American cinematographer (Jan-Dec 1948)

Current Assignments of A . 5. C. Members Members of The American Society of Cinematographers were engaged as Directors of Photography in the Hollywood Studios during the month of June, as follows: Allied Artists • Russell Harlan, "Last of the Badmen,” with Barry Sullivan and Marjorie Williams. Columbia • Burnett Guffey, "Undercover Man,” with Glenn Ford and Nina Foch. • Charles Lawton, Jr., "Walking Hills,” with Randolph Scott and Ella Raines. • Joseph Walker, "The Dark Past,” with William Holden and Nina Foch. • REX Wimpy, "Quick On The Trigger,” with Chas. Starret and Smiley Burnette. • IRA MORGAN, "Photo Finish,” with Gloria Henry and Stanley Clements. • Henry FreULICH, "Song Of India,” with Sabu, Gail Russell, Turhan Bey. Eagle-Lion • John Alton, "Red Stallion In The Rockies” (Cinecolor), no cast list available. • GUY ROE, "Inside The Wall,” with Lucille Bremer and Richard Carlson. Independent • George H. Robinson, "FBI Meets Scotland Yard,” with Dennis O’Keefe, Louis Hayward. • Gregg Toland, "Enchanted,” with Teresa Wright, David Niven, Evelyn Keyes. • George Barnes, "The Numbers Racket,” with John Garfield, Beatrice Pearson. • JACK Greenhalgh, "The Strange Mrs. Crane,” with Marjorie Lord, Pierre Watkin. • Ben j amine H. Kline, "Tucson,” with Jimmy Lydon and Penny Edwards. • Ernie Laszlo, "Some Rain Must Fall,” with William Bendix and Dennis O’Keefe. • JOE BlROC, "My Dear Secretary,” with Larraine Day, Kirk Douglas, Keenan Wynn and Rudy Vallee. • WlNTON Hoch, "The Three Godfathers” (Technicolor), with John Wayne, Pedro Armendariz, Mae Marsh. • Fred Jackman, Jr., "The Unbelievable” (Cinecolor), with Virginia Grey, Phillip Reed. • George Robinson, "Indian Scout,” with George Montgomery and Ellen Drew. • JACKSON Rose, "Bungalow 13,” with Tom Conway, Margaret Hamilton. Metro-ColdwynMayer • Hal ROSSON, "Command Decision,” with Clark Gable, Walter Pidgeon, Van Johnson, Brian Donlevy. • Charles Rosher, "Words and Music” (Technicolor), with Judy Garland and Mickey Rooney. • Ray JUNE, "Sun In The Morning” (Techni¬ color), with Jeannette MacDonald and Lloyd Nolan. • Robert Surtees, "Act Of Violence,” with Van Heflin, Robert Ryan and Janet Leigh. • Joe Ruttenberg, "The Bribe,” with Robert Taylor, Ava Gardner and Charles Laughton. • CHARLES Schoenbaum, "Little Women,” with Janet Leigh and Robert Ryan. RKO • J. Roy Hunt, "Brothers In The Saddle,” with Tim Holt, Richard Martin and Carol Forman. • ROBERT DeGrasse, "Baltimore Escapade,” with Robert Young, Shirley Temple and John Agar. Monogram • Harry C. Neuman, "Silver Trails,” with Jimmy Wakely and Christine Larson. Paramount • Daniel Fapp, "Sorrowful Jones,” with Bob Hope, Lucille Ball and Mary Jane Saunders. Twentieth Century-Fox • JOE MacDonald, "Yellow Sky” (Techni¬ color), with Gregory Peck and Anne Baxter. • Arthur Miller, "Letter To Three Wives,” with Jeanne Crain, Linda Darnell, Ann Sothern, Jeffrey Lynn and Paul Douglas. • HARRY A. JACKSON, "Chicken Every Sun¬ day,” with Dan Dailey, Alan Young and Ce¬ leste Holm. • Harry A. Jackson, "Burlesque” (Techni¬ color), with Betty Grable, Dan Dailey and Jack Oakie. • Charles Clarke, "Sand” (Technicolor), with Mark Stevens, Coleen Gray and Rory Cal¬ houn. UniversalInternational • Edward Cronjager, "The Countess of Monte Cristo,” with Sonja Henie, Olga San Juan and Dorothy Hart. • Russell METTY, "You Gotta Stay Happy,” with Joan Fontaine and James Stewart. • Arthur Edeson, "The O’Flynn,” with Douglas Fairbanks, Jr., Helena Carter and Richard Greene. • William H. Daniels, "Family Honey¬ moon,” with Claudette Colbert and Fred MacMurray. • Frank Planer, "Criss Cross,” with Burt Lancaster and Yvonne DeCarlo. • IRVING Glassberg, "Black Velvet” (Techni¬ color), with Ann Blyth and George Brent. Warner Brothers • Ernest Haller, "My Dream Is Yours” (Technicolor), with Jack Carson and Doris Day. • J. Peverell Marley, "Silver Lining” (Technicolor), with June Haver, Ray Bolger and Gordon MacRae. • Ted McCord, "June Bride,” with Bette Davis and Robert Montgomery. • CARL Guthrie, "Girl From Jones Beach,” with Ronald Reagan and Virginia Mayo. • Charles Clarke, "The Younger Brothers” (Technicolor), with Wayne Morris and Janis Paige. • Sid Hickox and Wilfred Cline, "Fighter Squadron” (Technicolor), with Edmond O’Brien and Robert Stack. • Elwood Bredell, "South of St. Louis” (Technicolor), with Joel McCrea, Alexis Smith and Zachary Scott. NOTICE TO A. S. C. MEMBERS A general meeting and banquet for all members of the A. S. C. will be held at the Clubhouse in Holly¬ wood Monday evening, July 12th, at 8:00 p.m. On that evening the A. S. C. will be host to special guests from Metro-Goldwyn-Mayer studios. BERLIN EXPRESS’ (Continued from Page 233) cohorts, the scene becomes clear again and the action continues. The effect is startling in its originality. In another sequence two characters, during the course of a fight, fall through the top of a huge beer vat and continue their struggle in the brew below. A third combatant stands atop the vat and watches them through the gaping hole which they made in falling. The shot of him taken from below shows him framed by the jagged hole, his height exaggerated by the steepness of the angle. The overall effect is a striking and dramatic composi¬ tion. In the climactic sequence of the pic¬ ture, Merle Oberon and Robert Ryan stand talking in the compartment of a train just as it is preparing to pull out. Through the window of their compart¬ ment, and reflected intermittently by the windows of a train passing on the adja¬ cent track, the audience can see Charles Korvin attempting to strangle Paul Lu¬ kas, the struggle apparently taking place in the compartment adjoining that occu¬ pied by Ryan and Miss Oberon. In order to create this special effect, the struggle between Korvin and Lukas was first pho¬ tographed in a straightforward manner. Then this film image was reflected into the windows of a passing minature train and re-photographed as an enlarged proc¬ ess background. The resulting composite background was projected outside the train window in the conventional man¬ ner and the action of Ryan and Miss Oberon photographed against it. The ef¬ fect on the screen is uniquely original. In suspenseful, entertaining "Berlin Ex¬ press,’ Lucien Ballard proves again that the imaginative and resourceful cinema¬ tographer doesn’t always need the con¬ veniences of a Hollywood studio to turn out a first rate job of photography. MOVIES FOR MONEY (Continued from Page 237) For instance, there are golfers, swim¬ mers, tennis players and high school and college athletes who can improve their form and technique when aided by anal¬ ysis films made of them in action. Ath 250 July, 1948 American Cinematographer