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PHOTOGRAPHING THE PICNIC PARADE. Shamroy’s camera crew trains the Todd-AO camera on residents of Catfish Row in their Sunday finery as they start march to boat that will take them to picnic grounds. Exterior set was erected on sound stage, re¬ quired every illumination source of the studio to light.
**PORGY AMI PHOTOGRAPHII
Leon Shamroy’s extraordinar mood lighting and imaginativ photographic treatment “painting with light” at its bes
By ARTHUR E. GAVI
It isn’t often that a motion picture comes along that affords the camerman opportunity to embellish it pictorially in a manner calculated to heighten audience emotional response. Most of today’s productions call for reasonably straightforward photography, offering little or no oppor¬ tunity for imaginative pictorial treatment except, perhaps, for certain sequences that depend additionally on momen¬ tarily pointing up a mood through stylized lighting, a unique camera treatment or both.
As a stage production, “Porgy and Bess” probably has seen as many variations in presentation and treatment as any of the “immortals” of the footlights. It was logical, therefore, that Samuel Goldwyn and the great staff of creative artists he gathered together to put “Porgy and Bess” on the screen should seek to excel all previous presen¬ tations of this world-famous musical.
Despite extensive pre-production planning and the superb production design, art direction and costuming, Goldwyn’s “Porgy and Bess’ could never have become the great mo¬ tion picture that it is visually without the imaginative lighting and photography that causes this fine melodic masterpiece to unfold on the screen as a vast canvas on which the sets, costumes and the players themselves in a
THREE-TIME "OSCAR" WINNER Leon Shamroy, ASC, photo¬ graphed Samuel Goldwyn's "Porgy and Bess." Unlike with his photography of "South Pacific," Shamroy used no unusual color filters before the camera lens in photographing "Porgy and Bess."
sort of visual enchantment stir an emotional chord such as art devotees experience when looking upon a masterpiece of Ruebens, Rembrandt, or Gauguin.
There probably is only one cinematographer who could achieve this, and Samuel Goldwyn knew it when he sought out Leon Shamroy, A.S.C., to photograph “Porgy and Bess” in Todd-AO and Eastman Color. It was Shamroy who at¬ tained new heights in photographic achievement in filming the memorable “South Pacific” in Todd-AO and color —
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AMERICAN CINEMATOGRAPHER