American cinematographer (Jan-Dec 1942)

A^S.O on Parade Vern Walker, A.S.C., RKO's big yacht and trick-shot man who some time ago volunteered the services of his boat and himself to the Coast Guard's volunteer coastal patrol has been promoted to Vice-Commander of his unit, officially Coast Guard Volunteer Flotilla 23. Nice work, Skipper! • James Wong Howe, A.S.C., is in a unique quandary, with offers of a commission, so we understand, from no less than three military organizations — the photographic sections of the U. S. Army, the U. S. Navy, and the Chinese Army. Meantime, he's very busy, thank you, having just finished Warner's hard-luck picture, "The Hard Way," and immediately starting their $2,000,000 air-war special, "Air Force," which will keep Jimmie plentifully tied up for the next two or three months glorifying Uncle Sam's War Birds, with unprecedented cooperation from the Air Force. • "Air Force," incidentally, had been scheduled for "Tony" Gaudio, A.S.C., up to the time his recent appendectomy gave him an enforced vacation. Everyone will be glad to know that the popular "Tony" is now out of the hospital and well on the road to complete recovery. "Tony," on his part, is beaming over the way his pal Jimmie Van Trees, A.S.C., is earning executive bouquets for his work on "You Can't Escape Forever," which he took over on short notice when "Tony" was rushed to the hospital. • Over at Columbia, George Meehan, A.S.C., gets the honor of directing the photography of that studio's first Technicolor effort, "The Desperados." Knowing what George can do on even a program "Western" in black-an-white, we're looking forward to seeing his performance on this Technicolor special. Looks like one case where "let George do it" is a good policy! • Karl Freund, A.S.C., has moved to his new ranch in the San F'ernando valley, and says he loves the simple life out there among the cows and chickens. Karl steadfastly denies implications that he bought a chicken-ranch to assure himself a supply of eggshells to make the domes of his favorite "Norwood" meters. For the next several weeks, anyway, he'll be busy with quite another type of chickens (non-feathered. Culver City variety) as MGM has assigned him to glamorize their big musical, "Du Barry Was A Lady." • Lee Garmes, A.S.C., says one reason why he bought his present house was that there's a public mail-box right in front of his home — perfect insurance against forgetting to mail a letter for the better half! Charles Lang, A.S.C., watching with quiet amusement as director Mitch Leisen does a regular Abbott-andCostello routine when he gets tangled in the camera-tape between scenes of "No Time for Love." • Bob Planck, A.S.C., draws the assignment to "Reunion" at MGM, while Bill Daniels, A.S.C., does likewise on "Keeper of the Flame." There'd be a photographic treat for any double-bill! • Paul Ivano, A.S.C., goes out to Monogram to toss shadows around for their horrific, "The Isle of Terror." • Leo Tover, A. B.C., goes solo Technicolor-wise filming "Star Spangled Rhythm," for Paramount. Add rubber-savers: Fred Jackman, Jr., A.S.C. Notice the surprise of his dad, A.S.C.-Prexy Fred Jackman, Sr., when Fred, Jr., rolled into the A.S.C. parkinglot on a shiny new lightweight motorbike instead of the usual big Chrysler! • With the recently-completed "Eagle Squadron" eliciting all sorts of critical compliments, Stanley Cortez, A.S.C, goes right back to Universal (on loan from David 0. Selznick Productions) to photograph Charles Boyer's first producing venture, "Flesh and Fantasy." • A last-minute switch in assignments puts Rudy Mate, A.S.C, instead 6{ William Mellor, A.S.C, on Bob Hope's "They Got Me Covered" for Sam Goldwyn, while Billy goes over to Columbia for Lester Cowan's "The Commandos Come At Dawn," incidentally drawing a location trip to British Columbia just at the time a lot of us wish we had the time (and the tires!) to go a-vacationing there. • Harry Wild. A.S.C, and "Duke" (Jreene, A.S.C, back from their long trek to Brazil with Orson Welles. They report Brazil a great place to visit, but they prefer Hollywood for picture-making . . . Maybe they just didn't learn the right words in Portuguese! Silas E. Snyder WITH profound regret we chronicle the passing of Silas Edgar Snyder, Editor of The American Cinematographer from 1921 to 1922 and again from 1927 to 1929, who died July 13th after a four-year illness. Active as well in the conduct of other phototechnical publications in the industry, "Si" Snyder was known and loved by every member of the camera profession. When he came to this magazine after a long and successful career as a journalist and motion picture publicist, he found it a shaky little semi-monthly newspaper which hardly justified even the term "house organ." When he left it, he had built it into a substantial technical monthly well on its way to becoming the world's foremost motion picture technical publication. It is not too much to say that without "Si" Snyder's guiding hand during its formative days. The American Cinematographer might probably have died before getting well started. But it is not so much for what he did that "Si" Snyder will be remembered, but for what he was. Kindly, chivalrous, loyal, "Si" Snyder was in the best sense of the term, a fine gentleman of the old school. Never in word or deed would he do anything intentionally to hurt a fellow-being, and his own warm greeting and courtly manner when you entered his office made you feel he felt himself genuinely honored by your visit. His loyalty was unswerving; President Fred Jackman tells of an incident in the early days of the A.S.C. when it was discovered that if Snyder's salary were paid that week, the rent could not be, and Snyder unhesitatingly replied, "That's all right, Fred, pay the rent of course," though he needed the money himself. Yes, "Si" Snyder will be remembered, and mourned. Though his old-world manner and ideals may have fit ill with these latter days of speed and high pressure, they made all who knew him feel just a bit better for knowing that humanity could produce so fine i man. Merritt B. (ierstad, A.S.C. joins the Warner camera staff, filming "The Watch On The Rhine." • With Ted Tetzlaff. A.S.C, directing the photography of the Fred AstaireRita Hayworth picture "You Were Nev-^r Lovelier," we'd say the title was uncommonly appropriate. 354 August, 1942 Amekican Cinematographer