American cinematographer (Mar 1933)

March 1933 • American Cinematographer 17 K3 and No. 1 Diffusion Filter The climatic sequences played in the dungeons of the arena are exquisite examples of Struss’ powerful cinema- tography, almost equal in conception to come of the works of a Michelangelo. The orgy sequence, too, gains a deal of richness from Struss’ camerawork. The limitations of the budget are scarcely noticeable in the matter of production value. One would estimate that an unusually large percentage of every dollar of production cost has actually reached the screen. It is a crying shame, however, that financial considerations precluded the use of natural-color cinematography for at least the latter part of the film, if not indeed for its entirety. Never have I seen a production more ideally suited to Technicolor or Multicolor: lavish spectacle, with glowing, colorful costumes and the most sumptuous of settings—the whole simply begging for the climaxing touch of today’s perfected natural-color processes. Color would, of course, have been especially a boon in the sequences at Nero’s court and at Marcus Superbus’ orgiastic revel; but there is not a single scene which would not have benefited greatly from the understanding use of color. And one cannot forget the beauty of the colored sequences in deMille’s earlier “The King of Kings”. At the very least, a more adequate use might have been made of tinted-base positive film. As released, the entire footage of the production was printed on “Candleflame” stock, which detracted, rather than added to the beauty of the best scenes, and immeasurably injured the poor ones. A great deal too much use was made of the moving camera, especially in the earlier sequences, though in the latter part of the picture this device was used effectively and with proper restraint. The climatic sequences of the production—those in the Arena and in the dungeons below it where the little band of Christians awaited their turn to go out and be slaughtered—both photography and direc- tion lent a degree of power to the action: but a far greater effectiveness could have been achieved had suggestion been substituted for realism in many instances, and had the Eisenstein montage-technique been substituted. Involv- ing, as it did, so much of mass-effects, “The Sign of the Cross” could have been made infinitely more powerful had the director made more understanding use of rhythm— rhythmic motion, rhythmic cutting, and rhythmic interplay of dialog, sound-effects and scoring. It is unfortunate that in this instance greater use could not have been made of this basic principle of the cinema—especially when it would undoubtedly have resulted in considerable economies in production. “ROME EXPRESS” photographed by Gunther Krampf. “Rome Express” is a picture that should be seen by everyone connected with the motion picture industry: it is the first British picture thus released in this country which is entirely the equal of American production in every way, photographically, technically, and dramatically. The camerawork of Gunther Krampf, one of Europe’s foremost masters of the camera, is superb throughout—the more so since 90% of the action takes place in the crowded con- fines of a railroad train. His compositions and lightings are excellent, and he does not adhere to the usual European custom of lighting his sets first for mood, and secondarily for the characters; he achieves a fine combination of visual mood and excellent personal lightings. This production, too, is the first European film td make any extensive use of the transparency-projection process: and since it is the custom there for the production cinematographer to handle all of the process work as well, Herr Krampf deserves another of Walter Winchell’s orchids for this achievement. “THE MASQUERADER” photographed by Gregg Toland. This production is beautifully mounted and tastefully photographed. Gregg Toland’s handling of the dual-role sequences with Ronald Colman is particularly notable even in this day of fine photography. His effect-lightings and fog-effects are also extremely fine. “THE WOMAN ACCUSED” photographed by Karl Struss, A.S.C. Whatever may be said about the other phases of this production little criticism may be levelled at Struss’ camera- work. It is excellent throughout, displaying fine feeling and his usual fine technique. There are several scenes in which his use of lighting, etc., commend themselves to the amateur. For example, in scenes (night-effects) made on the deck of a liner, he employs the ripply reflections from water to suggest that the ship is at sea; not logical perhaps, nor technically correct, but very telling dramatically. No. 1 '/2 Diffusion Filter