International photographer (Jan-Dec 1934)

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As a Class of Artistic Craftsmen, the Cameramen of the Motion Picture Industry Are Considered to Be Unexcelled in Efficiency. THE CAM Vol. I. MONTHLY NEWS OF PRODUCTION DOINGS AT COLUMBIA By BOB TOBEY "BLACK MOON," directed by ROY NEILL. Joe August is captain of the Light Brigade on this Neill thriller. His lieutenant is Dave Ragan, with Marcel Grand and Tack Andersen as Privates. Irving Lippman gets in the way as usual with his Dark Hazard (still camera to the uninitiated), Eddie Bernds gathers in the weird noises, Stanley Dunn knurses the knecessary knick-knacks (props, of course), and Eddie Blaisdell is grip. This black and jungleerie tale about the hoodoos of the Voodoos pays the kudos to a grand cast including Jack Holt, the very charming Fay Wray, Dorothy Burgess and little Cora Sue Collins, who probably gets ENTIRELY eaten up by nasty vampires or something. But don't worry about it, as I haven't read the story. I COULD be wrong. The boys have been trying to work a little black magic on the indefatigable Roy Neill, but to no avail, as he continues to work every night right up to the last gong. And that's a little tough, especially on the camera crew, what with bending over all the time to get Roy's pet shots right off the ground or shooting through holes in the roof. Ragan claims two more Neill pictures would give him a physique like an angle worm, the way he has to twist and turn for weird camera angles. But it's all fun — to look back on ! R-K-0 "FIRE PATROL," directed by ROSS LEDERMAN. Al Siegler has been truant from Columbia for some time, but he came back this month to handle the peepsight on this Tim McCoy scorcher. His fellow firefighters were Henry Freulich as operative cameraman, and Al Keller and Jim Goss as assistants. Earl Crowley grabbed the lobby displays, George Cooper dished up the microphone soup, George Rhein prandled the hops — I mean dandled the cops, er, coddled the hams — oh, there I go again. You know what I mean. He wasn't the head grip, because Al Becker was. Those out among the flames were Tim McCoy, Evelyn Knapp, and Ward Bond. Tim played the man in the red tin helmet and ran in at the crucial moment to save Evelyn from a fate worse than death with a dash of arson thrown in. I was around when Ross Lederman started his big fire scenes and believe me they were the real McCoy. Heigh-ho ! Al Keller says it got so hot by his camera that he was expecting the focus-changing device to melt in his hand. SPECIAL CAMERAGRAM NEWS FLASH— Henry Freulich finally gets Big Break. Columbia has long had an eye on Henry as good timber for advancement and this month George Seid assigned him a comedy short as his initial adventure as chief cinematographer. The picture is "GET ALONG LITTLE HUBBY," directed by Ray McCarey and supervised by Jules White. This is a real promotion picture — it is Jules White's initial effort as supervisor, Columbia having just moved him up from a director's berth. Freulich has with him lack Thompson as operative cameraman and Al Keller and Jim Goss take care of the assisting. Irving Lippman transfers his Dark Hazard to this picture; Homer Planett puts forth his best artistic efforts as gaffer to help put Freulich across ; George Cooper (that blonde menace gets in everywhere) twiddles the dials ; Tommy Flood carries the torch (assistant director) and Frank Foster handles the props. Walter Catlett heads the cast of the picture and I think Catlett is stellar comedy material. He bounds around in a series of white sets that are giving Freulich a headache as regards photography, but George Seid says white sets are a great saving on developer — you just have to wave the film over it. Everyone is rooting for Henry and I'm predicting he will be eminently successful, because he is a conscientious worker as well as a real artist. "WHOM THE GODS DESTROY," directed by WALTER LANG. Ben Kline is peering through the blue glass — am I ashamed ; I mean the pan glass — at this one. F. M. Browne, Fred Dawson and Jack Russell give him their customary able support. Bill Fraker makes some of his 8x10 paintings-in-light for the picture, Dave Selman has returned to the lot as assistant director, by which all are greatly pleased, and Jerry Franklin also returns as script girl after an absence of well over a year. Must be Old Home Week. Walter Meins lends his brawn and Lambert Dav is Big-Ears, the mixer. I couldn't find any gaffer on the picture, but Howard Robertson tells me he holds the position of chief illuminating technician. I still don't see how a cameraman can get along without a gaffer. In the cast are Walter Connolly, Robert Young. Doris Kenyon, Rollo Lloyd and a new child actor by the name of Scotty Beckett. Little Scotty "COCKEYED CAVALIERS." Authors, Edward Kaufman and Ben Holmes; screenplay by Ralph Spense; director, Mark Sandrich; assistant, Argyle Nelson; first cameraman, David Abel; operative cameraman, Harry Wild; assistant, Charles Straumer; stills, Gaston Longet. Cast: Wheeler and Woolsey, Thelma Todd, Dorothy Lee, Robert Greig. "MURDER ON THE BLACKBOARD." Author, Stuart Palmer; director, George Archainbaud; first cameraman, Nick Musuraca; operative cameraman, Frank Redman; assistant, Willa.d Booth; stills, Ollie Sigurdson. Cast: Edna May Oliver, James Gleason, Bruce Cabot, Gertrude Michael, Regis Toomey, Edgar Kennedy, Tully Marshall. "SOUR GRAPES." Associate producer, Myles Connolly; author, Vincent Lawrence; screenplay by Ernest Pascal; director, Worthington Minor: first cameraman, Roy Hunt; operative cameraman. Eddie Pyle; assistant, James Daly; stills, Robert Coburn. Cast: Diana Wynyard. Clive Brook, Bruce Cabot, Ada Cavell, Steffi Duna. "VERGIE WINTERS." Producer, Pandro S. Berman; author, Louis Bromfield; screenplay by Jane Murfin; director, Alfred Santell; first cameraman, Lucien Andriot; operative cameraman, Pierre Mols; assistant, Kay Norton; stills, John Miehle. Cast: Ann Harding, John Boles, Helen Vinson, Betty Furness, Molly O'Day, Creighton Charley, Sara Haden. "OF HUMAN BONDAGE." Screenplay by Lester Cohen; director, John Cromwell; assistant, Dewey Starkey; first cameraman, Henry Gerrard; operative cameraman, Robert De Grasse; assistant, George Diskant; stills, Alexander Kahle; recording engineer, Clem Portman. Cast: Leslie Howard, Bette Davis, Reginald Denny, Alan Hale, Reginald Sheffield. MACK SENNETT "FIGHTING TO LIVE." Producer, Sol Lesher; author and screenplay by Bob Ives; director, Ed. Kline; assistant, Doc Joss; first cameraman, Frank B. Good; assistant, Leo Hughes; stills, Warner Bill Crosby; recording engineer, Harry Bellos; chief grip, Ray Bouc. Cast: Marion Schilling, Gaylord Pendleton, Eddie Phillips, Reb Russell. nearly disrupted the smooth flow of the picture the other day by finding on the set and totally consuming a whole box of ex-lax. The staff was a little anxious as Scotty was in every scene the next day, but he weathered the situation perfectly, to the disappointment of those who were hoping for a day off. Heigh-ho, another treasured theory exploded. Brownie is still struggling to lift the mortgage off the old Leica. Dawson and Russell are still struggling to lift the Leica. Ben Kline is having his troubles too. He has a lot of trick shots coming up later in the picture where he'll have to just about run the camera forwards, backwards, and sideways all at the same time to accomplish the illusion that is wanted. Notice all the gray hairs next time you see him. But I've seen Benny weather tougher ones than that, so be smart and don't send flowers prematurely. "ONE NIGHT OF LOVE." If you want to find out about Joe Walker and his crew you'll have to refer to my column in last month's INTERNATIONAL PHOTOGRAPHER. They are still working on "ONE NIGHT OF LOVE," the musical directed by Victor Schertzinger and starring Grace Moore with Lyle Talbot. The final scenes are being shot as I write this. Miss Moore is so enthusiastic over Joe's photography that she recently presented him with one of the most beautiful electric clocks I have ever seen. Now Joe will have more time between pictures. Catch on? Ouch ! The entire crew received presents of appreciation from the star. But these were not needed to win their respect and admiration, for she had it already by reason of her lovely voice, her sincere efforts and her charming personality. The complete proscenium and part of the wings and seating plan of the Metropolitan Opera House in New York were duplicated by the Art Department for use in the picture. They occupied the whole of Columbia's largest stage. Joe has been receiving compliments on the beautiful lighting effects he obtained in such a tremendous set. But Columbia is going to have to stop making these long-schedule pictures. I run out of copy. MOVII Us kids is makin' pictu There's Me an' Sam, an' Dot. 'Sides a leadin' actor, ar We got a cowboy diked Sam Simpkins is our car I holler through my me; We got Doug Fairbank ford, too, Dave Griffith isn't there Most kids' actin's kind. But when they do jest Yeh act best when the; Yeh oughto see'm put But actors is tem-per-m Each holler'd for his fav Some wanted th' "Coveri Yeh couldn't hardly hea made, So I called'm down wi they's at. An' I was a he-directo Dad says I'm full of eg But I'm strong for mad y .he ski -tall ponl I i m do; -ra te; W vcj MISCELLANEOUS Ray Fernstrom packed a Technicolor calri under his arm and on April 14 left for Eu>e His destination is Holland, where he will pto graph a travelog for Fitzpatrick. Lycka pa rm Ray! Ray Rennahan is in charge of camerasE9 Technicolor at Warner Brothers First NaSial Studios, where a series of shorts is in produpn, Associated with Mr. Rennahan is Willford Ce. Phil Tannura, one of THE cameramen of JS land, is in Hollywood for a stay of several » Welcome home, Phil. We hope you won't be if appointed in our village. Charles Rosher has been receiving quite bouquets from the critics for his work in Twentieth Century production, "Firebrand." So many cameramen have turned nautical ing the past three or four years that the Cii tographers' fleet at Los Angeles Harbor is aw as large as the Swiss and Abyssinian navies ~ bined. Nearly all the boats are seaworthy should afford ample protection to the West while our war fleet is in the Atlantic. Harry A. Mimura, our talented young Jap* assistant, has gone to Nippon for a prolongej; journ. While there he will be engaged in ;? production work. Mrs. Mimura accompanies* Dan Clarke, who has been in Hawaii cinenog ing for M-G-M, is expected to return soon, j Len Powers is assisting Eddie Tanak; "'