiences in Death Valley photographing Erich von Stroheim's 1924 thriller, "Greed," recently revived at the Academy's showing of famous films. And they do say Ben's 1924 camerawork still compares favorably with what's current now! • Clyde De Vinna, A.S.C, and his troupe on MGM's "Tarzan" set all sporting location colds. • "Little Phil" Tannura, A.S.C, says he got a vacation between finishing Columbia's Fred Astaire picture, "You'll Never Get Rich," and starting his next opus, the latest "Lone Wolf" whodunit. Seems he snuck off one morning and caught the early show of Ernie Haller's "Manpower." • Max Fabian, A.S.C, at the MGM commissary's Camera Table taking an awful ribbing when Sid Wagner, A.S.C, and Lester White, A.S.C, discover a Filipino bus-boy who has a brother-inlaw named Fabiano. • Bill Steiner, A.S.C, a long way from his usual haunts in New York, Technicoloring a FitzPatrick travel-reel in Glacier Park. George Meehan, A.S.C, currently busy lensing "Royal Mounted Patrol" for Columbia, is such a fiend for preserving the illusion of reality in pictures In won't even tell his wife what is or isn't a process-shot! • Charles Lang, A.S.C, after locationing all over New Mexico, Arizona, California, and points adjacent locationing for Wanger's "Sundown," sporting a vivid tan. Charles Rosher, A.S.C, can sleep if he wants on Sundays — for directing the photography of "One Foot In Heaven," Warner's filmization of a middle-western clergyman's life, he's in church six days a week! Tony Gaudio, A.S.C, and the Missus spotted coming out of Jimmie Howe's "Ching How" restaurant, appropriately "The Man Who Came To Dinner" — but better-tempered, so we'd say, than the title character in his current film of that name. John Dored, A.S.C, in Buenos Aires organizing Latin-American newsreel coverage for Paramount News. • Wish we had the same sort of luck with weather that Ray Fernstrom, A.S.C, enjoys. That wild Swede can travel half-way around the world for a single scene, to spots famed for unphotographic weather — and have the sun pop out the second he gets set up, vanishing again as soon as his scene's in the box. Seen at the Paramount commissary's camera table — Victor Milner, A.S.C, and John Mescall, A.S.C, discussing something-or-other that must be serious, judged by their intent expressions. • Harry Hallenberger, A.S.C, teamed with Ray Rennahan, A.S.C, Technicolor's smiling maestro, laughing at Victor Moore's comedy while lensing "Louisiana Purchase." On the same set, Harry Perry, A.S.C, a visitor with a deep tan picked up along with a lot of Technicolor scenes down in the Bahamas. And AI Gilks, A.S.C, gets a bit of the California variety taking out a Technicolor 2nd unit for the same picture. Freund, Greene, Poll Toppers Karl Freund. A.S.C, and W. Howard "Duke'' Greene, A.S.C, led the field in the results of the Hollywood Reporter's Critics' Proview Poll for June, garnering top honors for their joint achievement Technicoloring MGM's "Blossoms In The Dust." Second place went to another Technicolor job, "Moon Over Miami," photographed by Peverell Marley, A.S.C, Leon Shamroy, A.S.C, and Allen M. Davey, A.S.C, while a third Technicolor production figured in a three-way tie for third place. "Shepherd of the Hills," Technicolored by Charles B. Lang, Jr., A.S.C, and W. Howard Greene, A.S.C, "Out of the Fog," photographed by James Wong Howe, A.S.C, and "Man Hunt," photographed by Arthur Miller, A.S.C, were the three films involved in the third-place photofinish. Don't mention fish — especially big ones — to Verne Walker, A.S.C, for a while. Seems RKO's trick-dept. headman had a 300-pounder hooked the other day — and it got away! Memo: ask Jack Greenhalgh, A.S.C, if that new destroyer just launched in Brazil and christened "Greenhalgh" is named for one of his relatives. • Mack Stengler, A.S.C, busy at Monogram filming "Let's Go Collegiate." • Russell Metty, A.S.C, lensing "Weekend for Three" at RKO, while Robert DeGrasse, A.S.C, dittoes "The Unexpected Uncle." • You should have seen the expression on the face of Karl Struss, A.S.C, the other day as Susan Hayward walked past in the commissary — ! And after all the pictures you did with Mae West, too, Karl! • Jerry Ash, A.S.C, is reported much better after his recent very serious siege of bronchial pneumonia, but some fifty pounds lighter. • Russell Harlan, A.S.C, when he finished his most recent "Hopalong Cassidy" Bill Boyd starrer for Harry Sherman, celebrated something of an anniversary. Seems it was the 41st of the series he'd lensed — all with the same star and producer. He's creeping up on the all-time record set by Dan Clark, A.S.C, who did 86 in a row with Tom Mix. • Alvin Wyckoff, A.S.C. and Charles Schoenbaum, A.S.C. discussing earlier days and personalities when they were silent-filming together at the old Lasky Studio with Cecil De Mille, Wallie Reid. and others. American Cinematographer August, 1941 :;:::