American cinematographer (Jan-Dec 1962)

Record Details:

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Eugen Shuftan Photographed “THE HUSTLER” Eugen Shuftan is the only non-Hollywood Director of Photography in the Cinematography Nominations this year. Born in Breslau, Ger¬ many, in 1886, Shuftan emigrated to the United States and subsequently was employed in vari¬ ous film studios both on the West Coast and in New York City, where he has worked for the past several years. (As we were going to press, Shuftan was in Europe photographing "Captain Sinbad” for King Brothers, and therefore was unavailable for a photo or comment upon his nomination and biography.) “The Hustler,” which he photographed in New York for 20th Century-Fox, demonstrates a smoothly professional technique in the pho¬ tography, with skillful lighting and framing of the camera studiously contrived to point up the smoke-filled, sweat-laden atmosphere of the pool halls, shabby flats and bus stations in which much of the story action takes place. The sharply-etched black-and-white photography emphasizes the tawdry textures of these locales, and reflects the inexorable hopelessness of the dspairing human beings moving within them. Shuftan has no previous nominations nor Academy Awards to his credit. Other recent productions which he photographed include “Something Wild,” U-A; "Le Couple,” a French film; “Les Yeux Sans Visage” and “La Tete Centre Les Murs,” also made in France by French studios. Franz Planer, A.S.C. Photographed “THE CHILDREN’S HOUR” I Before Franz Planer was made a Director of I Photography at the old UFA Studios in Berlin, I in 1932, he had been a German newsreel camI eraman with ten years’ photographic experiI ence. Planer, like many of his countrymen, I fled Germany with the advent of Hitler. He was I brought to Hollywood by Jack Cohen of ColumI bia Studios, and talent agent Paul Kohner. His I first notable assignment in Hollywood was phoI tographing Stanley Kramer’s “Champion,” for I which he received his first Academy Award I nomination. Subsequently he received nominaI tions for the photography of “Death of A i Salesman,” 1951; “Roman Holiday,” 1953; and I “The Nun’s Story,” 1959. I He has been honored four times with Film I Daily’s Filmdom’s Famous Fives Award, received I a Look magazine award in 1951, three HollyI wood Foreign Correspondent’s Golden Globe I Awards, as well as several awards from for I eign countries. I “The Children’s Hour” was photographed in I black-and-white in the CinemaScope format. I Of his technique. Planer says: “I always aim I to photograph the story, not the picture and I to have complete freedom to create for each i picture my idea of the mood best befitting it I and thus underscore the dramatic moments I to best advantage.” I In “The Children’s Hour,” precisely conI trolled low-key lighting, unobtrusive camera I movement and sharply selective camera an1 gles point up the intrinsically tragic mood of I this highly dramatic story. Exterior sequences are comparably subdued in treatment as an ex¬ tension of the overall somber atmosphere estab¬ lished in the interiors. Harry Stradling, Sr., A.S.C. Photographed “A MAJORITY OF ONE” I Harry Stradling, Sr., who won his first and I only Academy Award to' date in 1945 for the I photography of “The Picture of Dorian Grey,” I has been a contender on nine different occaI sions. He has received the Academy’s NominaI tion Certificate for “The Human Comedy,” 1943; I “Picture of Dorian Grey,” 1945; “Barclays of I Broadway,” 1949; “A Streetcar Named Desire,” I 1951; “Hans Christian Andersen,” 1952; “Guys I and Dolls,” 1955; “The Eddie Duchin Story," I 1956; “Auntie Marne,” 1958; and “The Young I Philadelphians,” 1959. I Stradling entered the motion picture busiI ness in 1917 as an assistant cameraman in I New York. He was made a Director of Photog I raphy at the old Whitman Bennett Studio in I Yonkers in 1920. His work on Hollywood feaI tures began at M-G-M Studios in 1946 with I “Till The Clouds Roll By” which he co-photoI graphed with George Folsey, ASC. After four I years at M-G-M he began free-lancing, and I thereafter worked in various studios in HollyI wood. Pictures he recently photographed inI elude “Gypsy,” “Five Finger Exercise,” “A Mai jority of One,” “Parrish,” and “A Summer I Place.” Imaginative application of camera techniques and masterful lighting combine to give loca¬ tion authenticity to “A Majority of One,” which was photographed entirely on the sound stage. In addition, unobtrusive camera movement adds much to the graphic flow of the story. Stradling photographed this production in the 185-to-l aspect ratio with Eastman Color negative. AMERICAN CINEMATOGRAPHER, APRIL, 1962 227