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16
THE AMERICAN CINEMATOGRAPHER
February 1, 1922
Little Close -Ups of the A. S. C.
In these little sketches of the members of the A. S. C., no attempt has been made to give more than a casual glance at the records of the men.
Every member is worth many pages of space, but lack of data, time and room make such treatment impossible.
In subsequent issues of The American Cinematographer the careers of the members will be printed at length when justice will be done to all.
ALLEN M. DAVEY
CHARLES ROSHER
^LLEN M. DAVEY, A. S. C., has been eight years in the cinematographic harness. Of that time he spent fifteen months as a soldier in the service of Uncle Sam
during the great war but he came out all right and is glad of the experience.
Do you remember that good picture of several years ago, "The Three Godfathers?" Ed Le Sainte directed and Allen Davey "shot" it. It was one of the "best sellers" of those days and was particularly noted for its unusually fine photography. For two and a half years Le Sainte and Davey double teamed and never was there more perfect co-operation between director and cameraman, all of which redounded to the benefit not only of themselves but to the producers of the pictures they made.
Mr. Davey photographed the Hayakawas in "The Soul of Sura San" and "Each to His Kind," two of the most interesting of the Japanese star's productions. After this he did two pictures for Morosco featuring Louise Huff and House Peters. These were followed by "The Weaker Vessel" featuring Mary MacLaren; and "The Blue Bonnet" and "The Kentucky Colonel," both National productions. Mr. Davey then went for one picture to the Edna Schley Productions and when this was finished signed up with Realart to photograph the special productions featuring Mary Miles Minter.
Mr. Davey has had laboratory experience and is a cinematographer who is thoroughly master of his job.
(]HARLES G. ROSHER, A. S. C, has been with America's Sweetheart so long that one cannot imagine anyone else behind the camera when Mary acts in the
movies. There's a reason, no doubt, for Mary is not only the headline actress of the screen, at least so far as this world is concerned, but she is also the smartest business woman in Filmania.
Anyhow Charles G. has been at the crank ever since Mary made "Love Light" and that seems a long time ago, doesn't it? Then came "Suds," "Pollyanna" and "Through the Back Door" after which Mr. Rosher was given leave of absence to picturize "Dinty" for Marshall Neilan. This was while Mary was getting ready to produce "Little Lord Fauntleroy." When the extensive research and preparation for this production was ready Mr. Rosher ' carried his camera back to the Brunton lot and photographed Mary's masterpiece which was particularly mentioned for its photography.
The American Cinematographer has been asked many times how Mr. Rosher succeded in making Marv look taller as Dearest than she did as the Little Lord, but Mr. Rosher will have to answer that when he returns from Italy where he was called to film a great production for an Italian company. He is expected to return to America in time to film Mary's next picture, a new picturization of what many critics have pronounced her finest acting vehicle, "Tess of the Storm Country."