American cinematographer (Aug 1936)

328 American Cinematographer • August, 1936 Wm. Mellor, A.S.C. self to the technique of confining dramatic narratives to small squares of sensitized celluloid. This long interneship term was climaxed by his participation in the filming of "Cleopatra," which brought the Academy Award for pho- tography to Milner for the 1934 production year. Then came his elevation to the full office of Director of Photography. It is well that young men aspire to the profession of cinematography and, as in Mellor's case, are willing to devote long apprenticeship periods to achieve practicing degrees. Soundly and rigorously trained as members of other professional callings, they bring to the art new vigor, enthusiasms, and artistic courage plus their thorough grounding in time-tested technique. And it is well that far-sighted studios hold forth this en- couragement to technicians now in minor posts who so an- onymously take hand in processing departments. Beyond doubt, here are the top-rank cinematographers of the future. William Rating W HEN Hollywood's younger generation of ace cine- matographers is censused, the name of William C. Mellor, A.S.C., must perforce be top-bracketed. Indeed, if the compilation be a chronological one he would be the lead-off member, for in years he is the youngest local practitioner of the cinematographic profession. He tips the age scales at a fraction over thirty-three. But the comparative paucity of his years has no reflec- tion in the dimensions of the celluloid creations that emerge from his camera. Productions of first magnitude are en- trusted to his talents and properly, for he has long since evidenced his capacity for rendering cinematic documents that stand the test of carping critics professional and pub- lic. He is a product of the Paramount lot, an alumnus of its laboratory. In this stern school he learned from long hours of first-hand contact the idiosyncrasies of negative following divorce from its camera. As an academy lead- ing to post-graduate cinematographic activities, work in the laboratory is hard to beat. It provides a practical founda- tion obtainable from no other source. Mellor still takes advantage of his earlier laboratory affiliations. Each morning at seven-thirty, during periods of production, he visits the laboratory and there inspects rushes from the day previous. Seven-thirty is practically the middle of the night for late-working studio personnel. But seeing rushes at that hour means any corrective meas- ures so revealed can be put into effect that very day, which spells for greater uniformity of excellence in finished prod- uct. He finds the investment of early hours amply justi- fied by ultimate results. Emerging from the confines of the laboratory some dozen years back, Mellor won a position as Assistant and then Operative Cinematographer under the guiding genius of Victor Milner, A.S.C. Manipulating camera mechanics un- der so able a master of the craft is a happy experience and intensive training for any ambitious artist and technician. He took advantage to fullest extent of this marvelous mentoring opportunity. Year after year he applied him- Oldsters by Harry Burdick During his relatively short stewardship of complete cam- era responsibilities, Mellor has evidenced a surprisingly wide range of creative capabilities. There is little liability of his being tabbed or labeled as a man of single-track abil- ities. Currently he is lensing "Champagne Waltz," an opus calling for the histrionics of Gladys Swarthout of operatic renown. A production of impressive proportions; but he progresses its filming with all the calm confidence and assurance of a quarter-century veteran. It is a Viennese operetta dealing with the transplanting of a Yankee jazz orchestra to a cafe adjoining the his- toric Waltz Palace. Here is delicate mood in soft high key, and one quite difficult to keep in precise balance. Of especial note is Mellor's adaptation of mood to in- terpret musical levels. As orchestrations shift from dreamy and seductive Viennese waltzes to strident syncopation, so does his mood alter in subtle manner. There is mood, Mellor feels, for varying degrees of intensity in musical ex- pression just as there is in range of dramatic rendition. His application of light as an accompaniment to musical scores opens new fields for modern interpretation of blended arts. Now showing is his previous work, "Poppy," a gay and sparkling comedy portraying the inimitable W. C. Fields. As with most comedies, it is in high key thot audiences may not miss a single omusing gesture. Here, more than Continued on page 336