American cinematographer (Jan-Dec 1941)

White has excellent opportunities not only for straightforward camerawork, but pictorial and mood effects. He distinguishes himself in his handling of them, never missing any opportunity that comes his way. His treatment of the players is also excellent, especially as regards the feminine ones. It might be suggested, however, that the characterization of Patricia Dane, as the gold-digging city girl, might have been made much more convincing had he been allowed to give her a slightly less flattering photographic treatment. As it is, she is presented so attractively (not only by photographer but by writers and directors as well) in the earlier sequences that her sudden change of character at the end seems incongruous. SUN VALLEY SERENADE 20th Century-Fox Production. Director of Photography: Edward Cronjager, A.S.C. "Sun Valley Serenade" is a typical musical in the Zanuck manner, but it offers considerably more photographic interest than most. Director of Photography Edward Cronjager, A.S.C, has turned out an excellent photographicjob, with one or two sequences so exceptional that it is worth seeing the picture for them alone. Outstanding among these is of course the skiing sequence, by long odds the real highlight of the production in every way. As an example of spectacular action-camerawork amid spectacular settings — the mountains above Sun Valley— it is by far the best skiing film ever made in this country, and well worthy of favorable comparison with the all-time "tops" in this field — the preNazi German-made "Piz Palu" and Tsukamoto's "Mt. Zao." The processwork in this sequence adds measurably to its value; for that matter, the processwork certainly deserves screen credit. The second pictorial highlight is the concluding "black ice" skating ballet which, while it does not give the star the best of opportunities to display her skating skill, is a pictorial delight. Cronjager's treatment of the players — especially Lynn Bari and the strikingly slenderized Sonja Henie — is excellent. His introductory close-ups of Miss Bari are particularly lovely. Drastic cutting of the film's overly long drawn-out musical interludes would be beneficial. In their present form, however, they deserve study as remarkable examples of the artifices an ingenious cinematographer can draw out of his bag of pictorial tricks when faced with the problem of keeping things interesting in the screen when the script calls for a ten or twenty-minute interlude of so static and visually uninteresting a subject as a swing band in action. What Cronjager has been able to do to this end through the use of projected shadows, dh ersified camera-angles and the bizarre perspective-distortion of a 24mm. lens (especially in close angle-shots of trombone-playing bandleader Glenn Miller and his band's trombone section!) is a genuine achievement. But the picture, as a picture, would be much better if these sequences were shortened by half. The recording, by Alfred Bruzlin and Roger Haman, is excellent, especially in Glenn Miller's first musical number which starts the film off with surpassingly fine sound which, unfortunately, is never quite equalled in the succeeding numbers. WHEN LADIES MEET Metro-Gold wyn-Mayer Production. Director of Photography: Robert Planck, A.S.C. Robert Planck, A.S.C, makes this film a pictorial delight. His compositions and set-lightings make it one of the most decorative films we've seen in some time. His use of cast shadow-patterns on setwalls, for example, adds notably to the richness of the sets provided by Artdirectors Cedric Gibbons and Randall Duell. Visually, the picture is one of the most richly-mounted productions even M-G-M has turned out lately. Planck achieves very excellent moodlightings, keeping his treatment well keyed to the changing dramatic requirements of the story, which range from smart comedy to seriously dramaticscenes. His effect-lightings — especially one scene played almost entirely in silhouette, and the various night-effects — are very fine. The film makes extensive use of projected-baekground process-shots. It is really unfortunate that M-G-M does not give credit for the process-shots in this picture, for they are not only well above M-G-M's usual standard, but rank high among the best we've seen. In one shot, the definition and perspective of the background-plate might have been better coordinated with the foreground, and In the sailing sequence this reviewer felthat the agitation of the water in the immediate foreground could have been improved to good advantage. But in the main the process-work was a real highlight. On the other hand, it must be admitted that Planck's treatment of tinplayers was a bit uneven. He gives Joan Crawford by far the best photographic appearance she has enjoyed in a long time; but on the other hand, his treatment of Greer Garson — especially in her earlier scenes — is by no means so good. After seeing her in "Blossoms in the Dust," too, one inevitably misses the vibrant reality Technicolor gives this capable star. Planck's treatment of Herbert Marshall could at times be considerably improved, especially in some scenes where Marshall's movements took him from the usually soft front-lighting which most flatters him to an unduly strong cross-light or cross-back lighting, which momentarily added years to his appearance. Planck's diffusion technique might also have been more consistent; it would be an exaggeration to say that he seemed to use every known medium of diffusion at some time or another during the picture, but he certainly came close to it, interspersing heavily-diffused scenes with scenes shot with very little or none. Despite these comparatively minor faults, however, "When Ladies Meet" stands out as an outstandingly pictorial piece of camerawork — and fine entertainment, to boot. Available in tubes, each of which makes 16 ounces of working solution, a new Kodak Farmer's Reducer has been added to the Eastman line of ready-tomix formulas for photographic use. CLASSIFIED ADVERTISING FOR SALE FOR SALE THE WORLD'S LARGEST VARIETY OF Studio and Laboratory equipment with latest improvements as used in Hollywood at tremendous savings. New and Used. Mitchell, BellHowell, Akeley, De Brie. 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B & H, EYEMO, DEBR1E. AKELEY ALSO LABORATORY' AND CUTTING ROOM EQUIPMENT CAMERA EQUIPMENT COMPANY 1600 BROADWAY. NEW YORK CITY (ABLE: CINEQUIP WANTED: 400 FT. BI-PACK MAGAZINES. 1. B, Dyatt, Corvallis, Orel !."> I September, 1941 American Cinematographer