International photographer (Jan-Dec 1936)

Twenty-six The INTERNATIONAL PHOTOGRAPHER December, 1936 rr The Garden of Allah" in the Magic Vestures of Technicolor By Herbert Aller 1RODUCER DAVID O. SELZNICK'S first Technicolor venture, "The Garden of Allah," based on that story written some thirty years ago by Robert Hichens, will soon be internationally released. A gigantic undertaking avoided by so many other producers, this production unquestionably justifies the phrase: "Technicolor has spoken." From the opening scene to the closing sequence the rapture of seeing nature's beauty belongs to the cinema attendant. A refugee from a Trappist monastery, Boris Androsky, played by Charles Boyer, meets Domini Elfden, played by Marlene Dietrich, during a fracas in a small Arabian city on the great continent of Africa. From here the screen play treatment brings these two together, marriage finally ensuing. The fear that he has not kept his vow breaks Androsky's spirit until, under torturing circumstances, he reveals the truth to his divine wife. Both then agree that Androsky shall return to the monastery, and as the conclusion, parallel to many of the operas with mythical stories, the picture comes to an end as both husband and wife embark on their endowed missions. Boyer's role is a difficult one. To portray a man fleeing from God — a human who has renounced his fate, Boyer had to be photographed so that his maddened but pitiful eyes express his bewilderment. In contrast, his face denotes complete estrangement from the world, yet soft and tender from years of isolation in sacrilege. Through the medium of Technicolor the picturization reaches the acme of stark realism. Dietrich is more beautiful than ever. Her clothes first white, then blue and again different, are abundant with splendor. The locale of the picture is in the Great Sahara Desert, a photographic subject that in color gives rise to indescribable beauty. During the screening of the picture it was hard to conceive that the sky of faint blue, faintly seen through the reflection of the intense sun, against the vaporous white clouds hovering above a silhouetted caravan of horses and camels, was photographed and not painted. The sunset scenes are magnificent. Whereas we are accustomed to the white backgrounds and black shadows, "Garden of Allah" represents a transition. It is replete with sharp color schemes blended in harmonious form; for the cinemaddict it is a photographic symphony. Producing this epochal work required careful and meticulous preparation. For the directorial position Richard Boleslawski was selected. When the script was completed conferences were held and it was definitely decided that the location should be Yuma, Arizona. That alone did not end the producer's problem. A modern city was built on the sand dunes of Arizona, proper food had to be supplied, housing conditions were not to be secondary and hospitalization requirements were urgently considered because of the unbearable heat and blinding sandstorms. Hundreds of technicians and different units of cameramen were compelled to work under unforgettable conditions. Marlene Dietrich collapsed on one occasion. All in all, when the men boarded the train for their return to Hollywood there was passive rejoicing. This picture really belongs to the cameraman. As one surrounded by these highly skilled, selftrained technicians (photography is a study, not a trade) I realize how obvious and ludicrous it might be to heap praise endlessly upon these men, yet to commend them for their fine work as a group under the unerring leadership of D. Howard Greene, for this photographic masterpiece, is within the realm of my license. With Howard Greene there were second cameramen Lee Davis and Roy Clark, assistant cameramen Nelson Cordes and Thad Brooks. There was a second unit under the supervision of Wil Cline with Second Cameramen Allen Davey and Roy Masgrave and assistants John Hamilton, Robert Carney, Al Cline, Roger Mace, Fred Detmers, Peter Keane and Clarence Slifer. The work of the still cameramen, considered by photographers as the most difficult of all cinematography, though often unimportant to the performers— yet of extreme significance to the producer, was handled by still cameramen Elliott and Alexander. Their work was exceptional and has brought praiseworthy comments from many interested "movieites." To the Technicolor organization, I must say they have worked and earned the praise of Cinemaland. Not to be overlooked is Bob Riley, that amiable and likeable chap who devotes his time to working side by side with the cameramen of his department. Producer Selznick has commenced producing his second Technicolor picture, entitled "A Star is Born," featuring Frederic March and Janet Gaynor. Again D. Howard Greene is supervising photography. Surrounding him is that same group of second and assistant cameramen. Some may say that I am opinionated, others may say I guessed wrong, but whatever is said, "Garden of Allah" speaks for itself. Elegant, brilliant, adorned in exquisite taste, counterbalanced with proportion and refinement, it stands forth as painted photography. If anything can be more picturesque and still reach the multitudes, I say, let us see it. In the meantime we can pay homage to our cameramen and the Technicolor organization for this superb, sparkling and dazzling contribution to the art of motion picture photography.