American cinematographer (Aug 1933)

136 American Cinematographer August 1933 PHOTOGRAPHY of the MONTH “SONG OF SONGS’’ Paramount Production photographed by Victor Milner, A.S.C. This production—despite the fact that it was made under a variety of difficult conditions—ranks with the best work that Cinematographer Milner has ever turned out. He gives his well-known lighting skill full play, and makes the most of the many opportunities afforded by sets, locations and ac tj on — n ot to mention doing marvelously by Marlene Diet- rich, the star, who has seldom, if ever, appeared to more photogenic advantage. “Song of Songs,” however, is primarily a study in pic- torial composition; almost every scene is a compositional gem, well worth the careful study of cinematographers ev- erywhere. The majority of these scenes, too, show the vital part which lighting and light-patterns can play in pic- torial composition. The major flaw that can be found with the production (aside from a weak story, about which the lay critics have already written a great deal) lies, to my mind, in Director Reuben Mamoulian’s misuse of the camera in the early se- quences. In this portion of the film, Miss Dietrich’s char- acterization is that of a simple German peasant girl; such a characterization is by no means advanced by the use of such a profusion of abnormal angle-shots as have been used. Admittedly, the sets for this sequence provided opportuni- ties such as would try the patience of a cinematographic Job: but Mamoulian's proven understanding of the funda- mentals of cinematics should have enabled him to resist these temptations, and hew strictly to the line of his story. ‘‘THE DEVIL’S IN LOVE” Fox Production photographed by Hal Mohr, A.S.C. There will undoubtedly be a strong difference of opinion regarding the dramatic worth of this production; but there can be no question of the fact that Hal Mohr, A.S.C., has contributed some of the finest cinematography seen in a long time. In addition to the rich quality that always char- acterizes Mohr’s work, “The Devil’s in Love ’ is an out- standing example of the fine art of utilizing chiaroscuro light-and-shadow patterns—for pictorial effect. There are many scenes which, without Mohr’s pictorial lighting, would have been ordinary to the point of worthlessness, yet which are made outstanding by masterly lighting. Memorable among these is a medium-shot of Victor Jory, the star, as a military court-martial pronounces sentence upon him: just a blank wall, with an immobile soldier standing in front of it; yet by casting upon the wall the shadows of the slanting rifles and bayonets of the guard, Cinematographer Mohr not only gives a striking pictorial effect, but establishes an at- mosphere of menace and oppression infinitely more telling than any act or word could portray. Later in the story, a sequence in which the sole illumination used is an ordinary flashlight proves of artistic and dramatic as well as technical interest. Some of the scenes in the tropical village are likewise excellent examples of high-key photography; they are highly atmospheric—one can almost feel the sultry heat portrayd. One of Mr. Winchell’s best orchids is due to Director Dieterle, for his camera-mindedness, and another to Art- Director Max Parker; but the balance of the bouquet is surely the due of Cinematographer Mohr, whose artistry makes he picture seem better than it really is. “THE MAN WHO DARED” Fox Production photographed by Arthur Miller, A.S.C. Sketchily episodic, perforce, this celluloid biography of the late Mayor Cermak of Chicago is made well worth see- ing by the intelligent direction of Hamilton McFadden, and by superb photography from the camera of Arthur Miller, A.S.C. The earlier sequences especially abound in striking pictorialism and rich atmosphere. The scenes of the Chicago fire, and the sequences in the colliery, especially, are not- able; not to mention the treatment—photographic and di- rectorial—of the mine-disaster. While the later sequences —laid in modern times—do not offer so fruitful a field for atmospheric pictorialism, they are none the less beautifully handled by Cinematographer Miller. “DON’T BET ON LOVE” Universal Production photographed by Jackson J. Rose, A.S.C. It has been some time since we have seen a picture from Cinematographer Rose, for due to an automobile accident he has been inactive for many months; but his recent pro- duction, “Don’t Bet on Love,” proves that his injury did no harm to his camera-craft. On the contrary, despite the limited opportunities vouchsafed him by the story, his work has improved. Always artistic, never conspicuous, it is a fine example of what the treatment of such a plot should be. There is also a most interesting series of optically- printed transitions at the start of the picture, planting the New York locale, and another similar one toward the end, wherein the hero’s easily-won bankroll is speedily dimin- ished at the race-tracks. Rose has handled the players ex- cellently (Ginger Rcgrs, in particular, should be grateful for his skillful lighting) , and made the most of everything placed before his lens. The only technical flaw in the production —an unusually poor crane shot—can hardly be traced to Rose’s door, for it is clear that he was in this instance over- ridden by the impatience of either director or supervisor, • Continued on Page 154) i I