VOLUME 08 - NUMBER 02 SUMMER 1972

SUMMER '1972 $'1.50 FILM COMMENT • , • .. -..:; . ' . -.. . ~ .... ...... ' \",. . ~~

RENrABI IE. SUMMER OF '42 JOHNNY GOT HIS GUN DEATH IN VENICE THE TWELVE CHAIRS THE MILI<YWAY for further information write: Kj1RNER Warner Bros. Inc. BROS. Non-Theatrical Division FIlM 4000 Warner Blvd. G4LLERY Burbank, Calif. 91505 or telephone: (213) 843-6000

STAFF VOLUME 8 NUMBER 2 editor SUMMER 1972 RICHARD CORLISS CONTENTS book editor / assistant editor MELINDA WARD JOURNALS Paris i Jonathan Rosenbaum graphic design Stockholm / Peter Cowie MARTHA LEHTOLA Los Angeles / Stephen Farber page 2 managing editor EllA KAZAN 'S AMERICA AUSTIN LAMONT by Estelle Changas page 8 advertising manager VISITING KAZAN an interview NAOMI WEISS by Charles Silver and Joel Zu ker page 15 correspondents ALL TALKING! ALL SINGING! ALL LUBITSCH! Ernst Lubitsch in the Thirties-part\" Paris JONATHAN ROSENBAUM by Andrew Sarris Los Angeles STEPHEN FARBER page 20 PENELOPE GILLIATT Stockholm PETER COWIE an interview by James Childs page 22 ass istants SPECIAL SUPPLEMENT: THE MEN WITH THE MOVIE CAMERAS research MARY CORLISS SIXTY FILMOGRAPHIES design LINDA MANCINI compiled and introduced by Richard Koszarski design GRETCHEN ACKERMAN page 27 su bscription s MARILYN WHITE PASSION , DEATH and TESTAMENT CARL DREYER 'S JESUS FILM editorial board by David Bordwell page 59 JOSEPH L. ANDERSON , Director THE SHADOW WORLDS Film Program , Ohio University OF JACQUES TOURNEUR Athens, Ohio by Robin Wood page 64 JAMES A. BEVERIDGE, Director FILM FAVORITES Programme in Film , York Un iversity Michael McKegney on IMITATION OF LIFE Toronto, Ontario page 71 CRITICS: Frank S. Nugent HOWARD SUBER , Chairman, Critical Studies by Bruce Henstell Motio n Picture / Televi sion Division , UCLA page 74 Los Angeles, California BOOK REVIEWS page 76 WILLARD VAN DYK E, Director LETTERS Department of Film , Museum of Modern Art page 82 BACK PAGE New York , New York inside back cover The opinions expressed in FILM COMMENT TO OUR READERS are those of the individual a'uth o rs and do not inside back cover necessari ly represe nt the opin ions on the cover: of the edito r. staff or publ is her. John Stahl 's camera crew c. 1919 photo: Richard Koszarski FILM COMM ENT volume 8. number 2. summer 1972, price $1.50. FILM COMM ENT is published quarterly by Film Comment Publishing Corporation. Copyright\" 1972 Film Comment Publishing Corporation . All rights reserved. Th is publication is tully pr otected by domestic and international copyright. It is forbidden to duplicate any part o f th is publication in any way wit hout prior written permission from the publishers. FIL M COMM ENT partiCipates in the FIAF periodical indexing plan . library of Congress card number 76-498 . Second class postage paid at 8 0ston , Massachusetts. Subscription rates in the United States : $9 for six numbers , $18 for twelve nu mbers : elsewhere $10.50 for six numbers. $20 .00 for twelve numbers , payable in US funds only. New subscribers please include yo ur occu pation and zip code. Su bscription and back issue correspondence: FILM COMM ENT bo x 686 Village Station . Brookline MA 02147 Editorial correspondence : FILM COMM ENT 214 East 11th Street. New York NY 10003. Back vol umes of FI LM COMM ENT have been reprinted by Joh nson Repr int Corporation , 111 Fifth Avenue . New York NY 10003. Microfilm editions are available from University Microfilms Ann Arbo r Michigan 481 06. Please write to these co mpan ies fo r comple te sales information . Type set by Rochester Monotype Compositio n Company. Wrightson Typographers and Typog raphic House. Printed in USA by Printing Division, Avco Corporation . International distribution : World wide Media Service , 386 Park Avenue South , New Yo rk NY 10016. Distribu ted in the USA except in San Francisco, Boston and Los Ange les by B DeBoer. 188 High Street. Nutley NJ 07 11 0 .

.JDURNALS PARIS STOCKHOLM L.A. Jonathan Rosenbaum Peter Cowie Stephen Farber Shooting in Paris th is spring : Bertoluc- A mild winter in Stockholm , and the No one in the industry pretends to know ci 's THE LAST TANGO IN PARIS , with Marlon unprecedented success of Svensk Film- what the audience wants any more. Dur- Brando ; Chabrol 's LE PIEGE A LOUP , with industri 's THE EMIGRANTS (nominated for ing these gloomy days, violence remains Jean-Paul Belmondo and Mia Farrow; an Academy Award ), cannot mask the the one surefi re bo x office attraction, and Godard 's TOUT VA BIEN , with Jane Fonda crisis in Swedish cinema . The movie about the only deals being made are on and Yves Montand ; Jerry Lewis ' THE DAY houses themselves are in severe straits , violent genre movies. The giant success THE CLOWN CRIED , with Jerry Lewis and with a drop of 7.6% on the gross number of WILLARD has inspired not merely a Pi'erre Etai x; Rohmer's L'AMOUR L'APRES- of tickets sold in the past year , while sequel, but a whole batch of movies MIDI , with Zouzou and Bernard Verley ; imaginative programmers at the Swedish about deadly animals ; in the next several Truffaut's UNE BELLE FILLE COMME MOl , with TV have gleefully tripled their screenings months we 're going to be treated to hor- Bernadette Lafont. of feature films in the five years from 1966 ror movies about frogs, bees , snakes, and to 1971 . The big companies are shying rabbits . (Rabbits? If that seems to be Writing in mid-winter, about three away from production , even when as stretching things , it wouldn 't be the cra- months before this journal is scheduled much as 50 % of the budget plus a star ziest project MGM has invested in lately. ) to appear , it is difficult to know whether and director are offered them in package At the same time , the success of THE one is recording history or science terms. Sandrews, riding high only four FRENCH CONNECTION and DIRT Y HARR Y has fiction . From the current ViI/age Voice, I years ago on the bonanza of I AM CURIOUS all the studios hunting for police thrillers learn that L'AMOUR FOU (1968 ) just re- (YELLOW ), have produced just one new -and the variations possible on that ceived its first American screening , un- film this season-Kjell Grede 's KLARA formula are virtual ly limitless. So while the subtitled, at the Museum of Modern Art; LUST-and are reluctant to sponsor Sjb- eastern critics continue to moralize about in the same Voice , Andrew Sarris pays man 's latest efforts. Smaller firms like violence , the industry will go on about its brief tribute to the \" Hawks ian \" heroism Europa and Minerva have been drawing business , mass producing the ultra-vio- of Anna Karina in THE NUN (1965 ), Ri- in their horns too , and Svensk Filmindus- lent fantasies that have continued to de- vette 's previous film . His latest, OUT-1 - tri , the country 's oldest and largest film light American audiences over the dec- contrary to my premature announcement organization , has been content to relax ades. in these pages last fall-is still unfinished : in the aftermath of its immense gamble as I write , Rivette is having difficulty with on THE EMIGRANTS and UNTO A GOOD LAND Although I'm sure most of these films his producers, and lack of funds has -a gamble that has brought the company will be dreadful , as imitations always are , forced him to postpone completion of the close to 20 million crowns (about the growing critical hysteria in regard to final editing . . . Having seen L'AMOUR FOU $4 ,000 ,000) with UNTO A GOOD LAND , only violence raises troubling questions of its only once , in the spring of 1971 (screen- released in February of this year . own. Over and over again , in reviews of ings are scarce everywhere), I hesitate CLOCKWORK ORANGE , STRAW DOGS , DIRT Y to make predictions, yet can 't avoid feel- More and more directors are using HARR Y, MACBETH , THE COWBOYS , in think- ing that it is and was one of the key films co-operative means to achieve their pieces on fascism and nihilism in films, of the Si xties. Through its very manner ends . Vilgot Sjbman 's TROLL , for example , the same shrill , stern point of view as- of construction , it suggests the renewal involved a total of eleven actors and saults us . I don 't suggest that violence of great collaborative filmmaking : as Ri- technicians, and each member of the in movies warrants no concern , but vette has explained in several interviews, team took an equal share in the produc- people who care about films, and about he created the fi 1m with his actors and tion 's future . Bergman 's WHISPERS AND freedom from censorship , ought to ex- crew in day-to-day improvisation . CRIES enjoys the support of the Swed ish tend the same skepticism to these ser- Film Institute but is also partly \" spon- mons about violence that they would Bulle Olg ier and Jean -Pierre Kalfon , in sored \" by Harriet Andersson , Ingrid Thu- automatically express toward puritanical brilliant and cathartic performances, do . lin , Liv Ullmann , and Sven Nykvist, as well complaints about se x. Most of the moral more than justify this opportunity; the as by Bergman himself. Per Oscarsson 's arguments rest on the same shaky as- former ach ieves the richest, most moving first film as director, MY NAME IS EBON sumptions, and the critics are getting portrayal of madness I have ever seen LUNDIN , is produced by his own company ; away with too many unchallenged in a film . But more impressively, with a and Torbjbrn Axelman, one of the most prophecies of doom. shifting, dialectical narrative that oscil- competent directors in Swed ish cinema , lates continually between theater and life, also undertakes his own production work. These attacks-whether Pauline Kael 's rehearsal and performance, love and on CLOCKWORK ORANGE or Judith Crist 's contempt, 16 and 35mm , Olgier and Kal- Of course , the skin fl icks continue to on STRAW DOGs-usually contain a confi- fon (to mention only a few of the essential abound , and Swedish Filmproduction AB dent evaluation of the filmmaker's inten- poles), Rivette has supervised-caused- has been making a fortune from such tions . The critics are certain that the permitted one of the fe w truly open struc- fertile titles as THE LUSTFUL VICAR and directors set out to exploit violence and tures in film. And while he has pushed MORE ABOUT THE LANGUAGE OF LOVE . But titillate the audience ; the word \" pornog- the improvisational methods of Hawks it now appears more and more likely that raphy \" is being bandied about with an and Cassavetes to the point where they the future of the Swedish ci nema will infuriating smugness. Of course this break into something new, he has also depend on the film reform due to come charge of exploitation is a favorite of the taken a page from Godard 's Hegelian into effect in July 1972 . The essence of censors . But even more disturbingly, the metaphysics and converted it into a freer this complicated legislation amounts to a critics are turning amateur sociologist continued on page 4 continued on page 80 continued on page 82 2 SUMMER 1972

the THE FIRST FULL-SCALE BIOGRAPHY OF who started it all IN THE TRUEST SENSE, \"A remarkably readable and engross- ing biography not only of Griffith but the modern film originated \\ \\ also of his work and milieu ... [Hen- with D. W. Griffith. His innovative genius derson's] balance of affection, his turned a novelty attraction into a me- assessment of artist and human in in- dium more powerful than the printed telligent terms ... his cool appraisal page . This eloquent biography tells, for of every aspect of Griffith's work and the first time, the complete story of his times, offers us an excellent piece of family background , and of his early years film history for professional and lay- as a school dropout and itinerant actor. man alike.\" - JUDITH CRIST It covers his film career from his appren- ticeship at Biograph to his pathetic final \"I found it absorbing.\" - LILLIAN GISH years on the fringes of Hollywood. In pursuing the rise and fall of this film \"A remarkable study of the man who genius, Dr. Henderson vividly re-creates is probably the keystone figure in the infant colossus that was Hollywood cinema.\" - CHARLTON HESTON before and after the First World War. \"A most scholarly and comprehen- sive work ... a great deal of its infor- mation is printed here for the first time.\" -ANITA LOOS when writing to advertisers His Life and Work please mention FILM COMMENT By ROBERT M. HENDERSON 416 pages· 80 pages of halftones· $10.95 at all bookstores OXFORD UNIVERSITY PRESS

PARIS JOURNAL continued from page 2 most of the English writing about Sirk and his work extends to such places as Ca- Fuller suffers from myopia as well. Com- hiers du Cinema and Positif, which in their and looser instrument of discovery, re- pare Moullet's three half-pages on Sirk's combined 368 issues have failed to pub- vitalizing Godard 's Rossellinian qualities THE TARNISHED ANGELS (Cahiers du Cine- lish a single article about him . at their sources. ma # 87) to Fred Camper 's 25 pages in the recent Sirk issue of Screen: the A particular revelation was WIFE FOR \" Things are there ,\" Rossellini stated former, for all its giddiness, develops a A NIGHT, which contradicted at least half in an interview with Rivette in 1959. \" Why persuasive stylistic link between of the received ideas that have been manipulate them?\" And the remarkable Faulkner's rhetoric and Sirk's mobile circulating about Ozu elsewhere . One of achievement of L'AMOUR FOU is its assimi- camera ; the latter, for all its sobriety , fails the ten silent films that he made in 1930, lation of this attitude, its fundamental to mention the words \" Faulkner\" or this remarkable American-style thriller modesty before the unknowable. Within \" Pylon \" even once. begins and ends mainly in exteriors : a the terms of Godard's dialectics, thesis desperate robbery and escape at night, and antithesis can generally lead to syn- As a welcome relief from solemn state- the criminal being led away at dawn . thesis only on a prefigured , theoretical ments about Fuller's importance as a Virtually all of the intervening action is level : when the alternating monochromes social commentator, PARK ROW continues contained in the robber 's one-room flat , of ANTICIPATION merges into full color, to stun through its outrageousness , where he, his ailing daughter, his wife and climaxing the kiss that unites \" physical which at inspired moments becomes a a policeman stand nervous vigil over one love\" and \" sentimental love,\" the resolu- worship of pure energy . Neither as avant- another for the night's duration . Lateral tion remains intellectual ; it is less a dis- garde as FORTY GUNS nor as controlled pans and tracking Shots-always begin- covery than a demonstration . Carrying a as THE STEEL HELMET, it is ma inly held ning or ending with an actor and combing dialectical approach beyond Godard's together by Fuller 's idealistic enthusiasm the decor-explore the tensions and in- rigid use of it, L'AMOUR FOU enters-and for the freedom of the yellow press. A tensify the clotted atmosphere, beading provides the entrance to-an undiscov- current story in the news reveals a typi- the characters and their surroundings on ered , virtually uncharted country with no cally Fulleresque zeal. On a certain level , the same narrative-thematic threads. natural boundaries but those of sheer Time 's last-minute \" scoop\" on the Clif- duration (252 minutes, with a 90-second ford Irving-Howard Hughes hoax is equal The decor itself is an extraordinary intermission ; I hope that the Museum of to the hoax itself. The presumably greater assemblage suggesting both a studio Modern Art respected this rule). Such a authenticity of the Time story is less im- stock room and a Sternbergian junkpile: structure discourages any single inter- portant than the evident enthusiasm of posters of Hollywood films (BROADWAY pretation of psychology, theme, plot or both Irving and themselves to \" make his- SCANDALS) and foreign countries (India) , meaning , and largely because of these tory,\" forge myths. Reporting its own a full clothesline , an English motto ambiguities , conveys an uncanny, almost efforts, Time brags that \" a friend of Irv- scrawled in chalk (\" Two 's company , carnal sense of life as it is lived . The film 's ing 's compared [Time 's New York bureau three 's a crowd \" ), scattered snapshots cumulative rhythms and vibrations create chief] to 'Ahab, going after the white and clogged ashtrays comprise only a a raw, powerful synthesis that cannot be whale , holding on , holding on , like it's his fraction of the terrain . Recalling the travel named or labeled-only pointed to , or last great moment. ' \" In analagous fash- posters on the claustrophobic stairway in experienced . To quote Rivette: I believe ion , Fuller 's pleasure in mythologizing the Nicholas Ray 's BIGGER THAN LIFE , one more and more that there is no auteur press is indistinguishable from the quickly realizes that Ozu is using camera press 's own melodramatic bents ; that is movements to express the same sort of in films, that a film is something which his authentic ity . Like Disney 's and Rie- relationships that Ray can show in Cin- fenstahl 's grander visions of perfection , emascope with a motionless camera. And pre-exists. It's only interesting if Fuller's are bound up in narcissistic impiausible as the connection might you . .. strive to move towards the film , enclosures of self-absorption , but his seem, the vastly different sensibilities of discover it, taking precautions not to in- infinitely smaller means require his will to Ozu and Ray are linked by a common jure or deform it. That 's why it 's so agree- triumph not over the cosmos , but on the obsession: the importance of the hori- able to make a film like L'AMOUR FOU , next block. Expressed through his grubby zontal line. (This connection may appear where one speaks of the film as one sets, brutal actors and street-long somewhat more plausible if we consider would speak of someone who wasn 't fistfights , this exhilaration culminates in Ray 's statement that his \" appreciation for there, whom one would like to meet. the hero-editor smashing the brains of a the horizontal line\" derives from his stu- villain against a statue of Benjamin dies with Frank Lloyd Wright, and then Nearly two decades have elapsed be- Franklin-a fair equivalent to Fuller's own acknowledge the almost exclusive tween the making of Samuel Fuller's PARK victory against the pressures of a week's influence of Japanese art and architec- Rowand its French premiere at the Cine- shooting schedule and a quickie budget. ture on Wright's own work.) ma Mac-Mahon . In the interim , Fuller has Like the milieu he depicts, his film seems gone from being a cause c elebre in motored more by nerves and muscle than If I compare Ozu to an Occidental France to a critical industry in England , by brains or money . But in its use of the director-and many more such compari- where no less than three books on his sensational press as a means for ex- sons are to follow-this is not to overlook films have already appeared . A major pressing some of the excitement possible the fact that in Japan he is commonly limitation of this overkill , which is threat- in making films , PARK ROW can be consid- considered the \" most Japanese\" of ening to \" assimilate \" Douglas Sirk as its ered a vest-pocket edition of CITIZEN directors. But since Ozu is firmly labeled ne xt victim , is its absolute humorlessness KANE : the sweat and intensity of giant \" esoteric \" in the West, an examination -a quality that was rarely present in presses and harried deadlines match the of a few points of convergence with Euro- Godard 's or Luc Moullet's writing on ei- frenzied power of some of the camera pean and American directors may help ther director in the 50 's. Reviewing Sirk 's movements and cuts. to demonstrate that his social , aesthetic A TIME TO LOVE AND A TIME TO DIE , Godard and cultural orientations are not as re- affirmed that \" you have to talk about this A recent screen ing of eight Ozu films mote to us as many have assumed. In- kind of thing . . . deliriously , you can be at the Cinematheque was , for Paris , an deed , rather than insist that Ozu can only quietly, or passionately delirious, but de- event of some importance. To date, not be understood from a \" Japanese view- lirious you have to be , for the logic of a single fi lm by Ozu has received distribu- point,\" it is much more rewarding to as- delirium is the only logic that Sirk has ever tion in France, and local ignorance about sume that one 's own cultural biases are bothered about .\" In addition to being both necessary and adequate. In this about as delirious as the London Times , conte xt, it is worth noting that , according continued on page 6 4 SUMMER 1972

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PARIS JOURNAL continued from page 4 elegant sounding-brass for what has just A Preminger will accept and tolerate- preceded it. Ozu 's use of \" empty \" shots to Donald Richie , Ozu 's favorite film was is far more comple x than McCarey ' s- even welcome-antagonistic points of CITIZEN KANE , and that he spoke with compositionally , rhythmically and in enthusiasm about Thomas Ince, Re x In- terms of their recurrence-but they regis- view within a single shot so that he can gram , Chaplin and Ford ; and the Ameri- ter as simply and as meaningfully. On the can posters in WIFE FOR A NIGHT are only other hand , eliminate the theme mus ic watch them co-e xist, mingle, synthesize a foretaste of the increasingly American- from McCarey's last shot and you have ized landscapes of Ozu 's later films , from an image as \" abstract\" and emblematic or compete for supremacy: \" the Amer- various shots of Tokyo's Time-Life build- as one of Ozu 's. ing in the late 40 's to the pastel-plast ic ican way.\" Ozu cannot conceive of dual- colors and surfaces of EQUINO X FLOWER An unfortunate aspect of the Mizogu- ( 1 9 5 9 ). chi vs. Kurosawa debate is that Ozu 's isms on this level because his characters singular virtues , falling w ithin the range For all the apparent stylistic dif- of neither director, usually get lost in the are too complete-too much themselves ferences between WIFE FOR A NIGHT and shuffle . In the least successful Ozu film Ozu 's post-war films , they are clearly the that I've seen , HEN IN THE WIND ( 1948), -to stand for , represent or pay lip service work of the same man. The celebrated a wife is forced into prostitution by pov- scene-setting shots in the later films , erty and a sick child while her husband to anything else . In ADVISE AND CONSENT , compressing a locale and milieu into a is away in the army , and the plot charts ;:;ingle emblematic image , are prefigured the couple's reconciliation after the hus- people are important because they have by the startling aptness of certain close- band returns and discovers the truth . If ups that distill and abstract complex Kurosawa treated this subject, one would power or opinions ; in TOK YO STOR Y, they stra ins in the plot , such as a beautiful expect him to focu s more on the hus- image of the robber's hand fluttering ner- band 's war experience; Mizoguchi would are important simply because they exist. vously against the glass pane of a phone likely devote more attention to the wife booth as he tries to place a call. And one and her brief career as a geisha. Ozu , Superficially , Ozu is closer to Sirk than could say that the stationary medium accepting the viewpoints of husband and shots of the later period, which snugly wife equally , maintains this balance by Preminger because his acceptance of his frame the characters in their home en v i- showing us nothing of either the husband ronments , are themselves distillations of at war or the wife as a prostitute-both characters goes beyond mere thought. the horizontal linkage implied by the cam- are left up to our imaginations and the era movements in WIFE . characters ': we \" see \" the husband at war But rather than arrive at the everyday through his wife 's sorrows at home, the By the time we reach LATE SPRING wife 's prostitution through the husband 's existences of his people through the ir ( 1949) and EARLY SUMMER ( 1951 ), we ar- visit to the geisha house after she has rive at the art of the necessary, where left. crises and moments of excruciation , as apparently minimal means are used for maximal effects . A cut from living room The consistent use of a low, eye-level Sirk does, Ozu works out of their seem- to suburban train in the first reel of EARLY camera angle in the Ia-ter works makes SUMMER , in relation to the rest of the film , one realize that the eye level of most films ingly trivial daily activities, treating them is as dynamic as the bone-to-spacecraft is that of a standing spectator. But Ozu 's cut is to 2001 . As with Tati , Ozu 's formal- acknowledgement and use of the fact with a re verence one might ordinarily ism and his absorption in the common- that we watch movi es whil e seated is only place become almost indistinguishable, one of his subtle strategies for drawing accord only to religious ceremonies. The us into his tight family circles. Perhaps because each allows for the expression most striking of all is the absolutely equal only real dramatic \" event \" of TOK YO of the other: whether one speaks of social distribution of love and generosity forms realized in cinemat ic terms or of towards all of his characters-implicit in STOR Y, the death of the mother , arises out cinematic forms realized in social terms , HEN IN THE WIND , but triumphant in su c h the process remains the same . And as later masterp ieces as LATE SPRING , EARLY of the commonplace and thus becomes with Bresson , the montage is linked as SUMMER and TOK YO STOR Y (1953). often by the sounds (or silences) as by a natural , organic part of Ozu 's universe the images ; some of the lovel iest shots There are no moral hierarchies-no in EARLY SUMMER are fi xed set-ups of an heroes or villains, no privileged rather than an imposition or a manipula- empty hallway and short tracks through \" choruses,\" no comic relief (although an empty Noh theater, exquisitely timed much comedy) , no subjective centers in tion of it. To accept people when they cadences that punctuate the narrative which to locate our viewpoints. Dramatic with moments of repos e focus is depolarized , and the characters are doing essentially nothing, between are always too busy living to \" explain \" To make another comparison with the themselves . When Chishu Ryu sits with the moments when they make decisions, American cinema, consider the identical his two grandchildren at the base of a \" scenic\" shot that opens and closes Leo Buddha in a park , in EARL Y SUMMER , there is to accept their souls ; and Ozu 's accept- McCarey 's monumental soap opera , AN is no establish ing shot to reveal either AFFAIR TO REMEMBER : snow falling on an Buddha or park in its entirety ; we see no ance transcends toleration and empathy uninhabited spot in Central Park . The first more than the characters do . When , in time it occurs , apart from a vague setting the same film , someone remarks that -it is a kind of cosmic embrace. 11111111 of time (winter) and place (New York \" Tokyo ' s an attractive city ,\" there is a cut City), it is mere window-dressing for the to a view from the window of a city street The American Film Inslllule credits ; the second time , it immediately that neither corroborates nor contradicts Cenler lor Advanced Film Siudies follows the clima x of the film , the couple's the statement. All is equal to Ozu , and- reassertion of their love-a moment of again , as with Tati-nothing bores him . AIilm conservalory extraordinary emotional power-and the The father trimm ing his toenails in LATE shot 's \"emptiness \" makes it work as an SPRING is a subl ime moment. a lor individuals 01 unique lalenl and promise The Center offers a two year course of ad- vanced training in film, with fellowships offered in the fields of screenwriting, direct- ing, cinematography, film theory and educa- tional studies. The Center's program is open to advanced filmmakers and film scholars, and individuals without experience in film who have distin- guished themselves in related disciplines-liter- ature, theatre, music, photography and the fine arts. An academic degree is not mandatory, however, candidates are expected to have a basic background in the arts and humanities. For applications, please contact : Center Admissions D American Film Institute 501 Doheny Road, Beverly Hills, Calif. 90210 when writing to advertisers please mention FILM COMMENT 6 SUMMER 1972

r &:., -- -------..::-...-~~ The World of His Films \" Leo Braudy's 'Jean Renoir' Leo Broudy seems to me the fi rst critical study of a film maker to be written in perfectly literate, responsible and high good faith. \" -PARKER TYLER With 24 pages of stills and production shots; index; and an exhaustive filmography. $8.95 JAPANESE CINEMA: Film Style and National Character Donald Ri chie's book makes one of the most extraordinary of all na tio nal cinemas accessible to Western audiences as never before. \" First rate.\"-Saturday Review. With 49 pages of stills; ind ex ; appendix with informa - tion about film rentals. A Doubleday Anchor Original, Paperbound, $3.95 DOCUMENTARY EXPLORATIONS 15 I nterviews with Fi Im- Makers G. Roy Levin's interviews with Frederick Wiseman, the Maysles brothers, and fourteen other docu- mentary directors make up \"o ne of the most informative and provocative books about film that I've rea d in years.\" -Library Journal. \"Documenta ry Explorations is must for serious film buffs.\"-Publishers Weekly. With a brief history of documentary film and an exhaustive fi lmogra ph y on each director. $10.00 (Paperbound, $4.95) At booksellers. or postpaid direet from Doubleday & Company , Inc ., Garden City, New York 11530. elDOUBLEDAY when writing to advertisers please mention FILM COMMENT

Estelle Cha ngas Elia Kazan's America top left : Montgomery Clift in WILD RIVER . top right : Richard Davalos , Julie Harris, James Dean and Burllves in EAST OF EDEN. bottom : James Dean and Raymond Massey in EAST OF EDEN . All photos : Museum of Modern Art/Film Stills Archive unless otherwise noted. 8 SUMMER 1972

Estelle Changas, who served a fellowship year the films of the mid-Fifties and Si xties were intense on the rating board of the MPAA , has recently examinations of characters whom Kazan identified completed her M.A. at UCLA 's film school and writes with and recognized as close to himself. In later for various publications. years Kazan became more deeply involved in the psychological ex ploration of personal crises. While The resounding critical and financial failure of his work would continue to be marked by a concern THE ARRANGEMENT in 1969, which elicited the most for social problems, Kazan 's most interesting films- devastating press Elia Kazan had ever experienced especially EAST OF EDEN (1955) and WILD RIVER in his quarter of a century of filmmaking , demon- (1960), his richest works-combine a careful in- strates how severely estranged he has become from tegration and balance between character develop- the American film audience. Recently THE VISITORS , ment and social issues. These social concerns a meager-budgeted , non-union film-the only film spring from the inner lives of the central figures Kazan has made since THE ARRANGEMENT-sug- themselves, rather than remaining the detached, gested that despite that crushing disaster, he was objectified problems of crime and corruption that attempting to make a totally fresh start. But the brief the heroes of Kazan's earlier films succeed in solv- and pallid run of his latest film , which closed in New ing . York after only eight days and got mostly negative reviews, confirmed once again Kazan 's loss of rep- In a 1947 New York Times ' article, Murray Schu- utation . mach wrote of Kazan: This decline began to become obvious with the He dreams of making epic films that will portray release of AMERICA AMERICA in 1963, but even before America and its people; movies that will be shot, this Kazan had lost the patronage of the mass not in studios, but in fields , mines, factories . Boo- audience he once commanded from the late Forties MERANG! was the first short step in that direction . through much of the Fifties. (Of the si x films released \" I want to make folk movies, not folksy movies,\" between 1956 and 1969-BABY DOLL, A FACE IN THE says Kazan. \" Odets discovered the Bronx, but no CROWD , WILD RIVER , SPLENDOR IN THE GRASS , AMERICA one has discovered America.\" Kazan hopes to be- AMERICA , and THE ARRANGEMENT-only SPLENDOR IN come the nation 's cinematic Columbus. THE GRASS was commercially successful.) One basic reason for this was that he had begun to address Kazan has always had a strong sense of docu- himself to a more personal , reflective kind of film- mentary realism in his film work which imbued his making . As Kazan told me , in August 1970: early films , for example , with an authentic feeling of place. But even his later lyrical evocations of the What I did in films got increasingly personal from past-in which Kazan often utilized actual inhabi- about 1952 on . In 1952 I did VIVA ZAPATA! Up until tants of towns like Benoit, Miss ., Pickett, Ark . and then I had never chosen the subjects or worked on Charleston , Tenn.-continued this concern. WILD the scripts. I had just accepted jobs. But since 1952 RIVER 'S memorable opening sequence , using actual I have always initiated the production. I went to John footage from a grainy, black-and-white newsreel of Steinbeck and said I 'd like to make a film of EAST the Thirties, brilliantly conveyed the urgency of the OF EDEN ; I bought a little book myself and made film 's investigation of rural America as a semi-artic- WILD RIVER ; I wrote AMERICA AMERICA ; I wrote THE ulate farmer caught in the immediate throes of ARRANGEMENT. That 's why I gave up the theater-be- tragedy describes the loss of his family in the raging cause I didn 't want to continue directing the work floods of the Tennessee River. This Simple, sponta- of other men . neous record of anguish persuades us of the au- thenticity of the film 's environment. The concern Kazan 's career is marked by a striking progres- with authenticity was attributable in part to Kazan 's sion from films expressing a detached, liberal social training in the \" theater of realism \" in the Thirties , consciousness towards more personal and emo- where he was influenced primarily by the work of tional films . His career reveals a basic tension : an Clifford Odets . In 1932 Kazan joined the Group intellectual desire to deal with social issues as Theater, a repertory company with strong political viewed in his less satisfying urban films which utilize tendencies. He worked there as an assistant stage a broad and contemporary canvas, versus his in- manager and later alternated between acting and stinctual response to the past and to the unworldly directing . His theater experience with actors, relying inhabitants of cohesive ethnic communities or heavily on the Stanislavsky method , also enhanced Simple, agrarian environments. his ability to elicit performances of great believability on the screen . In addition , his early documentary In films like BOOMERANG! (1947) , GENTLEMAN 'S work with Frontier Films in the late Thirties en- AGREEMENT (1947) , and PINKY (1949) , Kazan was couraged his interest in discovering the America of the common people. attacking a social problem in abstract terms-politi- cal corruption , anti-Semitism , racial prejudice. In his later work Kazan lived up to his desire to These early works, which first brought Kazan to the explore America . In moving away from metropolitan attention of American audiences and established settings and into the idiosyncratic regions of Ameri- him as a major directorial talent in the late Forties , ca, Kazan brought to the screen fresh visions of were liberal do-gooder films designed to right some evil. In contrast to such sermons and preachments , FILM COMMENT 9

Vivien Leigh and Karl Malden in A STREETCAR NAMED DESIRE . Marlon Brando and Vivien Leigh in A STREETCAR NAMED DESIRE. Andy Griffith in A FACE IN THE CROWD . Robert Earl Jones and Jo Van Fleet in WILD RIVER . 10 SUMMER1972

sharply-etched worlds whose inhabitants represent- OF EDEN , his most beautiful and penetrating film , ed the fringes of society, not the bland , conform ing , seemed to mark Kazan 's first real attempt to examine middle-class urban sophisticates depicted in his his past; and as he has admitted , the film 's painfully earlier films. A child immigrant from Turkey , Kazan compelling father-son relationship was deeply per- views America much as we would expect a foreigner sonal to him . to-with a sense of wonder and fascination at the eccentricities of this country. More and more Kazan More comple x than WILD RIVER , EAST OF EDEN- was drawn to material involving characters from which was also scripted by Paul Osborn-shares particularized areas of America, notably the South- important qualities with that later film in its lyrical Mississippi (BABY DOLL) , Arkansas (A FACE IN THE lament for the past and its attempt to deal with a CROWD) , Tennessee (WILD RIVER)-but also embrac- period of national social upheaval through the con- ing the small towns of Kansas (SPLENDOR IN THE flicts of the protagonist. Set in 1917 the film evokes GRASS), and the northern California communities of an age of innocence filled with romantic myths about Salinas and Monterey (EAST OF EDEN). These isolated war and patriotism which were soon shattered by worlds where change is slow in coming and values the casualties of World War I. The dramatic subject remain ultimately stable reveal Kazan 's attraction to of the film is Cal Trask 's increasingly intense con- innocence and tradition . frontation with the harsh realities behind personal myths about his fam ily. But while Kazan is bent on The most stirring voice for his celebration of rural cutting through myths, his nostalgia for lost inno- Americana and the primitive pioneer spirit is Ella cence (an important element in WILD RIVER , as well) Garth , the 80-year-old protagonist of WILD RIVER. is suggested through his affectionate , slightly ideal- This proud , imposing matriarch , who presides over ized depiction of the past. an eccentric 3,OOO-acre Tennessee island planta- tion , repud iates the progress of Roosevelt's New Most of Kazan 's work up to this time had been Deal and the TVA which threaten to uproot her from firmly rooted in realistic detail and staging . He aban- the only land she and her family have known. In doned this in EAST OF EDEN for an audacious surreal- her staunch rebuttal to the building of the dam which ism , a style whose own extremes appropriately met will place her entire island home under water, Ella the demands of the idiosyncratic and reckless pro- Garth personifies American individualism. tagonist and the psychological depth of the writing. The film is composed entirely from Cal 's point of A moving chronicle of the Depression Thirties, view: the bizarre camera angles, menacing shadows WILD RIVER reiterates Kazan 's intellectual interest in and images that dislocate and disorient us are the American social phenomena which altered the face objective correlatives of the protagoniSt's young , of the nation . By placing its basic conflict-tech- brooding , imaginative mind which views the world nological progress versus a more traditional ethic- in nightmarish images with a mi xture of fear and within the intimate, familial canvas of Ella Garth 's fascination. The boy 's changing moods are trans- dynamic history and personal struggle against the mitted through sharply contrasting chiaroscuro cold , paSSionless edicts of the New Deal , the film images. We are immediately struck by the pale, achieves a remarkable depth and power . In one dream-like quality of the film in its opening se- prolonged scene Kazan rests his camera on Mrs. quence, where Cal stalks his estranged mother Garth as she recalls her past and the arduous labor through the town , determined to discover his ori- of her husband , who founded the virgin island , gins. cleared the trees, and created their rudely-hewn estate. Cane in hand , she roams restlessly through In EAST OF EDEN Kazan comes closest to realizing her fields, exciting our imagination with a terse but the emotional power of intimate, familial relation- eloquent narration that catapults us into a more ships which give his films such intensity and are primitive era of America's past, and calls up the a major theme of his most personal work. The drama and creativity that went into the struggle for tortured relationships between father and son and survival in untouched lands. between brothers (VIVA ZAPATA! , ON THE WATERFRONT, EAST OF EDEN , SPLENDOR IN THE GRASS, AMERICA WILD RIVER caught a basic contradiction in Amer- AMERICA , THE ARRANGEMENT) represent the kind of ican values which the Depression Thirties seemed confined and intimate arena in which Kazan works to accentuate : an irreconcilability between the na- best. His most arresting protagonists, like Cal , tion 's belief in rugged individualism and the realities spurned by his father , suffer from conflicts arising of social progress . This tension gives WILD RIVER its from their intense family ties. disturbing complexity and ambiguity. The pioneer character has attractive qualities, as Kazan 's moving Cal 's agonized gestures are the visual symbols elegy to this magnificent heroine testifies, but the heightening the fury and anger of all Kazan 's central film finally reminds us that this kind of existence figures-the alienated heroes who stand as the most presupposes a rapaciousness , a greed for land in distinguishing characteristic of his films. No director order to preserve one's individuality. or recent times has given us such a gallery of magnetic, sexually dynamic men . They are usually Several of Kazan 's later films are set in the past, characters without much education-outsiders, primarily in the Twenties and Thirties , decades of loners, but people of great energy and drive, great his own youth and early adulthood. This sense of charisma. These heroes are deeply confused , un- nostalgia and preoccupation with the past suggest certain how to express their longings and frustra- Kazan 's attempt to search for his origins through tions, often struggling to commit themselves, to protagonists who set about similar exploration. EAST channel their great passion for life into some socially constructive action . Kazan has captured the inartic- FILM COMMENT 11

ulate , defiant protagonist in A STREETCAR NAMED In an attempt to transcend their humble origins , DESIRE , VIVA ZAPATA! , ON THE WATERFRONT , EAST OF Lonesome Rhodes il1 A FACE IN THE CROWD and EDEN , A FACE IN THE CROWD , and AMERICA AMERICA . Stavros Topouzoglou in AMERICA AMERICA become In their undirected anger, these characters reflect obsessed with their identity and with the quest for the deepest form of rebellion against society. These success. While they are on the road , they have intense figures with their semi-articulated sounds integrity and prize their independence, but as suc- and gestures, sometimes even paralyzed by the cess seems imminent, they abandon themselves to force of their anger and frustration and their inability it. At the end of AMERICA AMERICA Stavros, winking to understand their own confusion , are the perfect at us and flipping a silver coin , indicates that he metaphor for Kazan 's concern with the individual's has learned how to play the game , how to \" con \" search for his identity. At the same time they effec- people to get ahead . By the end of A FACE IN THE tively represent a repudiation of the values of soci- CROWD Lonesome Rhodes has succumbed to his ety; their anger is often a recognition of society's image of success and has been destroyed by his moral failures-primarily its dishonesty-issues own delusions of power. which have absorbed Kazan throughout his career. The torment of characters like Terry Malloy (ON THE Like Kazan 's male protagonists, the leading WATERFRONT) and Eddie Anderson (THE ARRANGE- women characters in his films possess a striking MENT) results from their recognition that they have individuality. These unusual and complex portraits compromised and sold out to a corrupt system . On are a startling departure from the majority of females a more personal level , their inarticulateness springs depicted in American cinema. Women in American from an inability to adjust the force of their person- films are usually punished for exercising power, but alities to the conventional strictures of society. Kazan applauds the women in his films because of their strength . For Cal Trask and Terry Malloy, frustration and the struggle to express themselves in words spring Unlike their groping , verbally paralyzed male from a bewilderment at the way life has dealt with counterparts , the women are amazingly adept at them . Their sensitivity and vision of truth have im- articulating their conflicts as well as those of the mobilized them . By contrast , Stanley Kowalski in A heroes. These women are not always worldly, but STREETCAR NAMED DESIRE-like Steve Railsback's they are surprisingly insightful about defining their Sergeant in THE VISITORs-represents the more de- own desires and they serve a crucial dramatic func- structive potentialities of the primitive, inarticulate tion in clarifying for the troubled heroes their hero. Stanley's brutal conquest of Blanche, trig- strengths and weaknesses . Abra in EAST OF EDEN gered by his suspicion and hatred of her fragile , forces the self-pitying Cal to stop crying and brings poetic vision of life, dramatizes a lust for power that about the final reconciliation between Cal and his will reaffirm his manhood . Cal in EAST OF EDEN has father; Carol in WILD RIVER , who is as unsophisticated moments of cruelty, too, though they are scarcely as Abra , tells the city-bred progressive thinker , comparable to Kowalski 's. Despite his occasional Chuck Glover, what he is and why he needs her; vindictiveness, we are attracted to Cal because he Edie in ON THE WATERFRONT urges Terry to confront is at the same time so passionate and obsessed with the moral implications of his destructive association feeling , and because he pleads for the truth . Terry with John Friendly; and Gwen in THE ARRANGEMENT Malloy is equally committed to the truth , and like assaults Eddie Anderson with her fierce honesty that Cal , afflicted with a vulnerability despite his tough , sees through the phony trappings of his bourgeois wise-guy exterior. Both young men nurture a deep life and delivers mocking rejoinders to him of what anger toward father-figures who have betrayed he might have been . Occasionally the women are them-Terry towards his older brother Charlie who the real rebels , deriding the conventionality of the should have looked out for him but abandoned him , men , like the proud madam , Kate , in EAST OF EDEN instead , to racketeers , and Cal towards his father who scorns the pious self-righteousness and do- who denied him love and fed him lies. mesticity of her dull husband; the irreverent Gwen who dares Eddie to match her audacity; and the Kazan 's heroes are not intellectuals. But their eloquent Ella Garth in WILD RIVER , who defies the directness and immediacy do not make them simple entire United States Government. figures by any means . They are complex in motiva- tion , and surprisingly paradoxical-alienated on a After nearly two decades of translating the work personal level but often drawn towards conventional of other writers, Kazan at last became the author success out of their need to establish their identity. of his own films . He had begun gradually to develop The two young men , Cal and Terry , hate themselves control over his productions when he formed his for what they think they are. Terry confesses that own company , newtown productions in the Fifties , he is nothing but a bum ; Cal , that he is quite simply and his collaborations with the writers of his later \" bad .\" Ironically, they are driven back into the films, like Budd Schulberg , became increasingly society they have rejected because of their desper- intense. But it was not until AMERICA AMERICA (which ate desire to transcend this self-image. Cal succeeds Kazan drafted first as a screenplay , and later pub- in reconciling his conflict with his dying father, lished as a novel) , that he achieved total control accepting and forgiving him; and Terry achieves the as producer , director, and writer . Ironically, attain- dignity and stature he has hungered for through his ing creative control at last seemed to mean little dramatic triumph over the forces of evil which John in terms of securing an audience for AMERICA AMERI- Friendly embodies. CA or THE ARRANGEMENT. The fact that both films 12 SUMMER 1972

Faye Dunaway and Kirk Douglas in THE ARRANGEMENT. Richard Boone and Kirk Douglas in THE ARRANGEMENT. Faye Dunaway and Kirk Douglas in THE ARRANGEMENT. All photos on this page: Warner Brothers. Kirk Douglas and Deborah Kerr in THE ARRANGEMENT. Anne Hegira, Richard Boone and Michael Higgins in THE ARRANGEMENT. FILM COMMENT 13

were basically autobiographical must have been they were without hopeful resolutions. This may doubly painful to Kazan . It was a repudiation by the public of what seems closest to him : the impact of explain , in part, their failure with American audi- his Greek heritage on his life and carrer, and his private obsession with the question of success. ences. Unlike EAST OF EDEN , a popular success , WILD In THE ARRANGEMENT Kazan 's conflicting goals- RIVER offered no comfortable solutions to its confl ict ; his desire to tell a personal story while at the same time believing he had to make it commercially via- and AMERICA AMERICA comes to a cynical conclusion ble-seemed to work to destroy the film. Part of the failure of THE ARRANGEMENT was due not to the fact about the price of survival and the realities behind that Kazan had given too much of his personal life, but that he hadn 't given enough. While he had dealt the American Dream.) with the central moral crisis of his career, his am- bivalence towards success and the destructive Kazan seems torn by tensions . Many appear to compromises necessary to maintain it, he had pro- vided dull , artificial contexts for th is cris is-the world be rather classical Hollywood conflicts that spring of advertising with which he had no immediate contact, and the sumptuous bourgeois life he has from the pressure to survive as a film artist in this avoided in his most impressive films . It was an artificiality that smacked of the conventional urban country . One is struck , for example , by Kazan 'S films which first brought him attention in this country. ambivalence towards America which emerges in Like many of his protagonists, Kazan wants to much of his work . ON THE WATERFRONT and A FACE remain true to himself. But he is also driven to win public approval , and like many of the directors of IN THE CROWD contain an element of contempt for his time Kazan has suffered from the pressure of having to maintain a mass audience. One of the the ignorance and cultural vacuity of the masses consequences of this tension can be seen in the dramatic resolutions of a number of his films , the of Americans. Yet much of Kazan 's work is a cele- need to satisfy popular tastes with something uplift- ing . (Perhaps one of his more apparent limitations bration of American ideals. Kazan has been attacked as a director is his difficulty in offering endings that are dramatically satisfying.) Throughout much of his by the right as well as the left and these assaults work Kazan has maintained an ultimate faith in the ability of the individual to overcome even the darkest from both directions seem to illuminate the ways obstacles of his life, and his earlier works were marked by a final patriotic affirmation of American in which he is torn . He counters attacks from the institutions, with the hero triumphing over social evils. In this respect Kazan 's work is representative right by defending films like VIVA ZAPATA! and WILD of other major American directors who similarly affirmed their faith in America with their optimistic RIVER as pro-American and democratic : endings. But even Kazan 's later films , which have a sense of bitterness and complex ity lacking in his I've done more films about social issues in early work, often end with the implication that the most crucial conflicts can be resolved for the good America than anybody. I don 't see what films they 've of everyone. made that say anything. Look at the films they 've EAST OF EDEN , which deals with one of the most disturbing images of adolescence we have seen and done, and what have they done? I've made more presents Cal not merely as a troubled teenager but as a tormented being , finally dispels its sense of films that deal with America by myself than all of doom in a sentimental , albeit moving , reconciliation between father and son . SPLENDOR IN THE GRASS them put together. They despise America, or seem presents an essentially tragic vision of youthful de- struction only to resolve itself with a spiritually to . I think America is in terrible trouble and difficulty uplifting ending in which the heroine surmounts her tragedy and rises to dignity and maturity. In ON THE now. But I think it's a wonderful country. WATERFRONT one individual amazingly has the power to cleanse an entire system ; and in A FACE IN THE These ambivalences-the sentimentality about CROWD , Lonesome Rhodes , the symbol of the evil seductive powers of the mass media, is finally over- Americana, yet the strong strain of social criticism whelmed by the forces of goodness and reason . of American institutions and myths-really make (Two of Kazan 's financial disasters , WILD RIVER and AMERICA AMERICA , were marked throughout with Kazan 's films remarkably revealing of changing so- a more bitter tone than Kazan 's other work , and cial attitudes over the past 25 years, and at their best, give his work a dramatic intensity that has the power to move us. 11111111 EllA KAZAN FILMOGRAPHY (1909- Key to 16mm Distributors KEY: AUD Audio Brandon; CCC Cine-Craft Com - pany; CHA Charard Motion Pictures; CHL Charlou Productions; COL Columbia Cinemateque; CWF Clem Williams Films ; FNC Films Incorporated ; ICS Institutional Cinema Service; IDE Ideal Pictures ; NAT Nation Film Service; ROA Roa's Films ; SWA Swank Motion Pictures; TFC \" The \" Film Center; TWF Trans-World Films; TWY Twyman Films; WHO Wholesome Film Center; WSA Warner Brothers . 1945 A Tree Grows in Brooklyn AUD , CWF , ROA , TWY , WHO , WSA ; 1947 Boomerang FNC ; Sea of Grass FNC ; Gentleman 's Agreement FNC ; 1949 Pinky FNC ; 1950 Panic in the Streets FNC ; 1951 A Streetcar Named Desire; 1952 Viva Zapata! FNC ; 1953 Man on a Tightrope FNC ; 1954 On the Water- front AUD , CCC , CON , CWF , ICS , IDE , NAT, ROA , SWA, TWF, TWY, WHO , COL; 1955 East of Eden AUD , CCC , CHA, CWF , ICS, IDE, NAT, ROA, SWA, TWF, TWY, WHO , WSA; 1956 Baby Doll CHL; 1957 A Face in the Crowd CHL ; 1960 Wild River FNC ; 1961 Splendor in the Grass AUD , CCC , CHA , ICS , SWA, TFC , TWF, TWY , WHO , WSA ; 1963 America America WSA; 1969 The Arrangement WSA; 1972 The Visitors. 14 SUMMER 1972

Visiting Kazan an interview by Charles Silver and Joel Zuker THE VISITORS opened at the little Little Carnegie (surely as chill as the now-famous one in 1955 when Elia Kazan Theatre in New York during the week following this Truffaut and Chabrol fell through the ice of a pond shooting interview . The film ran poorly for eight days and died . in the ex citement of waiting to interview Hitchcock), As this is written si x weeks later, there is not the Joel Zuker and I arrived at Kazan's office on Broad- THE VISITORS . slightest sign of THE VISITORS being reborn . Given way. We were reasonably dry, but I, at least, had the current state of the movie business, considering severe doubts about the wisdom of having left a photo : Kazan 's long string of box-office failures, and know- warm bed , and the warm, responsive body which United Artists. ing of his current commitment to the more lucrative cohabited therein, for any exercise in cinema schol- field of the popular novel, one wonders if this might arShip, however stimulating. This apprehension was not be the last Elia Kazan picture show. reenforced when we waited several minutes outside what appeared to be Kazan 's office only to eventu- THE VISITORS was shot in 16mm at Kazan's ally discover that he had been waiting for us in his country home in Connecticut. The screenplay was inner sanctum , unaware of our presence. written by his son , Chris. Harry Wayne (Patrick McVey), a writer of pulp westerns , lives with his Finally, we got in , and there he was in his \" uni- daughter, Martha (Patricia Joyce), and her lover, form\" : sleeveless sweater and baggy trousers. Joel, Bill Schmidt (James Woods) , in a remote house in having read of the exploits of other interviewers on the country . The young couple has an infant son , similar missions, had carefully rehearsed his accept- Hal. They are visited unexpectedly by Tony Rodri- ance speech for the ceremonial moment when guez (Chico Martinez) and Mike Nickerson (Steve Kazan would offer us hot tea with honey. Gadg did , Railsback) . In Vietnam , Bill had turned the visitors and Joel accepted . I was preoccupied with getting in for raping and killing a native girl , and they have the tape recorder to work, since neither of us had just gotten out of prison . During the course of the used it before. It did, and over the course of the day, various events occur which result in an align- next ninety minutes, we obtained the material which ment between Harry Wayne and the visitors. Harry, appears below. I think we were helped in no small a wine-guzzling football devotee, considers Bill to measure in ach ieving whatever candor Kazan dis- be a \" half-queer ... weirdo. \" Finally, Harry's en- plays through my having written \" the best stuff done couragement, Martha's seductiveness, and Bill 's on me in this country \" (my Museum of Modern Art passivity combine to result in violence . Bill is beaten ; program notes for the 1971 Kazan Retrospective) Martha is raped ; the visitors leave. and Joel's promise (later fulfilled) of a batch of his wife's Jewish brownies. THE VISITORS is a small but not modest movie. It aspires (as, on a broader canvas, does his novel, As Kazan talked on , occasionally rambling and The Assassins) to be America today , to portray me repetitive as some claim his films are , I could not and you , and to portray them. Whereas the novel, help marvelling at how thoroughly committed he is with its prospect of a massive paperback sale , may to doing , to living , to being . He is perhaps the be said to lean toward the polemical (\" A Plea Grows archetypal New York intellectual of his generation. in Bookland \"), Kazan 's film is curiously subdued. He has succeeded in a fistful of art forms . He has dabbled in politics , and he has gotten its angry fist Its violence , when it finally happens, is gentle by smashed in his mouth . His need for contemporaneity the standards of STRAW DOGS-Or, for that matter, and relevance is both his strength and his limitation. ON THE WATERFRONT. Kazan himself perfectly em- He has never made and never will make a deathless bodies these beguiling contradictiol)s: small but not masterpiece of the stature of THE RULES OF THE GAME , modest, violent in ever-so-gentle a manner. He is which he so admires . Kazan's films (THE VISITORS able to identify with the gentility of Keats and Shelley is a good example) have too much the frenzied smell one minute and refer to the \" ballsiness\" of Barbara of crotch and armpit about them to attain the sub- Loden Kazan the next. Interviewing Gadg is like limnity and repose of vintage Renoir. trying to pin down a piquant pi xi e. Yet , the two men are not so far apart as it migt)t Intimidated by a bitter cold January morning FILM COMMENT 15

seem . Through Eddie Anderson (Kazan 's stand-in), cerned . Schulberg was in on the shooting of A FACE THE ARRANGEMENT says nothing if not \" Tout Ie IN THE CROWD every day. I'd show him a scene, and monde a ses raisons. \" Renoir may put it lovingly I'd get his reaction to it. The same with Chris. But while Kazan ejaculates, but both men know that in I didn 't write one single line of dialogue. the end , we are all little more than tender lumps of protoplasm , vulnerable-almost pitiable, but able, FILM COMMENT: And yet there are gestures, bits in off-moments of drunken gaiety and melancholic of business, that tell as much about the characters sobriety, to experience that most godlike of human as any lines they speak. The way Sergeant Nicker- feelings, able then to be touched by another shivery son holds his hands when he begins to dance with soul. his war buddy's girlfriend . .. -Charles Silver KAZAN: Yeah , that was a good piece of direction . She just stands there . She can 't make an overt , Charles Silver heads the Museum of Modern Art's aggressive gesture. And then he goes over and Film Study Center, and has contributed criticism to takes her hand , and puts if on his shoulder. I like Film Culture, Take One, and FILM COMMENT. Joel that. Zuker is writing his doctoral dissertation on Elia Kazan for the New York University School of Cinema FILM COMMENT: The scene where Nickerson Studies. This interview, which took place on January suddenly lies down in front of the crib, and stares 27, 1972, was edited with Kazan 's active collabo- at the baby, is very frightening. ration . It began with a discussion of his recently KAZAN: That was mine. I wanted a false lead in it. It's a suspense story, and I meant the audience published novel, The Assassins . to think, \"Jesus, maybe he's going to do something bad to the baby. \" In the back of his head is an KAZAN : Did you read the thing in Variety this unconscious feeling that he has to pay somebody morning? Well , their attitude toward the book is back. interesting because they say there 's no audience identification. They miss the whole point of the book. FILM COMMENT: You don 't think they intended Michael is not the hero of the book. He 's the victim to do violence when they came there? -and he 's the victim of what the book is about. He just doesn 't escape . He's lost in the Third World , KAZAN : Chris has a wonderful line: \"They came lost in the underground , like a lot of these kids are. there like stray dogs. \" Something has to happen , They ' re just out there somewhere . Where are all but they don 't know what. those Weathermen girls? FILM COMMENT: Martha wanted to call the po- The point of the book is the antagonism that the lice right away and get them out. New Left has towards the liberals. I wrote the book to give people distance, so they'd look at it, and KAZAN: Yeah. Then , when her husband [that is , see what it was , and say , \" Jesus, is that us? Is that her lover Bill] doesn 't, she thinks less of her hus- the way it is in America?\" I didn 't write to say band. She turns against her husband , which is the everything is going to be all right , that there 's hope. ambivalent part of it. She wishes he 'd be a man We 've heard all the words of hope since Roosevelt. and take charge . She 's like a lot of girls. What they \"One day we will . . .\" Bullshit! We've really got to want-they want both . They want you to dominate face the fact that nothing has changed. them , and they want to dominate you . They want you to be a man .. . they want opposite things. FILM COMMENT: You directed THE VISITORS after you wrote The Assassins? FILM COMMENT: Perhaps she was already aware of her attraction for Nickerson , and she wanted to KAZAN : No. I thought it would be better to put have them checked immediately. the book away and then examine it in the cool of some time and distance. So, when I finished the KAZAN: It's possible-because, when Bill breaks first draft of The Assassins, I really wanted to just them up when they're dancing , she says to Nicker- forget it for a while. And then I read Chris' screen- son, \" You 'd better get out of here now! \" I deal a play, and I liked it. He said to me , \"Would you direct lot with unconscious motivations. People say one it?\" I said, \" No, you direct it. It's yours . You know thing, but they ' re also feeling something opposite. more about these kids than I do. \" But he wanted I deal in ambivalences . I find that in life, too. me to do it. It was a good thing for me to do. I totally forgot the book. I didn't think about it at all FILM COMMENT: You 've said that the scene for three-and-a-half months. When I came back to where Nickerson lays back in the arms of Harry it, I was far more ready to cut it, trim it, rewrite it. Wayne , Martha 's he-man father, is really significant I did a lot more work on it-about five more months. to the whole structure of the film. FILM COMMENT: How much of the film is yours? KAZAN : I think it's the key to the film . You could KAZAN: Absolutely nothing-except the direc- say that the rapist was Harry Wayne's son. He tion . I added little bits and pieces, like throwing the created him . He approves of him . The approval is football around , playing on the ice, marching in step. total. One minute, he says to Nickerson, \" Why didn't But I always consulted with Chris. You know, you you cut his [Bill's] throat?\" And the next thing have to be as careful with a son as you are with Nickerson does is rape his daughter. any other author. And I've always been very careful with authors like Tennessee Williams and Budd FILM COMMENT: It's clear from the beginning Schulberg, who were around and who were con- of the film that Martha 's relationship with Bill is more-or-Iess finished. She 's waiting for something better to come along. KAZAN: I thought so . FILM COMMENT: Would you compare the Martha-Bill relationship with the one between Eddie Anderson and his wife in THE ARRANGEMENT? 16 SUMMER 1972

KAZAN : No . It's quite different. Eddie Anderson would you say the film 's statement about American was really through with his wife. He felt that she society is? was the villain-it's even clearer in the book than in the mov ie-she kept him in that position , that KAZAN: Well, I hate simplified statements, but milieu , that job . He blamed her in his heart, and I'd say that the end of the film was just what this that's why he turned against her. In THE VISITORS country did: trying to solve a problem-somewhere there 's a different relationship. The woman pro- else, among other people-by violence, rather than fesses to be pro-peace , and marches in parades , by saying , \" Well , they ' re different people . Maybe and all that. But what she 's really doing is demand- they should decide their own fate .\" I said in THE ing that he be a different kind of man-macho. ARRANGEMENT that the gap between what we profess and what we do is enormous . I mean , all these guys To me she 's by far the most interesting character in Washington bullshit about the quality of life. The in the film , because of her ambivalences . I've been quality of life in New York City has gotten worse. in that society a lot, because I have so many kids The quality of life in all our cities has gotten worse . myself. I mean , they ' re all around me. My daughters The quality of life in America is worse. In fact , it 'a are very independent and very strong , but they cook a disaster. And it's even more despairing when it's in the kitchen . They don't want the fucking man in in a country which is by principle deeply democratic . the kitchen. He 's gonna make a mess in there anyway, and he doesn 't wash the dishes afterwards, FILM COMMENT: 00 you have some hope that and he doesn't know how to cook. THE VISITORS or your other work may effect a change in the quality of life? FILM COMMENT: Your life style while shooting THE VISITORS was almost communal, wasn 't it? Like KAZAN : You always hope that you mean some- Bergman . thing in the world , don 't you? I'm not in the enter- tainment business any more. I'm not out to make KAZAN : We lived in those houses you see in the people pass time between supper and bed . film . We had every meal together, the cast and the crew. There was only one cameraman and a crew FILM COMMENT: There seems to be in your films of three . It was fantastic . We had an Italian cook , and I made the lunches light, so the actors wouldn 't a recurrent acting style, stretching from Brando get groggy in the afternoon. I made the suppers heavy-a lot of pasta and wine-so they would fall through James Dean and Warren Beatty up to Steve asleep , and not worry at night! Railsback, the young Texan who plays Sergeant Nickerson in THE VISITORS. FILM COMMENT: Was it difficult to come off something like THE ARRANGEMENT-one of the most KAZAN : I don 't think I'm very catholic. I don 't personal films ever made-and then just be handed make westerns and musicals and comedies and costume dramas. I make the same thing over and a script, with characters which are essentially not over. I keep hitting the same points. your creation , and then just go in and shoot it? 00 FILM COMMENT: What I was trying to suggest you approach that kind of project differently? was that perhaps you have created the persona of what we think of as Brando or Dean or Beatty or, KAZAN: Naturally. But then , I think I was too close now, Railsback. Isn 't that really Kazan up there? to the film of THE ARRANGEMENT . It's very hard to do something twice. It's like, if you break up with KAZAN : Maybe less so in THE VISITORS , because a woman , and then you go back together. You don 't I was viewing him more objectively. Sure, I have get the same charge. And I think it would have been an influence. They certainly seem to be similar . They better if I'd had a producer on THE ARRANGE- seem to be rebels against the existing order. MENT-someone to fight with me. Well , Chris helped me a lot on THE VISITORS as a producer . I'm criticized FILM COMMENT: Even in terms of mannerisms, -correctly, I think- by people who say, \" Well , Jesus Christ , we get it. Don 't rub it in .\" I somehow believe there 's a lot of Dean in Railsback. The things he in excess , in overclarity . But Chris would say, \" Okay , you don ' t have to overdo it. It's there .\" He calmed does are a little like the things Dean did in EAST me down . OF EDEN . FILM COMMENT: Would you say that, ultimately, KAZAN : He is like Jimmy Dean . He 's got a mystery all the characters are responsible for the violence about him-a very real violence behind a very affable at the end of the film? front. I think he's a nicer person than Dean . Dean was far sicker. I liked Dean throughout most of the KAZAN : I don 't know what Chris would say about picture. I didn 't like him at the end , though . He got that, but I'd say that the country-America-was kind of spoiled , abusing , throwing his weight responsible . I think a work of art is good when it around. How can you do anything but pity Dean? has trailing roots that go out into the society and , I just didn 't like him much . through it, you get a clearer view of the society. That's what I've always tried to do in films . There 's FILM COMMENT: 00 you work differently with a terrific line at the end of the film , when Bill says to Martha, \" Are you all right? \" That's America. I a star like Brando or Kirk Douglas than you do with mean , are you all right now? That's such a stupid question . You can't have a Vietnam without an someone like Railsback? aftermath , can you? As the blacks say , we have to KAZAN : You have to work with everybody dif- pay our dues. ferently. You scratch the surface a little bit, and FILM COMMENT: If you had to simplify, what they ' re all unsure of themselves . What is more exposed than an actor? Douglas is a very hard- working , intelligent guy who is not happy about his own career. FILM COMMENT: Were you satisfied by the per- formance he gave in THE ARRANGEMENT? KAZAN: I'm never satisfied with anybody's per- FILM COMMENT 17

formance . I don 't blame Douglas for the faults of can boy figures . I'd say you can take it in STRAW that picture. There's only one person responsible DOGS where they ' re all psychos , where they're all for the faults of a picture: the director. Even SEA monsters. But when it's the kid that plays football OF GRASS-I don 't blame Tracy and Hepburn . It was and runs around on the ice, then they can 't take my stupidity and pusilanimity. You can 't blame any- it. I mean , Judith Crist-she could be the girl in THE body else . The director is the man . VISITORS who gets raped , for Chrissake . Ilike an actor who expresses his doubts, worries , FILM COMMENT: Some of the people I've talked antagonisms-someone who 's open . I just like hon- est people. You get a lot of adulation , and you have to say that there 's a very sexist view of the girl in to break that down . You kid them , you show them your affection , you muscle them around a little bit. the film-in that she 's kept in the kitchen , she 's used What you want is to be treated as an eq ual . It's by the two men . . . disastrous to be treated as a teacher . Sometimes , after a picture is over , they begin to revert to being KAZAN : That's horseshit! She's the opposite of afraid of me . a household slavie-she dominates her husband, she 's libbish . She says that he forgot to put the water FILM COMMENT: What about directors? Which on the table-she keeps glaring at him . She says ones do you admire? there 's salad in the icebox-she keeps glaring at him . She's a ball breaker. KAZAN: Of all the films I've seen, I like Jean Renoir 's pictures best. I see RULES OF THE GAME every FILM COMMENT: She was baiting Sergeant Nick- chance I get. I just love it. It's gorgeous, that picture . erson throughout the whole film. The attitude of the director to his material is so godlike , so loving. And the man himself is a beautiful KAZAN : She was coming on with him-maybe man. Did you see him on television the other night? unconsciously, but she was coming on with him . He 's just hollowed out, he looks like he's dead . But She wasn't satisfied with the man she had , and he talks with just as much clarity , with just as much wanted a man as ballsy as her father. love. He 's a master-he 's a god! Not because he 's stylistically tricky, but because he views humanity FILM COMMENT: In STRAW DOGS, the rape scene with understanding and a critical feeling and love. is choreographed like a ballet. In THE VISITORS , the And his pictures are truthful for that reason. I'm not girl is being raped, violated. There 's no feeling of influenced by Jean Renoir. I just like him . self-indulgence on your part. He 's just on top of her. FILM COMMENT: What do you think of John Ford? KAZAN: Peckinpah makes entertainment out of that rape. What he does is , he says , \" This is horrible. KAZAN : Ford is my favorite American director She 's being raped. \" But then he makes it look after the time of Griffith and Chaplin . I got more attractive. She 's getting fucked , and she likes it. And from Ford than anybody else. I admire Ford . He 's the audience is licking their chops , saying , \" Look a beautiful technical director. You ' re not aware of at her tits . Look at him get into her. Look , they ' re his camera movements. You ' re not aware of his doing it sideways. \" Well , I say a rape is a rape . goddamn techniques. He shoots beautifully. And Somebody 's being violated . In THE VISITORS , some- there 's a kind of poetry in Ford that I like. He has thing unconscious in her gives in to him at the last fights and all that , but there 's a poetry in him-a minute, and she pulls her legs up and lets him get sort of loneliness and longing . in all the way . FILM COMMENT: A lot of the violence in THE FILM COMMENT: So THE VISITORS doesn 't let the VISITORS seems to be either off-screen or in the dark. viewer stand back and admire some prettified, Holly- wood version of sexual violence. It implicates him. KAZAN : I'm not a salesman of violence. I don 't want the audience to think , \"Jesus, what fun it is KAZAN : I think THE VISITORS is very, very tough to bust somebody in the nose. \" I hate that. to take. I think a lot of people resent it, from all sides . I think The Assassins will cause a lot of FILM COMMENT: In EAST OF EDEN , there 's a resentment. They ' ll say it's not an accurate picture certain amount of really up-front violence, where of America . Listen , I've been around more than the guys that criticize me. They haven't been where I've you really see it. I just wondered if this means a been. I've been in all the underbelly of America .. . the drug scene . . . I've been backstage at iaw- change in your approach . yers' meetings ... I know what the hell I'm talking KAZAN : There is some change . Jesus, some about. It's not something I've made up . It's ob- served-felt. directors are paying lip service to the horrors of violence, but they really are smacking their lips over FILM COMMENT: It 's like Sergeant Nickerson it. So I have reacted to that. saying, \" I 've been to Vietnam , and you can 't really judge me because you haven 't.\" And, in a way, it 's This movie is the truth . There isn 't any doubt in very much like Eddie Anderson 's philosophy that my mind that this is the only treatment of violence \" you can 't really judge my personal life because that makes any sense. When you make violence in you haven 't been through my experiences.\" 00 you the past or the future or the far west, people can feel an affinity, then , with Jean Renoir'S philosophy take it . But when you say the man who does the that \" everybody has his reasons \" ? violence is your own little brother , when he 's a familiar and affectionately regarded figure-that's KAZAN : I think my films have that. I don 't do what what they can 't take. My Lai wasn 't done by mon- STRAW DOGS does , and say these are monsters and sters or psychos. They were done by familiar Ameri- psychos-and the reason they do what they do is that they ' re just bad men . Bullshit! No such thing . 18 SUMMER 1972

There are two things you can do . You can show KAZAN: Yeah . I was the third assistant director. their side of it, and you can show if they ' re socially approved of, or representative of a class. You can 't I handled the crowds outside the bank . Do you th ink just say , \" they ' re bastards , and so they do that. \" That's crapl That' s just an evas ion . It's disgusting I did well w ith those crowds? Weren 't they very well to me. directed? Peckinpah tries, and he expresses himself, and FILM COMMENT: How much influen ce did WANDA I admire him. He 's got a lot of talent . I don 't like to knock other filmmakers. I just knock certain have on the making of THE VISITORS? tendencies . The fun of brutalizing , of murder as a spectator sport-you see it in football , too. Christ , KAZAN: It wasn 't the specific film , WANDA , so to me it 's sometimes just like gangsterism . Why like those things in people? Let somebody say, \" What much as the whole ex perience of that , which I was a nice person , what a sweet person , how lyrical he is.\" Other values have to be prized besides strength in on all the way through . Foundation For Film- and violence. makers is Barbara , myself, and our lawyer. The thing But we 've forgotten . Where 's the poetry in life? the delicacy in life? the beauty in life? Where is it is that films are no longer an industry . An industry all? It's all violence. Watch the kids ' cartoons on TV-BANG! BANG! BANG ! It's horrible. Nobody is based on making a product that pleases every- gives a shit about anything any more. That's why I live in the country as much as I can . At least the body. I don 't please everybody. I get them pissed trees come out. Of course, the fucking gypsy moths eat the leaves, too . off at me. So what you do is to say that , some way , It's like , the main thing is missing out of life. In we ' re going to make films that are going to please Paris, you can go to lunch with somebody, and sit around , and you can talk , and the food is good , only part of the audience-or interest only part of and people walk by, and you watch them , and you gab, and there 's no hurry, and the waiter's not trying the audience . So , when you ' re up against that , what to hurry you . Here, you can 't have lunch-Get out! Pay your money and get your ass out of the restau- do you do? And since \" the industry\" has now rant! You can 't walk the sidewalk without filth every- where . What's our wealth for? Something 's all become TV , the problem of making films like IN THE wrong , and after a while we just take it for granted and say that's the way it is .... At least, I've got STR EETS is ferocious . a nice wife. FILM COMMENT: Could you do that in 16mm? FILM COMMENT: How do you feel about the mix ed reaction to THE VISITORS? KAZAN : Two things cost money in films . First: KAZAN : I think it's par for the course . I've always the moves-if you have a lot of sets. IN THE STREETS been what they call controversial. Of my last eight films , only two have been successes . AMERICA is set partly in Puerto Rico . That means you've got AMERICA , in my opinion the best film I ever made, was a total flop-total catastrophe. Nobody went to to take a bunch of guys to Puerto Rico, and put see the goddamn thing , and I think it's a beautiful film . A FACE IN THE CROWD was a flop . BABY DOLL them up in hotels, and pay their restaurant bills and was a flop . VIVA ZAPATA! was a total financial catastrophe. transportation . Then you 've got to shoot on the What do you feel about that? You feel . .. well , streets in New York-which is nothing like outside you just have to survive by making the films you want , some way or other , don 't you? Then, IN THE my house in Co·nnecticut. You have to have cops. STREETs-the Schulberg picture-I couldn 't raise money for . Christ , I was going to direct WANDA . I You have unions. went to the union and said we couldn 't afford a normal budget, and asked permission to do it with And the other thing that costs a lot of money just a small crew. They wouldn 't give me permission to do that. is processing . So , a film that has a lot of music in FILM COMMENT: WANDA was originally your it-not canned music, but original music, Puerto project? Rican music, something like that-you can 't do the KAZAN : I was working on it with Barbara. So then I told her she ought to direct it. She hesitated , she same goddamn thing . There's no way to make that was frightened-and then she did a great job. She did a terrific job with it. movie for under a million dollars . THE VISITORS cost FILM COMMENT: Were you on the set? $150,000. Under $70,000 for principal photography. FILM COMMENT: 00 you plan to make a movie of The Assassins? KAZAN : I'm anxious to make a followup on AMERICA AMERICA. I finally got the idea of how to do it, and I think I' ll write that next instead . You know , I've only got so much time left . And it takes so goddamn long to make a picture. A big picture like AMERICA AMERICA is such an involved job , and it's so hard for me to raise money now. I get plenty of offers to make films-but it's very hard to get money for the films I want to do. They feel , well , he may be a good director and all that ... he directs actors well . .. And another thing I don 't like. A guy like Tennessee Williams has no recognition here, no lasting status. He's criticized in the papers. \" The man has lost his talent-the guy can 't write any more. \" They look down on him , when they should put a statue up to him . They should name theaters after him. Look what he 's done for us. Who do they name theaters after? Real estate operators, theater owners, critics! There ought to be an Arthur Miller Theater. Look what Arthur's done for the theater. He 's still writing good theater. Artists have no stand- ing here. Therefore , they feel isolated ... scorned ... Come on , you guys go! You 've got enough for a fucking interview. 11111111 FILM COMMENT 19

ILillllbllit~CCIh\\ llllli itIh\\~ 1rIh\\llrritll~~ All Talking! All Singing! All Lubitsch! by Andrew Sarris Part II Andrew Sarris is the film critic of The Village Laemmle 's at Universal , and all the brothers Warner Voice . His new collection, The Primal Screen , will put together. Chaplin remained his own producer be published this year. Part I of this essay appeared and his own creator throughout his career , but in in the Winter 1971 . 1972 FILM COMMENT. the Thirties Chaplin was too inimitably individualistic and technologically reactionary to exercise much Ernst Lubitsch presents problems for the film influence on other directors. Capra had carte- historian over and above the usual one of sifting blanche at Columbia for a time, but he never med- the coarse sands of a collaborative art-form for the dled with the overall mediocrity of Harry Cohn's gold dust of an individual style. The writers alone commercial factory. Alone among the distinguished would take a chapter . Samson Raphaelson (THE directors of the decade, Lubitsch looked beyond his SMILING LIEUTENANT, THE MAN I KILLED , ONE HOUR WITH own creative concerns to the evolution of the pub- YOU , TROUBLE IN PARADISE , THE MERR Y WIDOW , ANGEL) lic's tastes. was especially conspicuous as a collaborator during this decade. Other Lubitsch scribes wo rthy of men- The dividing line was 1934. The resurgence of tion (and perhaps even analysis) are Ernst Vajda censorship, the delayed realization that breadlines (THE LOVE PARADE , MONTE CARLO , THE SMILING LIEU- and continental sophistication didn 't mi x and that TENANT , THE MAN I KILLED , THE MERR Y WIDOW), Charles a wink was no match for a wisecrack , and the Brackett and Billy Wilder (BLUEBEARD 'S EIGHTH WIFE , pervasive humorlessness of both the left and the NINOTCHKA), Ben Hecht (DESIGN FOR LIVING ) and right brought hard times for such stylistically playful Walter Reisch (NINOTCHKA). But even these highly directors as Sternberg and Milestone and Mamou- talented and idiosyncratic screenwriters were lian and Clair, and an end to many genres-most usually mere middlemen between bits and pieces notably the subjective ganster film , the rhymed cou- of theater, fiction and anecdotal conversations on plet musicals and the upper-class soap operas one side and Lubitsch 's storyboard implemented by (Goodbye, East Lynne and Hello , Stella Dallas ). an army of technicians (generally from Paramount) on the other. What makes Lubitsch 's films of the period espe- cially fascinating today is their sense of strain be- The important thing to remember is that Lubitsch tween a director's sensibility within and a producer's was as much a force as he was a beacon , a figure sensitivity without. THE SMILING LIEUTENANT, for ex- not only to reckon but to be reckoned with . His ample , is gravely flawed by the contradiction be- influence on the Paramount Studio is thus compa- tween the director's exquisitely flavorsome treat- rable to Zanuck 's at Fo x, Thalberg 's at Metro , ment of Claudette Colbert's demi-mondaine and the puritanical resolution of the plot to allow Miriam THE MERRY WIDOW. Jeanette MacDonald and Mauri ce Ch evalier . photo : Mu seum of Modern Art! Film Stills Archive 20 SUMMER 1972

Hopkins 's prissy princess to come out on top for that few viewers can remember much else about the sake of the presumably sacred marriage con- tract. Indeed , the Colbert character must even con- the movie, fo rtunately for MacDonald and Buchanan . tribute to her own romantic downfall by advising her rival how to snare the Smiling but straying Lieuten- Lub itsch regained Chevalie r for THE SMILING LIEU- ant (Maurice Chevalier) with a song about sexy underwear, as if the elective affinities were merely TENANT , but he sensed that the operetta style of love consumer goods and textbook tactics . Still , Clau- dette Colbert's glowing performance in THE SMILING duets were going out of fash ion , and so Chevalie r LIEUTENANT is as much a testament to the winsome womanliness of her early Thirties persona as her was flan ked by two straight actress-personalities, excruciatingly sadistic performance in BLUEBEARD 'S EIGHTH WIFE (1938) reflects the horrible torture in- Claudette Colbert and Miriam Hop kins . THE SMILING flicted on sex comedy after censorship reared its ugly head. LIEUTENANT thus stands almost half-way between the By 1938 American audiences had regained their lilting lyricism of THE LOVE PARADE and the tempered emotional adolescence in their quest for seriousness and significance . It was as if Lubitsch ironies of TROUBLE IN PARADISE . In fact , Lubitsch was had never come to these shores with his expansive smile, his cigar, and his gourmet tastes. And Lu- so busy w ith TROUBLE IN PARADISE that he del egated bitsch himself had to trim his sails after the colossal failure of ANGEL , one of his most anacronistically most of the directorial d rudgery of ONE HOUR WITH civilized works , released as it was at a time when Harry Brandt had decreed that Marlene Dietrich , YOU to G eorge Cukor (designated by Herman G. Greta Garbo , Katharine Hepburn and Joan Crawford were all bo x-office poison . With BLUEBEARD 'S EIGHTH Weinberg in The Lubitsch To uc h as the \" d ialogue WIFE and even NINOTCH KA, the Lubitsch champagne is beginning to be d iluted with vinegar from the director\" ). Without plunging into period memoirs well-stocked cellar of Billy Wilder. In the Forties , the sweetness of the Viennese tradition will be perpetu- over who did what and to whom , we can safely say ated by Lubitsch and Preston Sturges, but the sourness of that same tradition will pass on to Billy that ONE HOUR WITH YOU marks a d iscernible break Wilder, especially after Charles Brackett has been succeeded by I. A. L . Diamond . stylistically with both previous and subsequent Lu- Even in the early Thirties , however, Lubitsch bitsch films . Cukor, like Preminger later, superim- seemed aware of the limited leeway he had with an increasingly impatient audience. His four musicals posed on a Lubitsch project an essentially theatrical follow a pattern of progressive stylization and self- mise-en-scene, lighter on the witty cut and heavier consciousness as audience resistance to the inte- grated poetics of rhythmic mise-en-scene increases. on the lyrically long take and sweep ing camera THE LOVE PARADE (1929) is relatively carefree and unforced at a moment in film history when sound movement. seems to be stifling movement. Its artfully-raised eyebrows and its clever cutting between the royal Lubitsch 's final fling with the musical (apart from couple and the watchful court made THE LOVE PARADE seem like the unbroken link between the his fatal misalliance with Betty Grable in THAT LAD Y visual mellifluousness of the silent cinema and the verbal-musical dynamics of the talk ies . (Otherwise, IN ERMINE in 1947) reunited Maurice Cheval ier and THE LOVE PARADE was merely a one-song musical , with its one melodious tune-Victor Schertzinger's Jeanette MacDonald in that trusty warhorse of \" Dream Lover \" -popping up later in Billy Wilder 's THE MAJOR AND THE MINOR and Cecil B. De Mille 's operettas , Franz Lehar 's THE MERR Y WIDOW . There THE GREATEST SHOW ON EARTH .) is one beautiful song in THE MERR Y WIDOW that MONTE CARLO (1930) came along at a time when the screen had been so saturated with musicals that cannot be bluffed or faked or kidded by a music- producers, saddled with musical properties, were keeping the ridiculous plots and throwing out the hall style . It is \"Delia,\" a showpiece number for a redeeming songs. Jeanette MacDonald 's acting had not improved appreciably since THE LOVE PARADE conservatory tenor , just as \" The Angelus \" is a and her new leading man (Jack Buchanan ) lacked the charm and authority of Maurice Chevalier. But showpiece number for a conservatory soprano- MONTE CARLO succeeded nonetheless by virtue of Lubitsch 's spectacular montage mounting of even the late Bobby Clark made himself scarce in \" Beyond the Blue Horizon \" (MacDonald / train / cou ntryside / peasants)-a seq uen ce so spectacu lar stage revivals of Victor Herbert's \" Sweethearts\" when it came time for the soprano to sing \" The Angelus.\" There are a few things in the world that are too beautiful to be burlesqued even by the most gifted clowns and the most charm ing straw-hat rascals. Lubitsch knew that Chevalier couldn 't sing \" Delia\" himself, and yet the song was too good to be sacrificed . The solution? Maurice Chevalier's gawky country bumpkin orderly (Sterling Holloway) sings the song (dubbed of course by a straight tenor) with Chevalier standing behind him like a combination puppet-master Cyrano, the sweetness tempered once more by the irony of a device breathtakingly ingen ious in its auda c ious di- rectness . The evaluation of film musicals is sheer folly after a certain point. A song here, a dance there, per- formers at a peak or in a pique , can make all the difference, I know. And so I have no desire to argue with the persuasive defenders of Rouben Mamou- lian 's LOVE ME TONIGHT as the best of the \" Lubitsch- li ke\" musicals . Nonetheless , I would not trade Lu- bitsch 's daringly subdued and scintillatingly circular treatment of \" The Merry Widow Waltz \" as a prison- cell pas-de-deux for all the slow motion and showy camera angles in LOVE ME TONIGHT . Lubitsc h ma kes of THE MERR Y WIDOW the last musical of a certain spirit and style to be made on this planet . And it is his intimation of a genre 's mortality and the sad smile that goes with the intimation that makes Lu- bitsch ultimately in imitable and ineffable . 11111111 FILM COMMENT 21

V~~~L()V~ f3ILLIATT James Childs is the film critic for the New Haven spring of 1966, called A State of Change, which is Register , a teacher, and a playwright. also about a doctor and a friend afflicted with cool-not a particularly young man , as I have it in London-born Penelope Gilliatt is perhaps best the film-and a girl in her mid-thirties who has a known for her screenplay SUNDAY BLOODY SUN- job and a past. The story of the film and the book DAY , for which she won the Best Original Screen- is about the way they behave with one another , the play Awards of 1971 from The National Society of fun they have together, the difficulty of how to Film Critics and The New York Film Critics, the proceed , and the questions of what people make Screenwriters' Guild Award and an Academy Award do on and whether they settle for less . Or whether Nomination. She is also the author of two novels , they throw their hand in and say , \" No , it has to be One by One, (1966) and A State of Change (1967), more .\" plus two collections of short stories . Nobody 's Busi- ness, a collection of stories and a short play, and A State of Change is about a Polish girl cartoonist Unholy Fools: Wits , Comics, Disturbers of the Peace, who came to England just after Gomulka 's regime a collection of film and theater criticism and pro- ended and saw England going through si xteen years files , will be published by Viking Press in 1972. For- of change. I suppose it was rather ambitious to try merly married to Professor R. W. Gilliatt and to show that much of England , especially through playwright John Osborne , Ms. Gilliatt lives in New an outsider 's eyes , and to hope to make people feel York City and in London with her si x year old daugh- what it was like to be an artist and a cartoonist , ter, Nolan. someone interested and struck by the English face , someone who saw it as Cruikshank and Hogarth JAMES CHILDS : What is the genesis of SUNDAY did. The supposition in the book is that she 's a good cartoonist , possessing a real sense of the times BLOODY SUNDAY? she's living in and a sense of England 's flavor as she sees it change through Suez and Hungary in PENELOPE GILLIATT: I'd much admired what 1956. John Schlesinger had directed , especially Timon of Athens and a play of Marguerite Duras ' , Days in CHILDS : Then SUNDAY BLOODY SUNDAY developed the Trees. The germ of the film , looking back on out of your novel? it, was in a novel I wrote a while before that, in the GILLIATT: It did , and out of John 's interest in a triangular situation ; but I shrank the time unity into ten days-two weekends and a week between . 22 SUMMER 1972

an interview by James Childs I wanted SUNDAY BLOODY SUNDAY to come very close of great license to extend to them . What you ' re Scenes from to people's behavior and to show what.they're like talking about when you ask that is the soliloquy at SUNDAY when they ' re alone or with intimates . I hoped they the end , I suppose. There I wanted to be able to BLOODY SUNDAY. would seem intimates of the audience , that they see if it was possible in a film to use some of the From left : wouldn 't be strangers to us, that they would be- techniques open to people in the theater , like solilo- Glenda Jackson, come , if the film worked , one's old friends . quy and aside. There are lots of them in the film , Glenda Jackson and in odd ways I wanted not to intrude. I don 't much Murray Head , CHILDS: One feels comfortable with them. like voice-over. It's perfectly possible to have the Peter Finch and GILLIATT: Oh , that's good . I wanted the audience characters actually talking out loud to themselves. Glenda Jackson, to feel that it slowly grew to know a lot about them People talk without other people listening all the Murray Head and and that it learnt things about them indirectly, with- time. Do you know what I mean by \" staring some- Glenda Jackson. out being hammered with information , the way one one out\" ? Here one probably says \" staring some- photos: United Artists. feels with Ibsen , which is a tricky thing to do dra- body down .\" Anyway, the toucan and then Alex, matically because it's asking a lot of people 's un- the heroine, do this at one point, and it helps prepare derstanding and perceptions. But I do strongly be- the audience for what's going to happen at the very lieve that a watching audience has that acuteness , end , which is the face-front soliloquy by Peter Finch partly because we 've been educated by watching that expresses his feelings of loss and longing and their gestures while they ' re being interviewed . The a very characteristic, slightly comic stoicism . The reaction is like the reaction to the kind of actual soliloquy isn 't jarring , I hope . Peter knows how to behavior one sees on TV. It's the reading of things do that technically. that anyone would have of the two of us here, say, sitting in this cafe . That is the sort of response I CHILDS : I didn 't feel it to be at al/. desperately wanted an audience to be able to have GILLIATT: I'm glad . It shouldn 't be . I've tried to to this picture , which is about a sort of behavior prepare the viewer for it technically so that it be- I believed John Schlesinger had a wonderfully true comes something he accepts easily. I always carry feeling for. There couldn 't be a director who re- big leather notebooks with me, and after i'd made sponded as much to a text. a lot of notes and thought hard about it for a long CHILDS : You want us to feel we are interviewing time , I wrote the complete first screenplay in Boston your characters? in ten days in 1967. The ending came very early GILLIATT: No , not that they ' re being catechized ; on when I was writing in Boston , and it's one of rather to feel we 're their intimates with an amount the things that remained quite unchanged through FILM COMMENT 23

many years of working on the script. I did years hedge their bets . Bob's sweetness and vulnerability of reploughing while we were talking and casting . are surely there in the way he keeps asking them , But no ludicrous, dopey rewrites during shooting . \" What should I do? Do you think I should go to One always changes things after casting , talking America? Should I leave you?\" He's this touching with the director, and I suppose because of plain mi xture of being a raw boy who 's taught himself writer's boredom with re-tracking-you obviously do an ethic of cool : What the hell ... What 's the new things to keep yourself alive and interested-but difference? Everybody's the same to him ; every- I never wanted to change the ending . body's interchangeable; nobody's indispensable. CHILDS : Is the finished film similar, therefore , to CHILDS: Forewarned is forearmed : Bob does your vision of what it would be? warn them that he 's leaving. GILLIATT: If you've worked on something that 's GILLIATT: But when he does he 's really trying your own , helping to cast it and rehearse it day by to get out of carrying any blame for it. The old guilt day , it's yours and you carry the can , yes? The blackmail: I've told you I'm going to break your leg reason most writers don 't work for film is that their and I'm feeling terrible about it, so how can you cutoff point is usually at first draft stage . Forced blame me for breaking it? on them . Or maybe a lot of them can 't stand the garbage that long. But the truth about a film is that CHILDS : How was the synagogue scene created? it 's not fully written until you 've got the stuff in a GILLIATT: When we looked at it we found it had rough assembly and then you 're looking at it, and a great deal of splendor and solemnity in it. Coming you start thinking , \" Oh , Christ! That simply doesn 't at that point in the film , it deserved a lot of time . work . What are we going to do about it? \" There 's John and I looked at it very , very carefully. Other no point in saying the mistake was because of the people felt it took too long . We both felt strongly casting , or that the acting wasn 't good enough , or that it should be allowed to take its time , that it whatever else, blah , blah , blah. The only thing for imparted something terribly important to the picture. the writer is to work out what to do. At that point in the picture , it revealed something one hadn 't really learned about Daniel 's back- When we first saw the first assembly there was ground . One had seen him at work , one had seen a structural problem that I solved by wanting to cut him alone playing music; but one hadn 't any idea twelve and a half minutes from somewhere near the what was strong and magnificent in the moral back- beginning of the film . For a writer to think of slashing ground he's railing against or what a dissident he a script in this way is much more ruthless than most is . We ' ve always seen him as someone who film writers generally seem to be with their own work , dispenses help . It's maybe a good idea at that point apparently. I probably wouldn 't have been as ruth- to see that he ' s not an entrenched figure at all. He 's less if I hadn't been so involved with the film as an outcast and perhaps always has been . CHILDS: How did the scene come to mind? a whole. GILLIATT: John and I wondered whether to do CHILDS : What sort of cut was it? a wedding or a bar mitzvah . I decided on a bar GILLIATT: It was a narrative cut where I'd just mitzvah. taken much too much time showing Alex alone, CHILDS : What about the liberal-socialist family- establishing her hesitancy about the life she'd have to live that day . It was an ex panded scene that how did it come about? They seem to be typically becomes almost like something out of Alice in Won- eccentric English characters. derland . about hours in a pub , when she doesn 't know where time goes to , because she's given GILLIATT: I do wish people wouldn 't call English herself the wrong target. people eccentric. I suppose most strangers are eccentric to other strangers . They ' re familiar people CHILDS : This is after the opening scene in her to me, and I was interested in developing something flat. about them which unfortunately we didn 't have time for-I wanted to develop something about an affair GILLIATT: Yes. The scene would have been fine between the woman and . .. in a novel , but a film has to have a stronger pull. It's like a ship needing a steel hawser, a length of CHILDS: And the black man. steel cable under the water that drives it along . The GILLIATT: . .. and the black man . Exactly. Did pull doesn 't have to be a plotline , but it has to be you feel it? Oh , good. Well , it's there. I laid that in some very strong drive. If your film has no hawser and didn 't have film space to do it at all adequately. it's lost. Editing 's difficult to theorize about, but CHILDS : It was during the dinner scene at the suddenly when you make a drastic cut like that you end, with Daniel. I felt there was something going can see an enormous change in the way the parts on between her and the black man. of a film relate to one another. GILLIATT: Good. I'm glad that got through . CHILDS : What perceptions as a film critic or as CHILDS : I enjoyed the film very much, but I couldn 't get into the character of Bob Elkin , al- a writer were especially helpful in creating the script? though the characters of Alex and Daniel were limned very well. GILLIATT: I'm not trying to be evasive, but I really find that a completely impossible question to an- GILLIATT: Why do you have to get into a charac- swer. I'm sure I must have learned a lot by looking ter? I suppose one either sees the shape of some- at a lot of films. one 's personality or one doesn 't. The other two characters are very firmly detailed because they ' re CHILDS : It would not have mattered whether you more fully formed . They're older and they don 't were a critic or not? GILLIATT: Well , it's sort of indivisible. It's like 24 SUMMER 1972

saying would you have written it differently if you the producer starts getting creative , and so on . It's had blue eyes and brown hair instead of brown eyes a rotten and arbitrary way of working that has taken and red hair. I can 't tell. us a frightfully long time to break down . There are other ways of making movies and we ' re finding CHILDS : With a critic 's perception, aren 't there them . There 's no real reason , apart from lack of things-cliches-you avoided that you otherwise interest, why a screen writer shouldn 't be absolutely might not have? as involved in a film as a playwright is in the produc- tion of his play. This I profoundly believe. GILLIATT: Critics are probably more prone to cliches than fiction writers who pluck things out of CHILDS: That 's something I was going to get to . the air. Corliss expressed it to the effec t that the director CHILDS : Perhaps critics have to rely on cliche is interpretive and the writer 's creative. There are or else they 'll waste all the good metaphors they could use in their other writing . some ex ception s as you 've pointed out, partic ularly if the dire c tor 's written the script. GILLIATT: Oh , no! This I feel very strongly about: You don 't save words and phrases. That 's one of GILLIATT: Absolutely . People overlap in different the traps about writing . Someone less used to writ- directions. Sometimes the cameraman will do things ing fiction might look at a notebook and think , \" Well , that on another picture the director would do; I won 't use all that for such and such. \" The odd sometimes the director will do things that on another thing is , whatever you 've been stingy about is some- film the writer might do . There 's no need to squabble thing you never use anyway . It's like life itself: if over credits, I think. you ' re meanfisted . CHILDS : There have been rumors concerning an CHILDS : \" Get it while you can \" ? alleged contretemps between you and SchleSinger GILLIATT: No , spend it-spend it because you over who wrote the script. have it. CHILDS: Of late, film writers have begun to re- GILLIATT: Bollocks! The rumor's got no basis in ceive more credit by critics for the creation of a fact. John and I are very fond of one another. film. What do you feel about the film writer? Will There 's no question about who wrote it: I did . He 's having written this screenplay alter your perceptions not a writer and he doesn 't for a moment pretend as a critic? to be and never has been . I do wish you 'd try to GILLIATT: I've written four books , another two quash this rumor. filmscripts , one for the BBC , I've always been close to the theater and written for it , and I was married CHILDS: I read that Schlesinger was miffed be- to a playwright. It isn 't some sort of change . Writing cause you 'd taken too much credit for the screen- dialogue is the oldest process in the world to me. play. I knew about rehearsing ; I'd been an actress now and then when I was knee-high to a grasshopper. GILLIATT: Gossip columnists at it again . What When you ask about the credit film writers get, I a lousy job, thriving on invented rows. The directing must say I haven 't noticed that they receive a great of the film is John 's, and the authorship of the deal . The director still gets an inordinate amount. screenplay is mine , exactly as the film itself says . The justice of that, for what it matters , depends upon John has never been anything but entirely generous whether the director really has invented the picture and right about the authorship of the screenplay. himself, as Bergman does, or not. You have to know I wonder if outsiders start inventing trouble between the people involved and the facts to be certain how a woman and a man who work together. Maybe to distribute credits properly. people are unaccustomed to women working in CHILDS : In Film Comment's issue on the films . In this daft situation it's difficult for women to direct films. I'd like to try , but people do put a screenwriter Richard Corliss said filmmaking is a lot of obstacles in your way . This may be one . collaborative effort, in which the writer, the director CHILDS : You are writing another script? and the actors share roughly equal responsibility GILLIATT: Yes, but do you mind if I don 't talk for its authorship. about it? CHILDS : One or two? GILLIATT: It is , of course . But sometimes more so , sometimes less. In countries apart from America GILLIATT: One, and a couple of other long things. and England the tradition is that the director writes CHILDS : Would you care to dire c t a film? his own script. This has always happened in Russia , GILLIATT: Love to . One day. But you have to wait Poland , Czechoslovakia, India, and allover the a while. I'd rather write one more script before I place . In France , long long before the camera-stylo direct a picture. It's difficult to do both . theory, Jean Renoir always wrote his own scripts. CHILDS : Have you seen WANDA? It's only in our two countries , where cinema has been so intimately connected with real estate, that GILLIATT: Yes , and DAISIES . But what a mess at in the dog days of film it became a producer 's the moment for us to have to divide pictures by the playground , so that what was needed was a best- gender of the people who make them . DAISIES is selling book or a Broadway hit that could be taken by Vera Chitilova, a Czech director. I had a wonder- back to Hollywood in a briefcase to show the pro- ful letter from Agnes Varda saying SUNDA Y BLOOD Y ducer's wife why it might be successful. Then the SUNDAY made things that much easier for women producer hires the director, then the writer, then who want to make pictures . the next dozen writers to do the doctoring , then CHILDS: You think your acceptan ce as a woman contributed anything to SUNDAY BLOODY SUNDAY that wouldn 't have been in it had you written it as a man? GILLIATT : Who can tell? One writes as oneself. FILM COMMENT 25

You write differently because it's 1972 and because business men , not with business women , and they of x, Y, and z. don 't trust talent; they trust business sense, and CHILDS : I find both Alex and Daniel fully fleshed, as I said before. that 's taken to be an aspect of manliness. The fact GILLIATT: People tend to identify the women is that there have been lots of American and English characters with the woman writer, whereas if any- thing I'm slightly closer to the position Daniel takes. women with obvious talent who could have directed CHILDS : Should the influence of women within films long since-Elaine May's one. Lillian Hellman the film industry be more pronounced? could obviously have directed a picture of great GILLIATT: The influence of women has been pronounced in history, but probably not in film power if she 'd wanted to . And if conditions had been history-except as an aspect of the star system , which obviously has to do with what Women 's Lib right she would have done one, but she probably is about. Hollywood has depended on women but it's treated them as objects. It would be difficult for thought, \" Screw this . Why should I have to crawl a woman to be, I should think , the production head of a studio or a manager without being called a and ask to do something when I could be spending bull-dyke. When you want to direct you do meet, not obstructions really, but a quite touching feeling the same two or three years of my life writing a novel that a woman isn 't equipped to manage all those men , all those eyes . She hasn 't got the stamina, or a play without having to beg?\" the assumption goes; she hasn 't got the authority; she can 't be the Duke of Wellington of that huge CHILDS : There have been many women operation because it's so impersonal. But it's diffi- cult for anybody to do , and certainly isn 't more so SGreen writers. because you ' re a woman . I do know it's a very , very difficult thing to do. GI LLiATT: But screenwriters in th is country have CHILDS : If you were directing a film would the been put in the position of being whores . They have men working under you give you as much assistance as they 'd give to a male director? no authority, absolutely none, Any woman GILLIATT: It depends on the kinds of people screenwriter here who 'd ever put her foot down and you ' re working with . I think they would respond if they saw that you were serious about it and working said \" No , no , this is not the way the film is going your ass off. I've never found anybody, any man who 's worked for me, anything but totally helpful to be made \" would have been considered a very as soon as he saw that what was involved was serious . The difficult thing is to convince people who odd fish . She wouldn 't have got very far. Shirley don 't listen to you , such as the money men , that you are serious. That's the initial problem. There Clarke has done splendidly here, but she 's had to is an ignorant assumption that women can 't do film work because they have shopping lists and children do it underground . on their minds, or because they have a sense of detail but no overall sense, or because they haven 't It all depends, really, on how much one wants staying power and can 't manage that vast field operation . to do it. I've started to have the feeling that if you CHILDS: You are saying, then , that women 's past want to do something badly enough , you can really place in film history hasn 't been significant? always do it. Women have done remarkable things GILLIATT: It has been more significant in coun- tries that aren 't as prick-proud as England , America , in history and against all the rules; and if somebody Japan , which all happen to be big film producing countries. More easy-going countries have made it really wants to direct pictures instead of just saying awfully easy for women to work in films in all sorts of roles. It will happen here in the end . that they WOUld , I think it's possible now. The biases CHILDS: But we haven 't had them in the past. have eased and people are more gentle to women. If you look for a well-known woman director beyond ten years ago, you really have difficulty coming up They were for a long time very fierce and very with one. Hasn 't the whole of the social fabric had certain biases against women , and therefore film is unkind . just one area in which bias has been shown? CHILDS: 00 women need, as Virginia Woolf put GILLIATT: Yes , absolutely. The bias has been that much more obvious in films because there is it, \"a room of one 's own \" ? more money invested in them , so the backers , who are always men , get more panicky about taking risks. GILLIATT: Are you saying that women need more Money men in front offices are used to dealing with privacy than men? Is that what you mean? CHILDS: No. She said men became artists be- cause they had private places to which they could go to create. GILLIATT: There 's the phrase \" to be one's own man. \" Well , obviously you have to be your own woman too . You must be your own woman if you ' re going to do any sort of work , whether it's writing or doctoring or anything. People must have a certain amount of air to move around in and not be hedged in by certain obligations , such as having to butter the sandwiches as nicely as the woman next door butters hers, or whatever. There are certain things that women are still asked to do which nobody would dream of asking a working man-but these are slowly being changed and you really can set your own terms as long as you ' re not too belligerent about it. I think it 's become a bit better for women , because of the suffering that a lot of women have gone through-and believe me, there 's still a lot of suffering . But conditions over all are better. CHILDS : You would be optimistic, then , about the future role of women in filmmaking? GILLIATT: Would you be entirely optimistic about the future of men in films? CHILDS : Well, I don 't know . . . GILLIATT: Exactly, 11111 111 26 SUMMER 1972

FILMOGRAPHIES compiled and introduced by Richard Koszarski Richard Koszarski is a Research Asso- ment , and the way a story is told is the story. ed art form which are most manageable in Our conditioned vocabularies resist literary terms. But the form demands critics ciate at the American Film Ins/llute and is defining a movement in terms of juxtaposi- equipped to discuss it not only in the terms tion or spacial relationships , and conse- of written literature, but with a critical vo- working on a history of Universal Pictures quently, the on ly film movements that get cabulary conscious of developments in and Carl Laemmle for them. He is also generally discussed as movements are post-war music and art as well, prepared writing a book on films of the Fifties to be those who have a strong and unifying to discuss the moving picture in terms of thematic core susceptible to analysis in the questions raised by these related disci- published by The Macmillan Company literary fashion . plines. Only then can we successfully ap- preciate the work of those whose creative W hen applying the spotlight theory of When film criticism grew into a more contribution is involved most directly with film history , attention is directed from artist-centered format , it was still these the more plastic and rhythmic elements of one \" golden age\" to another , flitting back thematic values that dominated the con- the medium, those who lend form and and forth across Europe , back and forth versation. Directors , even such obvious vi- movement to the structure of the moving across the Atlantic, following the cinematic sual stylists as Ophuls or Dreyer , were image. At this state in film history a mono- discussed primarily in terms of the story graph on Margaret Booth would be most muse as it settles first with one national content of their work, certainly a strange welcome . Or on the other hand , a study cinema and then another . This theory IS approach for criticism of this most modern of those who put the images on the film quite serviceable in the writing of cursory of art forms. Recently the grip of director- in the first place. It is simply preposterous film histories, but always raises the problem as-auteur criticism has loosened, and fleet- that there is not a sentence on the art of of specifically delineating each national cin- ing spotlights of attention have been direct- Lee Garmes or Gregg Toland , not any ema to which the author seeks to attribute ed to other participants in the filmmaking proper critical evaluation. What were these greatness. Those who apply this technique process. Last year FILM COMM ENT devot- men doing? It is a very hopeful sign that most strictly tend to choose movements that ed a whole issue to the work of the the American Fi lm Institute has been are easy to talk about in terms commonly screenwriter, certainly a fresh approach in spending more attention lately in compiling employed in literary analysis . It is a strong the welter of director-centered criticism that oral histories of Cinematographers, and that thematic quality which unites the Soviet , has appeared in the past decade, but pre- several books have appeared recently with German , or post-war Italian schools for dictably devoted to a type of filmmaker similar information . But these are only tools these writers , and any utilization of editing, intimately bound up with story and narrative for scholars and critics, with little value as design or camerawork is shuffled uncom- elements , and thus susceptible to the stan- ends in themselves. fortably to a far corner and discussed as dard forms of literary I thematic analysis em- ancillary technique. This is only to be ex- ployed previously. The same might be said for the filmogra- pected, give n the state of fi lm historical phies listed here: they are only starting study and the predilections of many film Written criticism necessarily tends to- points in analysis . They do, however , repre- historians. Occasionally the more daring wards what can be verbalized most satis- sent new material not previously collected among them will try to relate the \"style \" factorily , and so film criticism has always and absolutely crucial to any understanding of a particular movement to the \" content\" cen tered on those elements of this varigat- of that movement , but seldom will you find any admission that the style is the move- Production photos: Richard Koszarski. al/ others: Museum 01 Modern ArtlFilm Stiffs Archive. FILM COMMENT 27

Hal Mohr shooting the 1943 Phantom of the Opera . of the work of the film artists involved . Even But the mechanical portion of the machine Below: William Danie ls and crew on Naked City. more importantly, they illuminate still an- art was left to the cameramen, and when other \" golden age ,\" which unlike that of the time came this is what Bitzer and many Cameraman Ernest Ha ller (striped tie ) on It All Came True . Germany or Italy or Great Britain was not others chose to specialize in. The respons i- one defined so easily by its content as by bility of th is position was such that when its style-the Hollywood golden age , the Griffith arrived in 1908 he found his cam- classic period of the American studios , from eramen were often slow to implement the 1915 up to the Fifties. In looking over these suggestions and improvements he thought filmographies it becomes clear that here of for his films . They reasoned that if any- was the key unifying element of the Hol- thing went wrong with the film , if an image lywood style , a visual hallmark which effec- failed to register , it was the cameraman and ti vely evaded the attentions of most pre- not the director who was in trouble . The vious historians . camera was still the whole show. The process of absorption , synthesis But the growth of the modern cinema and change is what marks Holl ywood restructured all of this again. The Hollywood photography throughout, the idea of build- studio tradition grew up around the idea ing on earlier models , foreign models, con- of division of labor, of departmentalization, temporary models, taking everything of of a specialist for every aspect of the pro- quality in sight and putting it to use for their duction-literary, scenic, photographic, or own particular ends . This eclecticism was whatever. Screenwriters decided what Hol- developed into an unmistakeably fluid and lywood films had to say , and directors how dynamic style by Hollywood cameramen it wo uld be said . But putting the image on over the four or five decades of Hollywood's film- \" making the moving picture \" -was ascendance , and its roots may be traced still the responsibility of the cameraman. back to the very beginnings of American And in the pre-war years this was no mean production. When G. W. Bitzer began work accomplishment. Lethargic emulsions, sput- at Biograph in 1898 the motion picture had tering or non-existent lighting , crotchety just left the laboratories of its inventors. camera mechanisms and super-slow lenses Lumiere , Dickson-Friese-Greene if you made great cameramen out of anyone who insist-had demonstrated just before the could succeed in getting a clearly focussed turn of the century the success of their image on the film-yet those troublesome mechanical contrivances in catching and days were certainly a fruitful training reduplicating action in movement. But after ground . By 1915 mechanical difficulties perfecting the device they left its develop- had been swept away and expression in ment to other hands, and the motion picture terms of light was made possible on a major passed from inventors and mechanics fas- scale. cinated by the problem of movement to businessmen and artists enthralled by the Three films of that year, fortunately all fact of movement itself . To Melies and extant in fine quality prints , offer good Porter , to Smith and Selig and Lubin and examples : De Mille 's THE CHEAT, sho t by dozens of other vague figures of thi s transi- Alvin Wyckoff ; Dwan's DAVID HARUM , shot tional period , the fate of this latest Victorian by Hal Rosson ; and Griffith's THE BIRTH OF marvel was entrusted. The manner of their A NATION , shot by Billy Bitzer. In these three success is still something that awaits the films one can see already formed the basis proper Gordon Hendricks treatment , but of the whole tradition of American cinema- one factor which unified all of their work tography. Wyckoff's use of shadows for was an intense personal contact with all the psychological effect, of superb figure mold- elements of the filmmaking process. ing , of intricately accomplished trick work, points to the whole romantic-expressionist This was the scene into which Bitzer tradition of Lee Garmes, John Seitz and wandered in 1898. A film was generally Bert Glennon. Rosson 's warm and docu- conceived, shot, developed and printed by mentary-like examination of the countryside one man-a not infelicitous situation for (complete with precocious deep focus and 50- or 1OO-foot productions . Th is is the way tracking movements) prefigures the decep- Bitzer himself learned filmmaking , and his tively uncomplicated styles of George Sch- early work preserved on Library of neiderman or William Clothier. And Bitzer 's Congress paper prints casts an interesting bravura camerawork, which can encom- light on the nature of his collabo ration with pass intimate human drama and grand- Griffith years later. But of all these functions , scale panorama in the same shot (as in by far the chief was photography \" Making Sherman's march to the sea), has been a moving picture \" meant turning the crank ; carried on by such men as Leon Sham roy thinking up a story, handling the actors and and Robert Surtees. cutting the material together was just icing on the cake. Soon a primitive division of Over the intervening years the continuity labor was introduced for the more compli- of this visual style was fostered by a number cated productions , and specialized film of methods which enabled younger \" directors \" like Wallace McCutcheon cameramen to work under more experi- began to restrict themselves to wo rking enced veterans in a direct way, either as solely with the stories and actors of the operators , second cameramen, or assis- increasingly complicated narrative films. tants . Thus , an informal \"school\" of one particular visual style can be traced in a reasonably clear manrer (something which can't be done with directors, for example, 28 SUMMER 1972

whose assistants ·were usually busy round- with the designing of tracking and dollying ing up extras). Many cameramen were under contract to studios for years , and equipment. But Struss and Rosher quickly such cross-pollination no doubt resulted in one particular style heavily influencing a adapted to the moving style called for by wide variety of younger assistants who were also under contract at the time . One can Murnau and combined with this their own discuss an Ernest Palmer or Arthur Miller or Leon Shamory style at Fox, for example , backgrounds in portrait photography . The which wou ld exist outside of any particular trend in studio production. Of course, when visual difference between SUNRISE and THE such a studio style was definitely promoted , it was the cameraman who carried it along. LAST LAUGH can be seen in the figure mold- Warner Brothers films of the Thirties are probably visualized more clearly in terms ing on the faces of George O'Brien and of Sol Polito , Tony Gaudio and Barney McGill , than through Wellman , LeRoy or Janet Gaynor , a lighting sophistication un- These filmographies began as an as- even Curtiz . Paramount 's glossiest period signment to my film history class at New was the resul t of Victor Milner and Lee dreamed of in Germany at the time , but York University-each student was to Garmes as much as Lubitsch , Sternberg or compile the work of one cameraman, hope- Mamoulian . Wi lliam Daniels , Oliver Marsh well grounded in American camerawork fully tracing a personal style growing in the and Harry Stradling Sr. went a long way stream of film history, while learning to do toward producing the MGM look. And Joe throughout the Twenties . Karl Freund and research in primary sources as well. In the Walker was Columbia all by himself . process of correcting them I realized the the other German cameramen who suc- limitations of the standard reference materi- Once such a studio style had been fi xed al available, and at the instigation of the it seemed to pervade the rafters of the cessfully worked in America quickly adapt- editor of Fil m Comment I expanded it to studio itself. George Folsey moved from its present length , adding many names, Paramount (APPLAUSE , THE SMILING LIEUTEN- ed themselves to these new complexities dropping several, searching through the ANT) to Metro (MEET ME IN ST. LOUIS , THE records of the American Society of Cine- WHITE CLIFFS OF DOVER) but his style didn 't of shading , and we can trace this change matographers in Hollywood, and eventually move with him . Only those cameramen with sending the expanded listings off to all the strongest personal styles were able to by watching their earliest American work. concerned members of the ASC. Over nine- cross studio boundaries with impunity and ty per cent replied, and those cameramen imprint their own vision on everything . Hal The post-World War II period brought who corrected their filmographies are indi- Rosson could make a Metro Fleming (RED cated by an asterisk. Surprisingly, the ten- DUST) look like a Paramount Sternberg (THE the influence of the documentarists and dency was not to add titles as much as drop DOCKS OF NEW YORK), and Bert Glennon , them . Evidentally the trade journals of the Joe August or Gregg Toland could do the Italian neo-realists, but here again it was time were not too careful about attributing same thing. credit, and these mistakes have been digested and made part of the evolving repeated constantly over the years in many Just as many of the great cameramen of the previously published filmographies. were associated most strongly with individ- tradition . Look at James Wong Howe 's THE ual studios , another group was so linked We have also tried to ascertain as clearly to individual directors that their work to- ROSE TATTOO , which echoes the grim texture as possible the nature of shared credits, gether created a fusion of personal styles always a point of vague dispute. Sometimes similar to some of the studio / cameraman of Magnani 's Italian films-an amazing hy- associations. Bitzer and Griffith are the chief cameramen would work together on a film examples, but John Seitz and Rex Ingram brid , but still a most polished piece of (and later Billy Wilder) , Karl Brown and as co-directors of photography (like Struss James Cruze , and Robert Burks and Alfred Hollywood craftsmanship underneath . And and Rosher on SUNRISE) and other times Hitchcock are also notable pairings and , one man would leave and another take his when these associations broke up, the ef- when the stUdios weren't borrowing stylistic place- often not knowing who had been on fect on the visual style of both partners was previously, and thinking himself the only often quite noticeable (Hitchcock's work touches from overseas they were often director of photography ever associated after Burks' death , for example). with the picture. Lewis Milestone has de- borrowing the cameramen themselves: scribed such a problem relating to THE BUt Hollywood's visual style was not a FRONT PAGE . Originally started by Tony purely inbred tradition. As with every- Freund , Mate, Planer and others came over Gaudio, Hal Mohr was hurriedly called in thing else, the studios could appropriate a when Gaudio 's work proved unsatisfactory. pictorial style from overseas and make it and brought part of the European tradition Mohr repainted the sets (scrapping all the their own. In the late Twenties and early prior footage) and shot the greatest portion Thirties a \"German look \" was highly culti- with them . Karl Freund made MURDERS IN vated , but there was no mistaking FLESH AND of the film before leaving for a prior commit- THE DEVIL or SVENGALI as anything but pure THE RUE MORGUE a sequel to CALIGARI and Hollywood, no matter how hard they tried . ment. Glen MacWilliams was brought in to The finest Hollywood cameramen always THE GOLEM. One can see Dreyer 's wall-eyed finish the picture and only he received added to the techniques they adopted from screen credit. We credit both Mohr and overseas , and to see this most clearly look lighting effects behind Rita Hayworth in MacWilliams, but not Gaudio. at SUNRISE against the context of Murnau 's earlier films . The German cameramen had Rudolph Mate 's photography of GILDA . As Early Technicolor films are another sore retained their primary interest in engineer- point. The Technicolor Corporation sent ing : creative photography was concerned for Franz Planer, his work with Ophuls on out its own cameramen to work with the studio cameramen on the early Techn icolor both sides of the Atlantic is reflected in the films, and there has been constant ques- tioning as to who was assistant to whom elegance of such diverse work as HOLIDAY on the various films ; we credit all camera- men associated. For reasons of space we and BREAKFAST AT TIFFANY'S . The list could have omitted several great cameramen with go on and on . only a few American credits (like Shufftan The flow of these influences, as well as or Figueroa) as well as the work of many whose credits do not seem as repre- their absorption into the general fabric of sentative as our final selection . Hollywood style , is the tale told by these - Richard Koszarsk i filmographies. One not only sees the growth of the individual artist , but the historical context that prompted certain develop- ments and his reactions and contributions to them. Ultimately the filmographies work as a grid : taken together they form the fabric of Hollywood 's visual style with all the individual strands showing through . Combined with the work of directors, writ- ers , deSigners and others, they form a picture of classic Hollywood as the Florence of the West, bringing together creative ideas and creative talents from allover the world , then blending them into a new and dynamic synthesis. This fabled mixture held so long as there was a framework to support it all. When that dropped out it meant more than the collapse of the studio method of filmmaking . Without this structure to support growth and change, American cinematography turned from inspired eclecticism to frag- mented inspiration . It came full circle again to the days of Billy Bitzer , as today 's pio- neers roam the streets with portable equip- ment and Angenieu x lenses , starting their own traditions. 11111111 FILM CO MM ENT 29

A Man's Castle, Joseph August . LUCIEN ANDRIOP (1892- ) Mamoulian . Charlie Chan at the Opera H. Bruce Humberstone . 1937 On the Avenue Roy Del Rebecca, George Barnes. 1915 Silver Fox . Two lives. The Price . The Ruth . Cafe Metropole Edward Griffith . You Can 't Marked Woman . M'liss 0. A. C. Lund. The Face Have Everything Norman Taurog . Big Town Girl KEY : Tech (Technicolor); Warner (Warnerco- in the Moonlight William Brady. Imposters . Alfred Wer/(er. I'll Take Romance Edward Griffith . lor); Pathe (Pathecolor) ; DeLu xe (DeLu xe Color); • 1916 The Feast of life Albert Capellani. Poor • 1938 International Settlement Eugene Ford. Metro (Metrocolor); East (Eastmancolor); Pan little Rich Girl Maurice Tourneur. La Boheme Thanks for Everything Seiter. Arizona Wildcat (Panavision); CScope (C inemaScope) ; VV (Vista Capellani. Almighty Dollar Robert Thornby. Pride Herbert Leeds . I'll Give a Million Walter Lang. Vision); AA (Academy Award); AAN (Academy of the Clan (with Van den Broek) Maurice Always in Trouble Joseph Santley . 1939 Mr. Award Nomination). Other terms are spelled out. Tourneur . 1917 Camille Capellani. The Mad Moto in Danger Island Leeds. Boy Friend James A symbol such as East / Path indicates East- Lover. The Silent Master Leonce Perret. Ttnling . Stop , Look and Love Otto Brower. Ouick mancolor processed by Pathe . . 1918 Lafayette, We Come! (with A. Ortlieb) Millions Mal St. Clair. Pack Up Your Troubles Perret. Lest We Forget Perret. The Million Dollar Humberstone . 1940 City of Chance Ricardo Dollies Perret . 1919 The Right to lie Edwin Cortez. High School Nicholls . Earthbound Irvtng Carewe. Oh Boy! Capellani. The Virtuous Model Piche!. Lucky Cisco Kid Humberstone. Lady In Capellan i . 1920 Shame Emmett J. Flynn . A Ouestion Charles Vidor. Charter Pilot Eugene Connecticut Yankee at King Arthur 's Court Ford. Girl from Avenue A ( with Barnes) Brower. Flynn . The Man Who Lost Himself Edward . 1941 Golden Hoofs Lynn Shores. Ride on Ludwig. Help Wanted - Male Henry King. That Vaquero Leeds. Moon Over Her Shoulder Girl Montana Thornby. Half a ChanceThornby Werker. Riders of the Purple Sage Tin ling . Dance . 1921 Why Trust Your Husband? George Hall Pichel . 1942 On the Sunny Side Harold Marshall. The Primal Law Bernard J. Durning. Schuster. The Lone Star Ranger Tinling . Secret . 1922 The Last Trail Flynn. Monte Cristo Flynn . Agent of Japan Piche!. The Loves of Edgar Allan Rough Shod B. Reeves Eason . The Ragged Poe Harry Lachman. Manila Calling Leeds . The Heiress Harry Beaumont. A Fool There Was Mad Martindales Werker. Just off Broadway Flynn . West of Chicago Scott Dunlap . Trooper Leeds. Over My Dead Body Mal St. Clair. O'Neill Wallace and Dunlap . 1923 Hell 's Hole . 1943 They Came to Blow Up America Edward Flynn . Daytime Wives Emile Chautard. In the Ludwig . Jitterbugs St. Clair. Paris After Dark Palace of the King Flynn . When Love Comes Leonide Moguy . 1944 The Sullivans Lloyd William Seiter. Bucking the Barrier Colin Bacon . The Hairy Ape Santell . 1945 The Campbell. Captain Fly-by-Night William K. Southerner Jean Renoir. And Then There Were Howard . 1924 The Dangerous Flirt (with None Rene Clair . 1946 Diary of a Chambermaid Maynard Rugg) Tod Browning. East of Renoir. Lady Luck Edward Marin . The Strange Woman Edgar Ulmer . 1947 Dishonored Lady Broadway Howard. The Man Who Came Back Robert Stevenson. Intrigue Marin. The Corpse Flynn. Nellie , the Beautiful Cloak Model Flynn . Came C.O.D . Andre Levin . New Orleans Arthur Traffic in Hearts Dunlap . Silk Stocking Sal Lubin . 1949 Outpost in Morocco Robert Browning . 1925 The Thundering Herd Howard. Florey . 1950 Borderline William Seiter. Johnny The light of the Western Stars Edwin Knopf. Code of the West Howard . 1926 Bachelor One Eye (with w. Miller) Florey . 1951 Home Brides Howard. Cruise of the Jasper B. James Horne. Gigolo Howard. Volcano Howard. Red Town Story Arthur Pierson . Dice Howard. • 1927 White Gold Howard. Loves of Carmen Raoul Walsh . The Main Event J Leo JOSEPH AUGUST (1890-1947) Meehan . Almost Human Frank Urson . 1928 Let 'er Go Gallagher Elmer Clifton . Ship Comes In 1917 The Narrow Trail William S. Hart. Howard. The River Pirate Howard. Blindfold Truthful Tulliver Hart. The Silent Man Hart. Charles Klein . 1929 Christina Howard. Chasing . 1918 Wolves of the Rail Hart. Blue Blazes Through Europe (with S. Wagner, L. W. Rawden Hart. Selfish Yates Hart. Shark Monroe O 'Connell) David Butler and AI Werker. Love , Hart. The Cold Deck Hart. Tiger Man Hart. Riddle Laugh and live (with W. Scott) Howard. The Gawne Hart . 1919 Border Wi reless Hart. Breed Valiant (with MacWilliams) Howard . 1930 The of Men Lambert Hillyer. Branding Broadway Golden Calf Millard Webb . Happy Days (with J. Hart. Money Corral Hillyer. Poppy Girl 's Schmitz, J. Taylor) Benjamin Stoloff (70 mm Husband Hart. Square Deal Sanderson Hillyer. Grandeur). The Big Trail (with Edeson) Raoul He Comes Up Smiling Allan Dwan . Wagon Walsh (70 mm Grandeur) . 1931 Don 't Bet on Tracks Lambert Hillyer . 1920 John Petticoats Women Howard. The Spy Berthold Viertel. Hillyer The Toll Gate Hillyer. Sand Hillyer. Daddy Long Legs Alfred Santell. Women of All . 1921 The Cradle of Courage Hillyer. O'Malley Nations Raoul Walsh . 1932 Prestige Tay of the Mounted Hillyer. The Testing Block Hillyer. Garnett. Cock of the Air Tom Buckingham. The Whistle Hillyer . 1922 Arabian Love Jerome Westward Passage Robert Milton . The Animal Storm. Travelin' On Hillyer. The White Oak Kingdom Edward Griffith . Bird of Paradise ( with Hillyer. Three Word Brand Maurice Campbell. E Cronjager and C. DeVinna) King Vidor. Honor First Storm . The Love Gambler Joseph . 1933 Hallelujah , I'm a Bum Lewis Milestone. Franz . 1923 The Man Who Won William Topaze Harry D 'Arrast. Bondage Alfred Santell. Wellman. SI. Elmo Storm . Darkness and Daylight Penthouse (with Hal Rosson) W. S. Van Dyke. Albert Plummer. Truxton King Storm . Madness Right to Romance AI Santell . 1934 The Crime of Youth Storm . A California Romance Storm . Doctor John S. Robertson . Two Alone Elliott The Temple of Venus Henry Otto . Big Dan Nugent. Life of Vergie Winters Santell. Straight is Wellman . Goodbye Girls Storm . 1924 Dante 's the Way Paul Sloane. Anne of Green Gables Inferno Otto . Not a Drum Was Heard Wellman. George Nicholls, Jr. • 1935 Hooray for Love The Ancient Mariner Otto . Lightnin ' John Ford. Walter Lang . Grand Old Girl Robertson . Captain Cupid 's Fireman Wellman . The Vagabond Trail Hurricane Robertson . Return of Peter Grimm Wellman . 1925 Tumbleweeds King Baggot. The Nicholls . His Fami ly Tree Charles Vidor. Chasing Hunted Woman Jack Conway. Folly of Vanity Yesterday Nicholls . 1936 The Case Against Mrs. Maurice Elvey & Henry Otto. Greater Than a Ames William Seiter. The Gay Desperado Rouben Crown R. William Neill. The Fighting Heart Ford. . 1926 The Road to Glory Howard Hawks. The Beloved Rogue Alan Crosland. Fig Leaves 30 SUMMER 1972

Hawks. The Flying Horseman Orville DUll. (Ballard shot sequences with Rouben Vidor. Dusk to Dawn Vidor . 1923 Alice Adams . 1927 Two Arabian Nights Lewis Milestone. Mamoulian before the production was taken Rowland V. Lee. Desire Lee. The Love Piker E. Come to My House Alfred Green . Very over by Otto Premlng er and Joseph La Shelle.) M. Hopper. Conquering the Woman Vidor. Confidential James Tinling . 1928 Soft living . 1945 This Love of Ours William Dieterle. . 1924 Janice Meredith E. M. Hopper. Yolanda Tinling. Don 't Marry Ray Enright. Honor Bound . 1946 Temptation Irving Pichel . 1947 NIg ht Robert Vignola .1925 Zander the Great (with H. Green. The Farmer 's Daughter Arthur Rosson. Song John Cromwell . 1948 Berlin Express Wenstrom) George Hill. The Teaser William . 1929 Strong Boy Ford. The Black Watch Ford. Jacques Tourneur . 1951 The House on Seiter. The Dark Angel George Fitzmaurice. The Salute Ford. Seven Faces (with AI Brick) Teleg raph Hill Robert Wise. Fi xed Bayonets Sam Eagle Clarence Brown .1926 Mademoiselle Berthold Viertel . 1930 Man Trouble Viertel. Men Fuller. Let 's Make It Legal Rich ard Sale. Modiste Robert Z. Leonard. Son of the Sheik Without Women Ford. Double Cross Roads AI . 1952 Return of the Texan Delmer Daves. Fitzmaurice. The Winning of Barbara Worth Werker & George Middleton. On You r Back O'Henry's Full House (with Ahearn . Krasner, Henry King . 1927 Night of Love Fitzmaurice. Guthrie McClintoc. Up the River Ford. MacDonald) Hawks. King , Koster, Hathaway and Venus of Venice Marshall Neilan. MagiC Flame • 1931 Seas Beneath Ford. Mr. Lemon of Negulesco. Don 't Bother to Knock Roy Baker. King (AAN) . 1928 Devil Dancer Niblo (AAN). Orange John Blystone. Ouick Millions Rowland Night Without Sleep Baker. Diplomatic Courier Sadie Th ompson (with Marsh, Kurrle) Raoul Brown . The Brat Ford. Heartbreak Werker. Henry Hathaway . 1953 Inferno Baker (3-0. Walsh (AAN) . Two Lovers Niblo. The Awakening . 1932 Charlie Chan 's Chance Blystone. Silent Tech). The Desert Rats Robert Wise. The Glory Victor Fleming. Our Dancing Daughters Harry Witness Marcel Varnell & R. C. Hough. Mystery Brigade Robert Webb . 1954 The Raid Hugo Beaumont (AAN) . 1929 This Is Heaven (with Ranch (with Schneiderman) David Howard. Fregonese ( Tech). New Faces Harry Horner Toland) AI Santel!. The Rescue Herbert Brenon . Vanity Street Nick Grinde. No More OrchidS (CScope . Color). Prince Valiant Hathaway Bulldog Drummond (with Toland) F. Richard Walter Lang. That's My Boy R. William Neili. (CScope, Tech) . 1955 White Feather Webb Jones. The Trespasser (with Toland) Edmund . 1933 Man's Castle Frank Borzage. Master of (CScope , Tech). The Magnificent Matador Budd Goulding. Condemned (with Toland) Wesley Men Hillyer. As the Devil Commands Neill. Boetticher (CScope, Path). The Seven Cities of Ruggles . 1930 Raffles (with Toland) Harry Cocktail Hour Victor Schertzinger. Circus Oueen Gold Webb (CScope. Deluxe) . 1956 The King D 'Arrast. A Lady's Morals Sidney Franklin . Soul Murder Neill . 1934 The Cap1ain Hates the Sea and Fou r Oueens Raoul Walsh (CScope, Kiss Franklin . What a Widow! Allan Dwan . One Lewis Milestone. Among the Missing Albert Deluxe). The Killer is Loose Boetticher. The Heavenly Night Fitzmaurice . 1931 Five and Ten Rogell. The Defense Rests Hillyer. Black Moon Proud Ones Webb (CScape, Deluxe). A Kiss Leonard. Unholy Garden (with Toland) Neill. Twentieth Century Hawks. No Greater Before Dying Gerd Oswald (CScope, Deluxe). Fitzmaurice. Street Scene Vidor . 1932 The Glory Borzage . 1935 Sylvia Scarlet George The Killing Stanley Kubrick . 1957 The Unholy Greeks Had a Word for Them Lowell Sherman. Cukor. After the Dance Leo Bulgako v. The Wife John Farrow (Tech). Band of Angels Walsh Polly of the Circus Santell. Wet Parade Victor Informer John Ford. I'll Love You Always ( Warner) . 1958 Bu chanan Rides Alone Fleming. Society Girl Sidney Lanfield. Bl ondie of Bulgakov. The Whole Town 's Talk ing Ford. Boetticher (ColumbiaColor). I Married a Woman the Follies Edmund Goulding. Sherlock Holmes . 1936 The Plough and the Stars Ford. Mary of Hal Kanter. Anna Lucasta Arnold Laven . Murder William K. Howard . 1933 Broadway Bad Scotland Ford. Every Saturday Night Tin lin g. by Contract Irving Lerner . 1959 City of Fear Lanfield. Peg 0 ' My Heart Robert Z. Leonard. . 1937 A Damsel in Distress George Stevens. Lerner. AI Capone Richard Wilson . 1960 Desire Goodbye Again Michael Curtiz. Fo otlight Parade Music for Madame Blystone. Super Sleuth Ben in the Dust William F. Claxton (CScope). The Lloyd Ba con. Havana Widows Ray Enright. Stoloff, Fifty Roads to Town Norman Taurog. Rise and Fall of Legs Diamond Boetticher. The . 1934 Gambling Lady Archie Mayo. Massacre The Soldier and the Lady George Nicholls, Jr. Bramble Bush Daniel Petrie ( Tech). Payor Die Alan Crosland. Smarty Robert Florey. He Was Sea Devils (with J. Hunt) Stoloff . 1938 Gun Law Wilson . 1961 Marines Let's Go Walsh (CScope. Her Man Bacon . Dames (with S. Hickox) Enright. David Howard. This Marriage Business Christy DeLuxe). The Parent Trap David Swift (Tech) . Kansas City Princess William Keighley. Flirtation Cabanne. The Saint in New York (with F. Susan Slade Delmer Daves (Tech) . 1962 Ride Walk (with Polito) Frank Borzage . 1935 Gold Redman) Ben Holmes . 1939 The Hunchback of the High Country Sam Peckinpah (CScope. Diggers of 1935 Busby Berkeley. Traveling Notre Dame William Dieterle. Nurse Edith Cavell Metro) . 1963 The Caretakers Hall Bartlett Saleslady Enright. In Caliente (with Polito) Lloyd (with F. A. Young) Herbert Wilcox. Gunga Din (AAN). Wives and Lovers John Rich . Wall of Bacon . Broadway Gondolier Bacon . The Irish in Stevens. Man of Conquest Nicholls. Noise Wilson . Take Her , She's Mine Henry Us Bacon. I Live for Love Berkeley. Stars Over . 1940 Melody Ranch Joseph Santley. Primrose Koster (CScope, DeLuxe) . 1964 The New Broadway Keighley . 1936 The Singing Kid Path Gregory La Cava . 1941 All That Money Interns John Rich. Roustabout Rich Keighley. Love Begins at Twenty Fra nk Can Bu y Dieterle . 1945 They Were Expendable ( TechniScope , Tech) . 1965 The Sons of Katie McDonald. Cain and Mable Bacon . Black Legion Ford . 1948 Portrait of Jennie William Dieterle Elder Henry Hathaway. Dear Brigitte Henry Mayo . 1937 Marked Woman Bacon . Ever Since (AAN). Koster (CScope, DeLuxe) . Boeing, Boeing Rich . . 1966 Nevada Smith Hathaway (Pan. East). An Eve Bacon . Varsity Show (with Polito) Keighley. LUCIEN BALLARO * (1908 - Eye for an Eye Michael Moore (Path). Hollywood Hotel (with Rosher) Berkeley. The 1930 Morocco (2 nd camera) Josef von . 1967 Hour of the Gun John Sturges (Pan. Barrier Lesley Selander . 1938 Love, Honor and Behave Stanley Logan. Beloved Brat Arthur Sternberg . 1935 The Devil IS a Woman (2nd DeLuxe) . 1968 The Party Blake Edwards (Pan. Lubin . Gold Diggers in Paris (with Polito) Enright. camera) Sternberg. Crime and Punishment DeLuxe). Will Penny Tom Gries (Tech) How . 1939 Jesse James (with Greene) ( Tech) Henry Sternberg . 1936 The King Steps Out Sternberg. Sweet it Is Jerry Paris (Pan, Tech) . 1969 The King. Our Neighbors, the Carters Ralph Murphy. Craig's Wife Dorothy Arzner . 1937 Devil's Wild Bun ch Sam Peckinpah ( Pan 70 , Tech ). . 1940 Parole Fixe r Robert Florey. Rebecca Playground Erie C. Kenton. Life Begins with True Grit Hathaway ( Tech) . 1970 The Ballad of Alfred Hitchcock (AA). Free, Blonde and Love Ray McCarey. I Promise to Pay D. Ross Cable Hogue Peckinpah (Tech). The Hawaiians Twenty-One Ricardo Cortez. Devil 's Island Lederman. Racketeers In Exile Kenton. Venus (with Lathrop) Gries (Pan . DeLuxe). Elvis-That's William Clemens. Maryland (with Rennahan) Makes Trouble Gordon Wiles . Girls Can Play the Way It Is Denis Sanders (Pan, Color). ( Tech) Henry King. The Return of Frank James Lambert Hillyer. The Shadow Charles Coleman . 1971 What 's the Matter With Helen? Curtis (with Skall) (Tech) Fritz Lang. Girl from Avenue . 1938 Penitentiary John Brahm. The Lone Wolf Harrington (DeLuxe) . 1972 Jr. Bonner A (with Andriot) Otto Brower. Hudson 's Bay in Paris AI Rogell. Squadron of Honor Coleman . Peckinpah . Getaway Peckinpah (Tech). (with Marley) Irving Piche!. . 1941 Meet John Flight to Fame Coleman . Highway Patrol Doe Fran k Capra. That Uncertain Feeling Ernst Coleman . 1939 Blind Alley Charles Vidor. GEORGE BARNES (1 893-1953) Lubitsch . Unholy Partners Mervyn LeRoy. Lad ies Thundering West Sam Nelson . Texas Stampede in Retirement Charles Vidor. Remember the Day Nelson. Let Us Live! John Brahm. Coast Guard 1919 The Haunted Bedroom Fred Nib/o . King. Sex Hygiene [short film] John Ford. Edward LudWig . 1940 The Villain Still Pursued . 1920 Stepping Out Niblo. Dangerous Hours . 1942 Rings on Her Fingers Rouben Her Edward Cline. The Outlaw (2nd camera) Niblo. The False Road Nib/o . The Woman in the Mamoulian . Broadway William Seiter. Nightmare Howard Hawks and Howard Hughes . 1941 Wild Suitcase Nib/o . Hairpins Nib/o . 1921 Her Tim Whelan . Once Upon a Honeymoon Leo Geese Calling Brahm . 1942 The UndYing Husband 's Friend Niblo. Silk Hosiery Niblo. The McCarey . 1943 Mr . Lucky H. C. Potter. Monster Brahm. Whispering Ghosts Alfred Werker. Heart Line Frederic Thomson. Beautiful Gambler . 1944 Frenchman 's Creek Mitchell Leisen ( Tech). Orchestra Wives Archie Mayo . 1943 Bomber'S William Worthington . The Bronze Bell James Jane Eyre Robert Stevenson . None But the Moon Charles Fuhr. Holy Matrimony John Stahl. Horne. Opened Shutters William Wort. Lonely Heart Clifford Odets . 1945 The Spanish Tonight We Raid Calais Brahm . 1944 Sweet and . 1922 The Real Adventure King Vidor. Woman , Main Frank Borzage (Tech) (AAN). Spellbound Lowdown Mayo . The Lodger Brahm . Laura Wake Up! Marcus Harrington. Peg 0' My Heart FILM COMMENT 31

Judith of Bethulia, G. W. Bitzer. The Birds, Robert B urks. Rio Lobo, William Clot hier. Alfred Hitchcock (AAN) . The Bells of St. Mary's Desert Edward Blatt. God Is My Co-Pilot (Special von Sternberg (Tech) . 1953 Phantom from McCarey . 1946 From Th is Day Forward John Effects only) Robert Florey. Prid e of the Marines Space W. Lee Wilder. Island In the Sky (aerial Barry. Sister Kenney Dudley Nichols. (Special Effects only) Delmer Daves . 1946 The sequence) William Wellman . 1954 Killers from . 1947 Sinbad the Sailor Richard Wallace (Tech). Verdic t (Special Effects only) Don Siege/. Night Space W. Lee Wilder. Track of the Cat Wellman Mourning Becomes Electra Nichols . 1948 The and Day (Special Effects only) Michael Curtiz (CScope, Warner) . The High and the Mighty Emperor Waltz Billy Wilder (Tech). Good ( Tech). The Big Sleep (Special Effects only) (aerial sequence) Wellman (CScope, Warner). Sam McCarey. No Minor Vices Lewis Howard Hawks . 1947 The Unfaithful (SpeCial . 1955 Gang Busters Bill Karan . The Sea Chase Milestone. The Bo y With Green Hair Effects only) Vincent Sherman . My Wild Irish John Farrow (CScope, Warner) , Blood Alley Joseph Losey (Tech). Force of Evi l Abraham Rose (SpeCial Effects only) David Butler ( Tech), Wellman (CScope, Warner). Sincerely Yours Polonsky . 1949 The File on Thelma Jordan The Unsuspected (Special Effects only) Curtiz. Gordon Douglas (Warner) . Top of the World Robert Siodmak. Samson and Delilah Cecil B. Cry Wolf (Special Effects only) Peter Godfrey. (aerial sequence) Lewis Foster . 1956 Goodbye, De Mille (Tech) (AAN) . 1950 Let 's Dance Possessed (Special Effects only) Curtis My Lady Wellman . Seven Men from Now Budd Norman McLeod (Tech). Mister Music Richard Bernhardt. The Two Mrs. Carrolls (Special Boetticher (Warner). Gun the Man Down Andrew Haydn. Riding High Frank Capra . 1951 Here Effects only) Godfrey . 1948 To the Victo r McLaglen, The Man in the Va ult McLaglen. Comes the Groom Capra . 1952 The Greatest Daves . 1949 A Kiss in the Dark Daves. The • 1957 Dragoon Wells Massacre Harold Schuster Show on Earth (with Marley, W. Kelley) De Mille Fountainhead King Vidor. Beyo nd the Forest (CScope , DeLuxe) . Bombers B-52 Douglas ( Tech) , Somebody Loves Me Irving Brecher Vidor. Task Force Daves . 1950 The Glas5 (CScope, Warner) . 1958 Darby's Rangers ( Tech) , Something to Live For George Stevens. Menagerie Irving Rapper . 1951 Close to My Wellman . Fort Dobbs Gordon Douglas. Lafayette Just for You Elliott Nugent (Tech). Road to Bali Heart William Keighley. Strangers on a Tra in Escadrille Wellman. China Doll Borzage. Hal Walker (Tech) . 1953 The War of the Worlds Alfred Hitchcock (AAN) . Tomorrow is Another . 1959 Escort West FrancIs Lyon (CScope). The Byron Haskin (Tech). Little Boy Lost George Day Felix Feist. Come Fill the Cup Gordon Horse Soldiers John Ford (DeLuxe) . 1960 The Seaton. Douglas. The Enforcer Bretaigne Windust. Alamo John Wayne ( Todd-AO , Tech) (AAN). . 1952 Miracle of Our Lady of Fatima (Special . 1961 Ring of Fire Andrew Stone (CScope, G. W, BITZER (1874-1944) Effects only) John Brahm (Warner). Roem Metro). The Comancheros Michael Curtiz for One More Norman Taurog . Mara Maru (CScope, DeLuxe). The Deadly Companions 1914 Th e Battle of the Sexes D. W. Griffith. Douglas . 1953 The Desert Song H. Bruce Sam Peckinpah (Pan, Path). The Tomboy and The Escape Griffith . Home , Sweet, Home Griffith . Humberstone (Tech). So This Is Love Douglas the Champ Lyon . 1962 The Man Who Shot The Avenging Conscience Griffith . 1915 The (Tech). Hondo John Farrow (3-0, Warner). I Liberty Va lance Ford. Merrill's Marauders Birth of a Nation Griffith . 1916 Intolerance Confess Alfred Hitchcock . 1954 Th e Boy from Samuel Fuller (Tech) . 1963 Donovan 's Reef Griffith . 1917 Hearts of the World Griffith. Oklahoma Michael Curtiz (Warner). Dial M for Ford (Tech), McLintockl Andrew McLaglen . 1918 The Great Love Griffith . A Romance of Murder Hitchcock (3 -0, Warner) . Rear Window (Pan , Tech) . 1964 A Distant Trumpet Raoul Happy Valley Griffith. The Greatest Thing in Life Hitchcock (Tech) (AAN) . 1955 To Catch a Thief Walsh (Pan , TeCh). Cheyenne Autumn Ford Griffith . 1919 The Girl Who Stayed at Home Hitchcock (VV, Tech) (AA) . The Trouble With (Super-Pan 70, Tech) (AAN) . Griffith . Tr ue Heart Susie Griffith. Scarlet Days Harry Hitchcock (VV, Tech) . 1956 The Man . 1965 Shenandoah McLaglen ( Tech). Griffith.Broken Blossoms Griffith . The Greatest Who Knew Too Much Hitchcock (VV, TeCh) . The . 1966 The Rare Breed McLaglen (Pan , Tech). Ouestion Griffith . 1920 The Idol Dancer Griffith . Vagabond King Curtiz (VV, Tech) . 1957 The Stagecoach Gordon Douglas (CScope, DeLuxe) , The Love Flower Griffith . Way Down East (with Wrong Man Hitchcock. The Spirit of S1. Louis Way . .. Way Out Douglas (CScope, DeLuxe). Sarto v) Griffith (Prizma Color sequence). (with Marley) Billy Wilder (CScope, Warner). . 1967 The Way West McLaglen (Pan, DeLuxe). • 1921 Orphans of the Storm (with Sarto v, P. • 1958 Vertigo Hitchcock (VV, Tech) . 1959 The The War Wagon Burt Kennedy (Pan, TeCh) . Allen) Griffith . 1922 Sure Fire Flint (with C. Black Orchid Martin Ritt (VV). North by . 1968 Firecreek Vincent McEveety (Tech). The Gibson , N. Sullivan) Dell Henderson . 1923 The Northwest Hitchcock (VV, Tech). But Not for Me Devil 's Brigade McLaglen (Pan, DeLuxe). White Rose (with Sartov, Hal Sintzenich) Griffith . Walter Lang . 1960 The Rat Race Robert Bandolero McLaglen (Pan , DeLuxe). Hellfighters . 1924 America (with M, LePicard, Sarto v, Mulligan (Tech) . 1961 The Great Imposter McLaglen (Pan , Tech) . 1970 The Cheyenne Sintzenich) Griffith . 1925 The Midnight Girl Mulligan. The Pleasure of His Company George Social Club Gene Kelly (Pan , Tech). The (with F. Zukor) Wilfred Noy . 1928 Battle of the Seaton (Tech) . 1962 The Music Man Morton da Undefeated McLaglen (Tech) , Chisum McLaglen Sexes (with Struss) Griffith . Drums of Love (with Costa (Technirama , Tech) . 1963 The Birds (Pan , Tech). Rio Lobo Howard Hawks ( Tech). Struss , H. Jackson) Griffith . 1929 Lady of the Hitchcock (Tech) . 1964 Marnie Hitchcock . 1971 Big Jake George Sherman (Pan, Color). Pavements (2nd camera) Griffith . 1933 Hotel (Tech) . 1965 Once a Thief Ralph Nelson (Pan) Variety (with LePicard, Steiner) Raymond A Patch of Blue Guy Green (Pan) (AAN). STANLEY CORTEZ* Cannon . . 1967 A Covenant With Death Lamont Johnson Bitzer started with the Biograph Company in (Tech). Waterhole Number Three William 1937 Four Days Wonder Sidney Salkow. The 1898, and after 1908 worked on innumerable Graham (Techniscope, Tech). Wildcatter Lewis Col/ins. Armored Car LewIs short films for D. W. Griffith. Foster . 1938 Black Doll (with Ira Morgan) OtiS WILLIAM CLOTHIER * (1903- Garrett. Lady in the Morgue Garrett. Danger on ROBERT BURKS (1910-1968) the Air Garrett. Personal Secretary Garrett. The 1947 For You I Die John Relnhardl. Last Express Garrett . 1939 For Love or Money 1942 In This Our Life (Special Effects only) . 1948 Sofia Reinhardt (Clnecolor) . 1950 Once Albert Rogel/. The Forgotten Woman Harold John Huston . 1944 Arsenic and Old Lace a Thief W. Lee Wilder . 1952 Confidence Girl Young . They Asked for It Frank McDonald. (Special Effects only) Frank Capra . Make Yo ur Andrew Stone. Jet Pilot (aerial sequence) Josef Hawaiian Nights Alber: Rogel/. Risky Business Own Bed Peter Godfrey . 1945 Escape in the 32 SUMMER 1972

Shock Corridor, Stanley Cortez. High Noon, Floyd Crosby. Flesh and the Devil, William Daniels. Arthur Lubm. Laugh It Off Rogell. Alias the . 1951 The Brave Bulls (With Howe) Robert Don Wels . The Haunted Palace Corman (Pan , Deacon Christie Cabanne . 1940 The Leather Rossen . 1952 High Noon Fred Zinnemann. Path) . 1965 Raiders from Beneath the Sea Pushers John Rawlms. Margie Garrell and Paul • 1953 Man in the Dark Lew Landers (3- D, Dexter. Beach Blanket Bingo Asher (Pan , Path). Gerard Smith. Meet the Wildcat Lubm . Love, Sepia). The Steel Lady E. A. Dupont. Mystery How to Stuff a Wild Bikini Asher (Pan, Path). Honor and Oh Baby! Charles Lamont. The Black Lake Larry Lansburgh (Ansco-Color). Man Grazy Sergeant Deadhead Norman Taurog (Pan, Path). Cat Rogell . 1941 A Dangerous Game John Irvmg Lerner . 1954 Stormy, the Thoroughbred Sallah Ephra im Kishon . 1966 Fireball 500 Asher Rawlins. San Antonio Rose Lamont. Moonlight Lansburgh (Tech). The Snow Creature W. Lee ( Pan, Path) . 1967 The Cool Ones Gene Nelson in Hawaii Lamont. Badlands of Dakota Alfred Wilder. Monster from the Ocean Floor WYDII (Pan , Tech). Green . 1942 Bombay Clipper Rawlms. Eagle Ordung. The Fast and the FUrious Edward Squadron Lubin. The Magnificent Ambersons Sampson , John Ireland . 1955 Five Guns West WILLIAM DANIELS (1895-1970) Orson Welles (AAN) . 1943 Flesh and Fantasy Roger Corman (Path). The Naked Street Maxwell (with Ivana) Julien Duvivier. The Po wers Girl Shane. Shack Out on 101 Edward Oem. Hell 's 1919 Blind Husbands (2nd camera) Erich von Norman McLeod . 1944 Since You Went Away Horizon Tom Gries. Apache Woman Corman Stroheim . 1920 The Devil 's Passkey (2nd (with Garmes) John Cromwell (AAN). (Path) . 1956 Naked Paradise Corman (East). camera) Stroheim . 1921 Foolish Wives (with . 1947 Smash-Up Stuart Heisler . 1948 Secret She Gods of Shark Reef Corman (Path). Attack Reynolds) Stroheim . 1922 The Long Chance Beyond the Door Fritz Lang . Smart Woman of the Crab Monsters Corman . Rock All Night (2nd camera) Jack Conway Edward Blall . 1949 The Man on the Eiffel Tower Corman . 1957 Reform School Girl Edward . 1923 Merry-Go-Round (with C. Kaufman) Burgess Meredith (A nsco-Color). Bernds. Teenage Doll Corman. Ride Out for Stroheim and Rupert Julian . 1924 Helen 's . 1950 Underworld Story Cy Endfield. The Revenge Bernard Girard. Hell Canyon Outlaws Babies (with MacWilliams) William Seiter. Admiral Was a Lady Albert Rogell . 1951 The Paul Landres. Carnival Rock Corman. War of the . 1925 Greed (with Reynolds) Stroheim. Women Basketball Fi x Felix Feist. Fort Defiance Rawlins Satellites Corman . 1958 Suicide Battalion and Gold James P. Hogan . The Merry Widow (Cmecolor) . 1952 Models , Inc. Regmald Edward Cahn. The Cry Baby Killer Jus Addiss. (with Marsh , Reynolds) Stroheim ( Tech LeBorg . Abbott and Costello Meet Captain Kidd Machine Gun Kelly Corman (Superama). The sequence) . 1926 Bardelys the Magnificent King Lamont (SuperCineColor) . 1953 The Diamond Old Man and the Sea (shot Zinneman footage). Vidor. The Boob William Wellman. Dance Oueen John Brahm (Supe rCineColor). Dragon 's Wolf Larsen Harmon Jones. Hot Rod Gang Lew Madness (With J. Arnold) Robert Z. Leonard. Gold Aubrey Wlsberg, Jack Pollexfen. Shark Landers. Teenage Caveman Corman Flesh and the Devil Clarence Bro wn. Money Talks River Rawlins (Vivid Color / Color Corp. of (Superama) . 1959 I, Mobster Corman Archie Mayo. Monte Carlo Christie Cabanne. America) . 1954 Riders to the Stars Richard (CScope). Crime and Punishment, U.S.A. Denis The Temptress (With Gaudio) Fred Nlblo and Carlson (Color Corp.). Black Tuesday Hugo Sanders. The Miracle of the Hills Paul Landres Mauritz Stiller. The Torrent Manta Bell. Fregonese . 1955 Night of the Hunter Charles (CScope). The Wonderful Country (wf/h A. . 1927 Altars of Desire Cabanne. Captain Laughton . 1956 Man from Del Rio Harry Phillips) Robert Parrish (Tech). Blood and Steel Salvation John S. Robertson . Love Edmund Horner. • 1957 Top Secret Affair H. C. Paller. Bernard Kowalski . 1960 The Rookie George Goulding. On Ze Boulevard (with A. Barlatier) Three Faces of Eve Nunnally Johnson (CScope). Harry Millarde. Tillie the Toiler Hobart Henley . 1959 Thunder in the Sun Russell Rouse (Tech) o 'Hanlon (CScope). Twelve Hou rs to Kill . 1928 The Actress Sidney Fra nklin. Bringing Up ( Tech). • 1960 Vice Raid Edward Cahn. The Father Conway Dream of Love (with Marsh) Angry Red Planet Ib Melchior (Cmem agic, East). Edward Cahn (CScape) . House of Usher Fred Niblo. A Lady of Chance (Wi th Marley) Dinosaurus Irvm Yea worth, Jr. (CScope, Corman (CScope, Path). The High Powered Rifle Robert Z. Leonard. The Latest from Paris Sam DeLuxe) . 1961 Back Street David Miller Maury Dexter. Walk Tall Dexter (CScope, Wood. The Mysterious Lady Nib/a . Sally 's (East / Path) . 1963 Shock Corridor Samuel DeLuxe). Freckles Andrew McLaglen (CScope, Shoulders (asst dir: Daniels) (ph : Virgil Miller). Fuller . 1964 The Candidate Robert Angus. DeLuxe) . 1961 Operation Bottleneck Cahn. The Tell ing the World Sam Wood. A Woman of • 1965 The Naked Kiss Fuller . 1966 The Navy Pit and the Pendulum Corman (Pan, Path). A Affairs Brown . 1929 The Kiss Jacques Feyder. vs the Night Monsters Michael Hoey (DeLuxe). Cold Wind in August Alexander Singer. The The Last of Mrs. Cheyney Franklin . Their Own Ghost In the Invisible Bikini Don Weis (Pan, Purple Hills Dexter (CScope, DeLuxe). The Little Desire E. Mason Hopper. The Trial of Mary Path) . 1968 Blue Silvio Narrizano (Pan , Tech). Shepherd of Kingdom Come McLaglen Dugan Bayard Veiller. Wild Orchids Franklin. . 1969 The Bridge at Remagen John Guillermin (CScope, DeLuxe). The Gambler Wore a Gun Wise Girls Hopper . 1930 Anna Christie Brown (Pan , DeLuxe) . 1971 The Date Robert Hansley Cahn . 1962 Seven Women from Hell Robert (also Swedish and German versions by Feyder) (Color) . 1972 Do Not FOld , Spindle or Mutilate Webb (CScope). The Explosive Generation Buzz (AAN). Montana Moon Mal St. Clair. Le Spectre Ted Post (Movielab Color). Kulik. Womanhunt Dexter (CScope). The Vert Feyder (French version of \"Unholy Night\"). Premature Burial Corman (Pan , Path). The Two Olympia Feyder (German version of \" His FLOYD CROSBY \" (1899- Little Bears Randall Hood (CScope). Tales of Glorious Night'). Si L'Empereur Savait Cal Terror Corman (Pan , Path). The Firebrand 1928 Aloma , the Sky City (2nd camera) Dexter. The Broken Land John Bushelman Feyder (French version of \" His Glorio us Night \"). Robert Flaherty . 1931 Tabu F. W. Murnau (AA). (CScope, DeLuxe). Terror at Black Falls Richard Roman ce Brown . Strictly Unconventional (with . 1937 The River (with Van Dyke, Woodard) Pare Sarafian . 1963 The Raven Corman (Pan , Path). Marsh) David Burton . 1931 Strangers May Kiss Lorentz . 1940 The Power and the Land (with Black Zoo Robert Gordon (Pan, East). The George Fitzmaurice. The Great Meadow (with De Ormtz) Jons Ivens. The Figh t for Life Lorentz. Yellow Canary Kulik (CScope). The Young Vinna) Charles Brabin (Rea life). Inspiration . 1947 My Father 's House Herbert Kline . Racers Corman (Path). The Man with the X-Ray Brown. A Free Soul Brown. Susan Lenox: Her . 1950 Of Men and Music Irvmg Reis, Alexander Eyes Corman (East) . 1964 The Comedy of Fall and Rise Leonard . 1932 Mata Hari Hammid. Personal Record (World Artists). Terrors Jacques Tourneur (Pan , Path). Bikini Fitzmaurice. Lovers Courageous Leonard. Beach William Asher (Pan, Path). Pajama Party Grand Hotel Edmund Gouldmg . As You Desire FILM COMMENT 33

Me Fitzmaurice. Skyscraper Souls Edgar Selwyn . Head Frank Capra (CScope, DeLuxe). Western Front LewIs Milestone (AAN) . The Big • 1933 Rasputin and the Empress Richard .1960 Never So Few John Sturges (CScope, Tra il (with Andnot) Walsh (70 mm Grandeur). Bo/es/awski. The White Sister Victor Fleming. Metro). Can-Can Walter Lang (Todd-AO, Tech). . 1931 Frankenstein James Whale . The Man Dinner at Eight George Cukor. Stranger 's Return Ocean 's Eleven LewIs Milestone (Pan, Tech) . All Who Came Back Walsh , Waterloo Bridge Whale. King Vidor. Broadway to Hollywood (with the Fine Yo ung Cannibals Michael Anderson Doctor's Wives Frank Borzage . 1932 The Brodine) Willard Mack. Christopher Bean Sam (CScope , Metro) . 1961 Come September Impatient Malden Whale. The Last Mile Sam Wood. Oueen Christina Rouben Mamoulian . Robert Mulligan (Pan, Tech) . 1962 Jumbo Bischoff. Flesh John Ford, The Old Dark House . 1934 The Barretts of Wimpole Street Franklin . Charles Walters (Pan , Metro) . 1963 How the Whale . Information Kid Kurt Neumann . Strangers The Painted Veil Boleslawski . 1935 Naughty West Was Won (with Krasner, Lang , LaShelle) of the Evening H. Bruce Humberstone, Those Marietta W. S. Van Dyke. Anna Karenina Brown . Hathaway, Ford and Marshall (Cinerama, Tech) We Love Robert Florey. Fast Companions Rendezvo us William K. Howard. (AAN). Come Blow Your Horn Bud Yorkin (Pan , Neumann . 1933 A Study in Scarlet EdWin . 1936 Rose-Marie Van Dyke. Romeo and Juliet Tech) . 1964 The Prize Mark Robson (Pan, Marin. The Life of Jimmy Dolan Archie Mayo. Cukor. Camille (with Karl Freund) Cukor. Metro). Robin and the Seven Hoods Gordon The Invisible Man Whale . Constant Woman . 1937 Personal Property Van Dyke. Broad way Douglas (Pan , Tech) . 1965 Von Ryan's Express Victor Schertzlnger. Big Brain George Melody of 1938 Roy del Ruth . Double Wedding Robson (CScope, DeLu xe), Marriage on the Archainbaud. His Double Life Arthur Hopkins , Richard Thorpe . The Last Gangster Edward Rocks Jack Donohue ( Pan, Tech) . 1966 Assault William DeMille . 1934 Palooka Benjamin Stoloff, Ludwig. Beg , Borrow or Steal William Thiele. on a Oueen Donohue (Pan, Tech) . 1967 In Like Here Comes the Navy Lloyd Bacon , The Merry . 1938 Marie Antoinette Van Dyke. Three Loves Flint Douglas (CScope, DeLuxe). Valley of the Frinks Alfred Green . 1935 Mutiny on the Bounty Has Nancy Thorpe. Dramatic School Robert Dolls Robson (Pan , DeLuxe) . 1968 The Frank Lloyd. Devil Dogs of the Air Bacon . Dinky Sinclair . 1939 Idiot's Delight Brown . Stronger Impossible Years Gordon (Pan, Metro). Marlowe 0, R. Lederman and H. Bretherton . Going Th an Desire Leslie Fenton . Ninotchka Ernst Paul Bogart (Metro) . 1969 The Maltese Bippy Highbrow (With W. Rees) Robert Florey. Maybe Lubitsch . Another Thin Man (with Marsh) Van Norman Panama (Pan, Metro) . 1970 Move It 's Love William McGann . While the Patient Slept Dyke . 1940 The Shop Around the Corner Stuart Rosenberg (Pan, DeLuxe). Ray Enright. Ceiling Zero Howard Hawks. Lubitsch. The Mortal Storm Frank Borzage. New . 1936 China Clipper Enright. Satan Met a Lady MQon Leonard . 1941 So Ends Our Night John ARTHUR EDESON (1891-1970) William Dieterle, Hot Money McGann. Gold Crom well. Back Street Robert Stevenson . They Diggers of 1937 Bacon . The Golden Arrow Met in Bombay Brown. Shadow of the Thin Man 1914 Dollar Mark O.AC. Lund . 191 5 Hearts Green . The Go-Getter Busby Berkeley. Van Dyke. Design for Scandal (with Smith) in Exile . 191 6 Bought and Paid For Harley . 1937 Mr . Dodd Takes the Air Green . Norman Taurog . Dr . Kildare's Victory Van Dyke. Knoles . 191 7 Baby Mine J. S, Robertson and Submarine 0-1 Bacon . They Won 't Forget • 1942 Keeper of the Flame Cukor . 1943 Girl Hugo Ballin. In Again , Out Again John Emerson . Mervyn LeRoy. The Kid Comes Back B. Reeves Crazy (wi th Planck) Norman Taurog. Wild and Woolly Emerson. Reaching for the Eason . The Footloose Heiress William Clemens. • 1947 Brute Force Jules Dassin. Lured Douglas Moon Emerson . 1918 Jack Spurlock-Prodigal . 1938 Mr..Chump Clemens. Swing Your Lady Sirk . 1948 The Naked City Dassin (AA). For the Carl Harbaugh , The Savage Women Edmund Enrigh t. Cowboy from Brooklyn Bacon. Racket Love of Mary Frederick de Cordova. Famil y Mortimer. Mr . Fi x-It Allan Dwan . Nearly Married Busters Bacon . 1939 Each Dawn I Die William Honeymoon Claude Binyon . 1949 The Life of Chester Withey . 1919 Hushed Hour Harry Keighley. Wings of the Navy Ba con, No Place Riley Irving Brecher. Illegal Entry de Cordova. Garson. Cheating Cheaters Dwan . 1920 For the To Go Terry Morse. Kid Nightingale George Abandoned Joseph M. Newman . The Gal Who Soul of Rafael Garson . The Forbidden Woman Amy. Sweepstake 's Winner McGann , Took the West de Cordova ( Tec h). Woman in Garson , Eyes of Youth Albert Parker . 1921 Mid . 1940 Castle on the Hudson Anatole Litvak, Hiding Michael Gordon . 1950 Winchester '73 Channel Garson. Good Women Louis Gasnier, They Drive by Night Walsh . Lady With Red Hair Anthony Mann. Harvey Henry Koster. Deported Hush Garson. The Three Musketeers Fred Niblo. Curtis Bernhardt . 1941 Sergeant York (war Robert Siodma k . 1951 Thunder on the Hill Sirko . 1922 Robin Hood Dwan . The Worldly Madonna sequences only) (with Polito) Hawks (AAN). The Bright Victo ry Mark Robson . The Lady Pays Off Charles Giblyn . 1924 The Lost World Harry Maltese Falcon John Huston . 1942 The Male Sirk . 1952 When in Rome Clarence Brown. Pat Hoyt. The End of the World Vernon Keays . Inez Animal Elliott Nugent Across the Pacific Huston. and Mike George Cukor. Glory Alley Raoul from Hollywood Alfred Green . The Th ief of Casablanca Michael Curtiz (AAN). Walsh . Pl ymouth Adventure Brown ( Te ch). Bagdad Raoul Walsh . 1925 One Way Street J. . 1940 Tugboat Annie Sails Again Lewis Seiler. • 1953 Never Wave at a WAC Norman McLeod F. Dillon . Her Sister from Paris Sidney Franklin . . 1941 Kisses for Breakfast Seiler . 1943 Thank Forbidden Rudolph Mate. Thunder Bay Anthony Stella Dallas Henry King . Waking Up the Town You r Lucky Stars David Butler . 1944 The Mann ( Tech). The Glenn Miller Story Anth ony Jack Pickford. The Talker Green . 1926 Partners Conspirators Jean Negulesco. Shine On , Mann ( Tech) . 1954 War Arrow George Again King. Subway Sadie Alfred Santell. The Harvest Moon Butler ( Tech Sequence). The Sherman ( Tech). The Far Country Anthony Bat Roland West . The Blue Eagle John Ford. Mask of Dimitrios Negulesco . 1946 Nobody Mann ( Tech) . 1955 Si x Bridges to Cross Sweet Daddies San tell. Just Another Blonde Lives Forever Jean Negulesco. Never Say Joseph Pevney. Fo xfi re Pevney ( Tech) . The Santell . 1927 The Patent Leather Kid Santell. Goodbye James Kern . Two Guys from Shrike Jose Ferrer. Strategic Air Command McFadden's Flats Richard Wallace. The Drop Milwaukee David Butler. Three Strangers Anthony Mann (VV, Tech). Th e Girl Rush Robert Kick (with A Knechtel) Millard Webb , The Gorilla Negulesco. The Time, the Place and the Girl Pirosh (VV, Tech). The Benn y Goodman Story Santell . 1928 A Thief in the Dark Albert Ray. Me, (with Skall) Butler (Tech) . 1947 Stallion Road Valentine Da vies ( Tech) . 1956 Away All Boats! Gangster Walsh . 1929 In Old Arizona (with A Kern . My Wild Irish Rose (with Skall) Butler (with Stine) Pevney (VV, Tech ). The Unguarded Hansen) Walsh and Irving Cummings (AAN). (Tech) . 1948 Two Guys from Texas (with Skall) Moment Harry Keller (Tech). Istanbul Pevney Girls Gone Wild (with I. Rosenberg) Lewis Seiler, Butler (Tech) . 1949 The Fighting O 'Flynn Arthur (CScope, Tech) . 1957 Night Passage James Romance of the Rio Grande Santell. The Cock Pierson . Neilson ( Technirama, Tech). Interlude Sirk Eyed World Raoul Walsh . 1930 All Ouiet on the (CScope, Tech). My Man Godfrey Henry Koster Orchids and Ermine, George Fo lsey. (CScope, East) . 1958 Voice in the Mirror Keller The Thief of Bagdad, Arthur Edeson. (CScope). Cat on a Hot Tin Roof Richard Brooks (Metro) (AAN) . 1959 Some Came Runn ing .1 Vincent Minnelli (CScope, Metro). Stranger in My Arms Helmut Kautner (CScope). A Hole in the KEY : Tech (Technicolor) ; Warner (Warnerco- lor); Pathe (Pathecolor): DeLu xe (DeLu xe Color): Metro (Metrocolor): East (Eastman color) : Pan (Panavision); CScope (C inemaScope); VV (Vista Vision): AA (Academy Award ): AAN (Academy Award Nomination). Other terms are spelled out. A symbol such as Ea st/Path indicates East- mancolor processed by Pathe . 34 SUMMER 1972

GEORGE FOLSEY ~ (1898- Wore Red Arzner. Mannequin Borzage. Torpedo Run Joseph Pevney . 1959 Count Yo ur Blessings (Wi th Krasner) Jean Negulesco 1919 Her Bridal Night Kenneth Webb. . 1938 Arsene Lupin Returns George (CScope, Metro) . Cash McCall Pevney ( Tech) . • 1920 The Fear Market Webb. Sinners Webb. Fitzmaurice. Hold That Kiss Edward Mann. The . 1960 I Passed for White Wilcox . 1963 The The Stolen KIss Webb . 1921 Frisky Mrs. Shining Hour Borzage . 1939 Society Lawyer Balcony Joseph Strick (AAN) . 1970 Glass Johnson Edward Dillon . The Education of Marin. Fast and Loose Marin . Lady of the Houses Alexander Singer (color). Elizabeth Dillon A Heart to Let Dillon . The Price Tropics Jack Conway. Remember'Norman of Possession Hugh Ford. The Road to London McLeod . 1940 Third Finger, Left Hand Leonard. KARL FREUND (1890-1969) Eugene Mullen . Room and Board Alan Crosland. Two Girls on Broadway S. Sylvan Simon . Sheltered Daughters Dillon . 1922 A Game • 1941 Come Live With Me Brown . Free and 1907 Das Lied von der Glocke (short film) . Chicken Chester Franklin . The Case of Becky C. Easy (with Lawton) George Sidney. The Trial of Tne Captain from Koepenick (short film). Franklin . Nancy from Nowhere C. Franklin . Mary Dugan McLeod. Lady be Good (with . 1910 Der Liebling der Frauen . MAR .S Roy William Neill (3 -0 Teleview). Slim Marsh) McLeod. Married Bachelor Edward . 1911 Nachfalter (with Seeber) Urban Gad. Shoulders Crosland. What's Wrong with the Buzzell. Dr . Kildare 's Wedding Day Harold S. Heisses Blut (with Seeber) Gad. Der Fremde Women? Neill . 1923 The Bright Shawl J. S. Bucquet • 1942 Rio Rita Simon. Grand Central Vogel (with Seeber) Gad . 1916 Die Ehe der Robertson . Radio-Mania Neill. Twenty-One Murder Simon. Panama Hattie McLeod. Seven Luise Rohrbach Rudolf Biebrach . 1917 Eva Robertson. The Fighting Blade Robertson . Sweethearts Borzage. Dr . Gillespie 's New Robert Wiene . 191 9 Satanas F. W. Murnau . Die . 1924 Born Rich William Nigh . The Enchanted Assistant Willis Goldbeck. Andy Hard y' s Double Spinnen Fritz Lang (sources conflict regarding Cottage Robertson . 1925 The Necessary Evil Life (with Mescall) George Seitz . 1943 Three which half of th is two-pari film was shot by George Archainbaud. The Scarlet Saint Hearts for Julia Richard Thorpe . Thousands Freund) . 1920 Der Buchlige und die Tanzerin Archainbaud. The Half-Way Girl John F. Dillon . Cheer Sidney (Tech) (AAN) . 1944 A Guy Murnau. Der Januskopf (with Hoffman) Murnau. • 1926 Too Much Money J. Dillon . The Savage Named Joe (with Freund) Victor Fleming. Meet The Arc Werner Scheff. Der Golem Paul Wegener. Fred Newmeyer. Ladies at Play Alfred Green . Me in St . Louis Vincent Minnelli (Tech) (AAN). . 1921 Rausch[?] Ernst Lubitsch . Marizza , • 1927 Orchids and Ermine Alfred Santell. See The White Cliffs of Dover Brown (AAN). Gennant die Schmuggler- Madonna Murnau . You in Jail Joseph Henaberry. Naughty But Nice . 1945 The Clock Minnelli . 1946 The Green . 1922 Lukrezia Borgia Richard Oswald. Der Millard Webb . American Beauty Richard Wallace. Years Victor Saville (AAN). Ziegfeld Follies (with Brennade Acker (with F. A. Wagner) Murnau . No Place to Go Mervyn LeRoy . 1928 Her Wild Rosher, S. Wagner) Minnelli ( Tech). The Harvey . 1923 Die Austreibung Murnau. Die Finanzen Oat Marshall Neilan . Lady be Good Wallace. Girls Sidney (Tech) . Till the Clouds Roll By (with des Grossherzogs (with Planer) Murnau . Butter and Egg Man Wallace . 1929 Glorifying Stradling) Richard Whorf (Tech) . The Secret . 1924 Mikael (with Mate) Carl Th . Dreyer. Der the American Girl Millard Webb ( Tech Heart Leonard . 1947 Green Dolphin Street Letzte Mann Murnau . 1925 Variete E. A. sequence). The Letter Jean de L,mur. Hole in the Saville (AAN). If Winter Comes Saville. Dupont. Tartuffe Murnau . 1926 Metropolis (with Wall Robert Florey. Pusher-in-the-Face (s hort . 1948 State of the Union Frank Capra. Take Me G. Rittau) Lang . Madame Wuenscht Kleine film) Florey. Gentlemen of the Press Millard Out to the Ball Game Busby Berkeley (Tech) . Kinder (prod: Freund) Alexander Korda. Webb . The Coconuts Joseph Santley and Robert • 1949 Adam 's Rib George Cukor. The Great . 1927 Don Juan Paul Czinner. Fraulein Else Florey. Applause Rouben Mamoulian. The Sin ner Robert Siodmak. Malaya Richard Thorpe. Czinner. Adven tures of a Ten-Mark Banknote Laug htng Lady Victor Schertzinger . 1930 The . 1950 A Li fe of Her Own Cukor. The Big (prod: Freund) Berthold Viertel. Berlin , die Big Pond Hobert Henley. Animal Crackers Victor Hangover Norman Krasna . 1951 The Man with Symphonie der Grosstadt (ph and asst dir: Heerman . Dangerous Nan McGrew Mal St. Clair. a Cloak Fletcher Markle. Night in to Morning Freund) Walter Ruttmann . 1928 A Night in Laughter Harry d 'Arrast . 1931 The Smiling Markle. Vengeance Valley Thorpe (Tech). Mr. London Lupu Pick . 1930 All Quiet on the Lieutenant Ernst Lubitsch. Honor Among Lovers Imperium Don Hartman ( Tech). The Law and the Western Front (concluding sequence only) LeWIS Dorothy Arzner. Stolen Heaven George Abbott. Lady Edwin Knopf. Shadow in the Sky Fred Milestone. Boudoir Diplomat Mal St. Clair. Secrets of a Secretary Abbott. My Sin Abbott. Wilcox . 1952 Lovely to Look At Mervyn LeRoy Dracula Tod Brown ing . 1931 Bad Sister Hobart The Cheat Abbott . 1936 Wiser Sex Berthold (Tech). Million Dollar Mermaid LeRoy (Tech) Henley. Fires of Youth Monta Bell. Strictly Viertel. Animal Kingdom E. H. Griffiths. (AAN). All the Brothers Were Valiant Thorpe Dishonorable (with J. Rose) John Stahl. Misleading Lady Stuart Walker. The Big (Tech) (AAN) . 1954 Men of the Fighting Lady Personal Maid Bell. Up for Murder Bell. Broadcast Frank Tuttle . 1933 Men Must Fight Andrew Marton (Ansco-Color). Tennessee . 1932 Murders in the Rue Morgue Robert Edgar Selwyn. Reunion in Vienna Sidney Champ Wilcox (Ansco-Color). Deep in My Heart Florey. Scandal for Sale Russell Mack. Back Franklin (AAN). Storm at Daybreak Richard Stanley Donen (East / Tech). Executive Suite Street Stahl. Afraid to Talk Edward Cahn. Air Mail Boleslawski. Going Hollywood Raoul Walsh . Robert Wise (AAN). Seven Brides for Seven John Ford . 1933 The Kiss Before the Mirror Stage Mother Charles Brabin . 1934 Chained Brothers Donen (CScope, Ansco-Color) (AAN). James Whale . 1936 Camil le (with Daniels) Clarence Brown . Forsaking All Others (with . 1955 The Cobweb Minnelli (CScope, East). Hit George Cukor. The Good Earth Sidney Franklin Toland) W. S. Van Dyke. Men in White the Deck Roy Rowland (CScope, East). (AA) . 1937 Parnell Stahl. Conquest Clarence Boleslawski. Operator Thirteen Boleslawski . 1956 The Fastest Gun Alive Russell Rouse. Brown . 1938 Man-Proof Richard Thorpe. Port (AAN) . 1935 Page Miss Glory Mervyn LeRoy. Forbidden Planet Wilcox (CScope, East). These of the Seven Seas Whale. Letter of Introduction Kind Lady LUCien Hubbard. Reckless Victor Wilder Years Rowland. The Power and the Prize Stahl . 1939 Rose of Washington Square Gregory Fleming. I Live My Life Van Dyke . 1936 Hearts Henry Koster (CScope) . 1957 House of Ratoff. Golden Boy (with N. Musaraca) Rouben Divided Fran.1( Borzage. The Great Ziegfeld (with Numbers Rouse (CScope). TIp on a Dead Jockey Mamoulian . Barricade Ratoff. Balalaika (with Marsh) Robert Z. Leonard. The Gorgeous Hussy Thorpe . 1958 The High Cost of Loving Jose Ruttenberg) Rheinhold Shunzel . 1940 Florian Clarence Brown (AAN) . 1937 The Last of Mrs. Ferrer (CScope). Saddle the Wind Robert Parrish . Edwin Marin. Green Hell Whale. We Who Are Cheyney Boleslawski and Arzner. The Bride Imitation General George Marshall (CScope). Young Robert Z. Leonard. Pride and Prejudice Robert Z. Leonard . 1941 Keeping Company S. The Seventh Cross, Karl Freund. Morocco, Lee Garmes. Sylvan Simon . Blossoms in the Dust (with Greene) Mervyn LeRoy (Tech) (A AN). The Chocolate Soldier Roy Del Ruth (AAN). . 1942 Tortilla Flat Victor Fleming (Tech). The War Against Mrs. Hadley Harold S. Bucquet. A Yank at Eton (with Lawton) Norman Taurog . • 1943 Dubarry Was a Lady Roy Del Ruth (Tech). Cry Havoc Thorpe . A Guy Named Joe (with Folsey) Fleming . 1944 The Seventh Cross Fred Zinnemann . The Thin Man Goes Home Thorpe . • 1945 Without Love Bucquet. Dangerous Partners Edward Cahn . A Letter for Evie Jules Dassin . 1946 Two Smart People Dassin . Undercurrent Vincent M,nnelli . 1947 This Time for Keeps Thorpe ( Tech). That Hagen Girl Peter FILM COMMENT 35

Godfrey . 1948 Wallflower Frederick de Brahm . None Shall Escape Andre de Toth . Franklin . 1923 The Song of Love Chester Cordova. Key Largo John Huston . The Decision · 1945 Love Letters William Dieterle. Paris Franklin, Frances Marion . Adam and Eva Robert of Christopher Blake Godfrey . 1949 South of S1. Underground Ratoff . 1946 The Searching Wind Vignola . Ashes of Vengeance Lloyd. VO ice from Louis Ray Enright ( Tech) . 1950 Montana Ray Dieterle. Specter of the Rose (co-dlr and the Minaret (with Brodine) Lloyd. Within the Law Enright. Bright Leai Michael Curtiz. co -prod) Hecht. Young Widow Edwin Marin . Lloyd . 1924 Secrets Frank Borzage. Husbands Freund directed but did not photograph the Duel in the Sun (with Rennahan , Rosson) King and Love rs John M. Stahl. The Only Woman following films: The Mummy ( 1932), Moonlight Vidor ( Tech) . 1947 The Secret Life of Walter Sidney Olcott . 1925 The Lady Borzage. and Pretzels ( 1933), Madame Spy ( 1934), Mitty Norman McLeod (Tech). Nightmare Alley Graustark Dimitri Buchowetzski. The Temptress Countess of Monte Cristo ( 1934), Edmund Goulding. The Paradine Case Alfred (with Daniels) Fred Niblo Declasse Robert Vignola . Uncertain Lady (1934), Gift of Gab ( 1934), Hitchcock . 1948 Caught Max Ophuls . 1949 My . 1926 The Blonde Saint Sven Gade. The Gay Mad Love ( 1935). Foolish Heart Mark Robson . Roseanna McCoy Deceive r Stahl. Upstage Monta Bell . 1927 Two Irving Reis. The Fighting Kentuckian George Arabian Nights Lewis Milestone. An Affair of the LEE GARMES * (1898- ) Waggner . 1950 My Friend Irma Goes West Hal Follies Millard Webb. The Notorious Lady King Walker. Our Ve ry Own David Miller. Baggott. The Gaucho F. Richard Jones. 1918 The Hope Chest Elmer Clifton . • 1951 Saturday's Hero Miller. That's My Boy . 1928 The Racket Milestone . 1929 She Goes to . 1919 Nugget Nell Cli fton . I'll Get Him Yet Walker. Detective Story William Wyler. Thunder War (with J. Fulton) Henry Kmg . General Crack Clifton . Nobody Home Clifton . Chicken a la in the East Charles Vidor . 1952 The Cap tive Alan Crosland (Tech sequence). On With the King Lyons-Moran Star Comedy (short film). City Robert Wise . Actors and Sin (co-dir and Show Crosland (Tech) . Tiger Rose George . 1923 Sweet Cookie Morris Schlank (short film). co-prod) Hecht. The Lusty Men Nicholas Ray. Fitzmaurice . 1930 All Quiet on the Western • 1924 Find Your Man Mal St. Clair . 1925 Crack . 1954 Abdulla the Great Ratoff (Tech) . Front (2nd camera) Milestone. Hell 's Angels 0' Dawn Albert Rogell. Goat Getter Rogell. Keep . 1955 Land of the Pharaohs (with Harlan) (with H. Perry) Howard Hughes & James Whale . Smiling (with J. Diamond, McGill) A. Austin and Howard\"Hawks (CScope, Warner). The Desperate (Tech sequence) (AAN) . Little Caesar Mervyn Hours Wyler (VV). Man With the Gun Richard LeRoy . 1931 The Lady Who Dared William G. Pratt . 1926 The Carnival Girl Cullen Tate . Wilson . The Bottom of the Bottle Hathaway Beaudine . 1932 Sky Devi ls Edward Su therlan d. (CScope, East) . 1956 D-Day, the Sixth of June Tiger Shark Howard Hawks. The Mask of Fu The Grand Duchess and the Waiter St. Clair. The Henry Koster (CScope, East). The Sharkfighters Manchu Charles Brabin . 1933 Blondie Johnson Palm Beach Girl Erie C. Kenton . The Popular Sin Jerry Hopper (CScope, Tech). The Big Bood le Ray Enright. Ex- Lad y Robert Florey. Narrow St. Clair. The Show Off St. Clair. A Social Richard Wilson . 1958 Never Love a Stranger Corner Alfred Green. Silk Exp ress Enrigh t. Celebrity St. Clair . 1927 Th e Garden of Allah Robert Stevens . 1959 The Big Fisherman Frank Vo ltaire John Adolfl. Private Detective Michael Rex Ingram . The Love Mart George Fitzmaurice. Borzage (Pan 70 , Tech) (AAN). Happy Curtiz. The Wo rld Changes Mervyn LeRoy. The Private Life of Helen of Troy (with Hickox) Anniversary Miller . 1961 Misty (with Tover) Ladies Must Love E. A. Dupont. Lady Killer Roy Alexander Korda . Rose of the Golden West James Clark (CScope, DeLuxe). Del Ruth . 1934 Mandalay Curtiz. Fog Over Fitzmaurice . 1928 The Barker Fitzmaurice. Little . 1962 Hemingway's Adventures of a Young Frisco William Dieterle. Upper World Del Ruth. Shepherd of Kingdom Come AI Santell. Man Martin Ritt (CScope, DeLuxe) . 1964 Lady Man With Two Faces Archie Mayo. Dragon Waterfront William Seiter. The Yellow Lily Korda . in a Cage Walter Grauman . 1966 A Big Hand Murder Case H. Bruce Humberstone. Happiness . 1929 Disraeli Alfred Green . The Great Divide for the Little Lady Fielder Cook (Tech) . Ahead LeRoy . 1935 Bordertown Mayo. Oil for (with A. Knechtel) Reginald Barker. His Captive . 1968 How to Save a Marriage ... and Ruin the Lamps of China LeRoy. Front Page Woman Woman Fitzmaurice. Love and the Devil Korda . Your Life Cook (Pan , Path). Curtiz. Dr . Socrates Dieterle. The Story of Lou is Prisoners Seiter. Say it with Songs Lloyd Bacon . Garmes co-directed The Sky 's the limit (1936) Pasteur Dieterle. Go Into Your Dance Mayo . The . 1930 Bright Lights Michael Curtiz ( Tech). Lilies with Jack Buchanan, co-produced Lilac Domi no White Cockatoo Crosland. Little Big Shot Sam of the Field Korda . Morocco Josef von Sternberg ( 1940, Frederick Zelnick), produced Beyond Bischoff. Case of the Lu cky Legs Mayo. (AAN). The Other Tomorrow Bacon . Song of the Tomorrow ( 1940, A. Edward Sutherland), Flame Alan Crosland (Tech). Spring is Here directed and produced Hannah Lee ( 1953) - but . 1936 God's Country and the Wo man (with John F. Dillon . Whoopee l (with Rennahan, photographed none of these. Skall) William Keighley ( Tech). Anthony Adverse Toland) Thornton Freeland (Tech). LeRoy (AA). The White Angel Dieterle. • 1931 Dishonored Sternberg. Fighting Caravans TONY GAUDIO (1885 -1 951 ) . 1937 Another Dawn Dieterle. The King and the Otto Brower, David Bufton . City Streets Rouben Chorus Girl LeRoy. Kid Gallahad Curtiz. The Life Mamoulian. Kiss Me Again (with A. Gilks) William 1910 Their First Misunderstanding . of Emile Zola Dieterle . 1938 Torchy Blane in Seiter (Tech) . An American Tragedy Sternberg. . 1916 Twenty Thousand Leagues Under the Panama William Clemens. The Adventures of Confessions of a Co-Ed Dudley Murphy, David Sea Stuart Paton. The Masked Rid er Quality Robin Hood (with Polito, Greene) Curtiz and Burton . 1932 Shanghai Express Sternberg (AA) . Pictures. The River of Romance E. J. Rath, Keighley (Tech). Garden of the Moon Busby Scarface (with L. W. O 'Connell) Howard Hawks. adapter. Big Trema ine Henry Otto. Mister Berkeley. The Dawn Patrol Edmund Goulding . Strange Interlude Robert Z. Leonard. Smilin ' Forty-F our Otto. The Unpardonable Sin Barry The Sisters Anatole Litvak . 1939 Juarez Through Sidney Franklin . Call Her Savage John Dieterle. We Are Not Alone Goulding. The Old F. Dillon . 1933 Face in the Sky Harry Lachman . o 'Neill. Kingdom of Dreams . 191 7 Parad ise Maid Goulding . 1940 The Fighting 69th Zoo in Budapest Rowland V. Lee. Shanghai Keighley. 'Ti l We Meet Again Goulding. Brother Madness John Blystone. My Lips Betray Garden Fred Ba/shofer. The Square Deceiver Orchid Lloyd Bacon . Knute Rockne-All Blystone. I am Suzanne Lee . 1934 George Balshofer. The Avengi ng Tra il Francis Ford. The American Bacon. The Letter William Wyler White 's Scandals Lachman, Thornton Freeland. Hidden Spring E. Mason Hopper. Pidgin Island (AAN) . 1941 Th e Great Lie Goulding. High Crime Without Passion ( co-dir and co-prod) Ben Balshofer & Richard Spencer. The Promise Sierra Raoul Walsh . Affectionately You rs Bacon. Hecht and Charles MacArthur . 1935 Once in a Balshofer and Spencer. The Secret Spring . Na vy Blues (with Howe, Polito) Bacon . The Man Blue Moon (co-dir and co-prod) Hecht and Under Handicap Balshofer. The Hidden Children Who Came to Dinner Keighley . 1942 Larceny MacArthur. Th e Scoundrel (co-dir and co-prod) Oscar Apfel The Haunted Pajamas Balshofer. Inc . Bacon . Wings for the Eagle Bacon . You Hecht and MacArthur . 1937 Dreaming Lips . 1918 Broadway Bill Balshofer. Pals First Edwin Can't Escape Forever Jo Graham . 1943 The (co-dir and co-prod) Paul Czinner . 1939 Gone Care we. A King in Khaki . Lend Me You r Name Constant Nymph Walter Lang. Backgroun d to With the Wind (with Haller, Kline , Rennahan) Ba/shofer. The Land loper George Irving. Social Danger Walsh . Corvette K-225 (with H. Perry) Victor Fleming , Sam Wood, George Cukor Hypocrites Albert Capel/ani . 1920 The Mark of Richard Rosson (AAN) . 1944 Days of Glory ( Tech) (AA) . 1940 Angels Over Broadway Zorro Fred Niblo . Fighting Shepherdess Edward Jacques Tourneur. Expe riment Perilous (co-dir and co-prod) Hecht . 1941 Lydia (assoc. Jose & Millard Webb . In Wrong James Kirkwood. Tourneur. I'll Be Seeing You Dieterle . 1945 A prod) Julien Duvivier. • 1942 The Jungle Book The Inferior Sex Joseph Henaberry. In Old Song to Remember (with Davey) Charles Vidor (with Greene) (assoc. prod) Zoltan Korda (Tech) Kentucky Marshal Neilan . 1921 The Sin of (Tech) (AAN) . 1946 The Bandit of Sherwood (AAN). Footlight Serenade Gregory Ratoff. China Martha Oueed Allan Dwan. The Forb idden Th ing Forest (with Snyder, Meehan) George Sherman , Girl Henry Hathaway . 1943 Forever and a Day Dwan . Whispering Devils Harry Garson . Kismet Henry Levin (Tech) . I've Always Loved Yo u (with De Grasse, Metty, Musuraca) seven Louis Gasnier. The Other Woman Edward Frank Borzage (Tech) . Swell Guy Frank Tuttle. directors. Flight for Freed om Lothar Mendes. Sloman. The Ten Dollar Raise Sloman . Pilgrims . 1947 That's My Man Borzage. Love from a . 1944 Since You Went Away (with Cortez) John of the Night Sloman . 1922 The Eternal Flame Cromwell (AAN) . Guest in the House John Frank Lloyd. Shattered Idols Sloman . The Stranger Richard Whorf . 1949 The Red Pon y Woman He Loved Sloman. East is West Sidney 36 SUMMER 1972

Juarez, Ton y Gaudio . The Prisoner 01 Shark Island, Bert Glennon. Bonni. and Clyde , Burnett Guffey. Lewis Milestone (Tech). Town Sam Wood. The Howard s of Virginia Frank Lew Landers. Gallant Journey William Wellman. Gaudio directed but did not photograph Sealed Lloyd . 1941 Virginia (with Skall) Edward Griffith The Girl of the Limber Lost M. G. Ferrer. Night Lips (1925). The Price of Success (1925). (Tech). The Reluctant Dragon (with Hoch) Alfred Editor Levin. The Notorious Lone Wolf D. Ross Werker (Tech). One Night in Lisbon Edward Lederman . Meet Me on Broadway Jason. So BERT GLENNON (1893-1967) Griffith . Dive Bomber (with Hoch) Michael Curtiz Dark the Night Lewis . 1947 Framed Richard (Tech) (AAN). They Died With Their Boots On Wallace. Johnny O'Clock Robert Rossen . 1916 Ramona Donald Crisp . 1918 Eyes of Raoul Walsh . 1942 Juke Girl Curtis Bernhardt. . 1948 The Sign of the Ram John Sturges. To the World W. H. Clune . 1920 The Torren t Stuart Desperate Journey Walsh . The Desert Song the Ends of the Earth Robert Stevenson. Gallant Paton . Parted Cu rtains Bertram Bracken. Robert Florey ( Tech) . 1943 Destination Tokyo Blade (with Lawton) Levin ( Tech) . 1949 The Ken tu cky Colonel (with Davey) William Seiter. Delmer Daves. Mission to Moscow Curtiz. This Undercove r Man Lewis. Knock on Any Door . 1921 Cheated Love King Baggot!. Dangerous is the Army (with Polito) Curtiz (Tech). Nicholas Ray. The Reckless Moment Max Moment Marcel de Sano. The Kiss Jack • 1944 Hollywood Canteen Delmer Daves . The Ophuls. And Baby Makes Three Levin . Conway. A Daughter of the Law Conway. Ve ry Thought of You Delmer Daves . 1945 San . 1950 Father is a Bachelo r Norman Foster. In Nobody's Fool Baggott. Moonlight Follies Antonio David Butle r (Tech) . 1946 One More a Lonely Plac e Ray. Film Preview (Columbia). Baggott . 1922 Domestic Relations Chet Withey. Tomorrow Peter Godfrey . 1947 Shadow of a ConVicted Levin. Emergency Wedd ing Edward Woman Joseph Santley. Copacabana Alfred Buzzell. All the King's Men Rossen. Moran of the Lady Letty (with w. Marshall) Green. Mr. District Attorney Robert Sinclair. The .1 951 Sirocco Curtis Bernhardt. Two of a Kind Red House Delmer Daves . 1948 Ruthless Levin . The Family Secret Levin . 1952 Scandal George Melford. The Woman Who Walked Alone Edgar Ulmer .1 949 Red Lig ht Roy Del Ruth. Sheet Phil Karlson. The Sniper Edward Dmytryk. Melford. Ebbtide Melford. Bu rning Sands .1 950 Wagon master Ford. Rio Gra nde Ford. Assignment -P aris Robert Parrish . 1953 The Melford .1 923 Java Head Melford. Salomy Jane . 1951 Operation Pacific George Waggner. nle Last Posse Alfred Werker. From Here to Eternity Melford. You Can't Fool You r Wife Melford. The Sea Hornet Joseph Kane .1 952 The Big Trees Fred Zinnemann (A A) .1 954 Human Desire Fritz Ten Commandments (with Stout, Marley, Felix Feist ( Tech). About Face Roy Del Ruth Lang . Pri vate Hell 36 Don Siegel. The Bamboo Westerbrook) Cecil B. De Mille ( Tech (Tech) . The Man Behind the Gun Feist (Tech). Prison Lewis Seiler . 1955 Th e Violent Men (with sequence) . 1924 Worldly Goods Paul Bern . . 1953 House of Wax (with Marley) Andre de Toth Greene) Rudolph Mate (CScope, Tech ). Tig ht Tr iumph Cecil B. De Mille. Open All Night Bern. (Natural Vision , WarnerColor). The Moonlighter Spot Karlson . Count Three and Pray George Changing Husbands Frank Urson and Paullribe. Roy Rowland (3 -0). Thunder Over the Plains de Sherman (CScope, Tech). Three Stripes in the . 1925 Flower of Night Bern . Tomo rrow's Love Toth (WarnerColor) . 1954 The Mad Magician Sun Richard Murphy .1 956 The Harder They Bern . The Dressmaker from Paris Bern . Are John Brahm (3 -0, Tech). Riding Shotgun Fall Mark Robson (AAN). Storm Center Daniel Parents People? Mal St. Clair. Grounds for de Toth (WarnerColor) .1 956 Davy Crockett Taradash. Nightfall Jacques Tourneur. Battle Divorce Bern . Wild Horse Mesa Henry Hathaway. and the River Pirates Norman Foster (Tech). Stations Lewis Seiler . 195 7 The Strange One .1 926 The Crown of Lies Dimitri Buchowetzki. . 1960 Sergeant Rutledge Ford (Tech). Jack Garfein. The Brothers Rico Karlson . A Woman of the Wo rld St. Clair. Good and . 1962 Lad-a Dog Aram Avakian, Leslie Decision at Sund own Budd Boetticher (Tech). Naughty St. Clair . 1927 Underworld Josef von Martinson ( Tech) . 1964 The Man from . 1958 The True Story of Lynn Stuart Seiler. Sternberg. Hotel Imperial Mauritz Stiller. Th e Galveston William Conrad. Screaming Mimi Gerd Oswald. Me and the Woman on Trial Stiller. Barbed Wire Ro wland V. Glennon directed but did not photograph the Colonel Peter Glenville . 1959 Gidget Paul Lee. We're All Gamblers James Cruze. The City following films: The Gang War (1928), The Wendkos ( eScape, Eas t) They Came to Gone Wild Cruze . 1928 The Street of Sin (with Perfect Crime (1928), The Air Legion (7929), Cordura Rossen (CScope, East). Edge of Milner, Fischbeck) Stiller. The Last Command Syncopation (1929), Around the Corner (1930), Eternity Siegel (CScope, East) . 1960 The Sternberg. The Patriot Ernst Lubitsch. Girl of the Port (1930), Paradise Island (1930); Mountain Road Daniel Mann. Hell to Etern ity . 1932 Bl onde Ven us (with Ivano) Sternberg. and collaborated on the screenplay of Karlson . Let No Man Wri te My Epitaph Philip Th e Half-Naked Truth Gregory La Cava. Melody Second Wife (7930). Leacock .1 961 Cry for Happy George Marshall Cruise Mark Sandrich. Alice in Wonderland (CScope, East / Path). Homicidal William Castle. Norman McLeod. Christopher Strong Dorothy BURNETT GUFFEY* (1 905- Mr. Sardonicus Castle . 1962 Bird Man of Arzner. Morn ing Glo ry Lowell Sherman. Gabriel Alcatraz John Franken heimer (AAN). Kid Ove r the White House La Cava . 1934 The 1924 The Iron Horse (2nd camera) John Galahad Karlson (DeLuxe) . 1963 Four for Scarlet Empress Sternberg. Grand Canary Irving Ford . 1935 The Informer (2nd Camera) Ford. Texas (2nd unit only) Robert Aldrich (Tech). Cummings. She Was a Lady Hamilto n . 1940 Foreign Co rrespondent (2nd camera) . 1964 Flight From Ashiya (with MacDonald) MacFadden. Hell in the Heavens John Blysto ne. Alfred Hitchcock . 1944 U-Boat Prisoner Lew Michael Anderson (Pan , East). Good Neighbor • 1935 Ginger Lewis Seiler. Thunder in the Night Landers. The Un written Code Herman Rotsten. Sam David Swift (East / Path) . 1965 King Rat George Archainbaud. Bad Boy Blystone. Show Kansas City Kitty Ted Richmond. Sailor 's Holid ay Bryan Forbes (AAN) . 1966 The Silencers Them No Mercy George Marshall. The Lottery William Berke. Cover Girl (2nd camera) Charles Karlson (Path) . 1967 How to Succeed in Love r William Thiele . 1936 The Prisoner of Vidor. Soul of a Monster Will Jason. Tah iti Night Business Without Really Trying Swift (Pan, East). Sha rk Island John Ford. Little Miss Nobody Jason . 1945 Blonde from Brooklyn Del Lord. Bonnie and Clyde Arthur Penn ( Tech) (AA). The Blystone . Dimples William Seiter. Lloyds of Eadie Was a Lady Arthur Dreifuss. Eve Knew Her Ambushers (with E. Colman) Henry Levin London Henry King. Can This be Di xie (with Apples Jason . The Figh ting Guardsman Henry ( Tech) . 1968 The Split Gordon Flemyng (Pan, Palmer) Marshall. Half Angel Sidney Lanfield. Levin . I Love a Mystery Levin. My Name Is Julia Metro) . 1969 Whe re It's At Garson Kanin . 1937 The Hurricane John Ford. Ross Joseph H. Lewis. The Gay Senorita (DeLuxe). The Learning Tree Gordon Parks . 1939 Stagecoach Ford (AAN). Young Mr . Dreifuss .1 946 A Close Call for Boston Blackie Lincoln Ford. Drums Along the Moh awk Ford ( Tech). Swanee River Lanfield ( Tech) . 1940 Our FILM COMMENT 37

In Cold Blood, Conrad Hall. Roaring Twenties, Ernest Haller. Lust for Life , Ru ssell Har lan. (Pan, Tech) . Some Kind of a Nut (with G. Harold Teen Mervyn LeRoy. Out of the Ruins Rapper. Devotion Curtis Bernhardt . 1946 A Hirschfield) Kanin (DeLuxe). The Madwoman of John F. Dillon. Naughty Baby LeRoy. Stolen Life (with Polito) Bernhardt. Deception Chaillot Forbes (Pan. Tech ) . 1970 Halls of Anger . 1929 Weary River Frank Lloyd. Girl in the Glass Rapper. The Verdict Don Siegel. Paul Bogart (Deluxe). Suppose They Gave a Wa r Cage Ralph Dawson. House of Horror (with . 1947 Humoresque Jean Negulesco. The and Nobody Came? Hy Averback (color). The Polito) Benjamin Christensen. Drag Lloyd. Dark Unfaithful Sherman . 1948 My Girl Tisa Elliott Great White Hope Martin Ritt (Pan, DeLuxe). Streets Lloyd. Young Nowheres Lloyd. Wedding Nugent. Winter Meeting Bretalgne Win dust. • 1971 The Steagle Paul Sylbert (color). Rings William Beaudine . 1930 A Son of the . 1949 My Dream is Yours Curtiz (Tech) . Always Gods Lloyd (Tech sequence). A Notorious Affair Leave Them Laughing Roy Del Ruth . 1950 The CONRAD HALL* (1926- Lloyd Bacon. One Night at Susie's Dillon. Sunny Flame a.nd the Arrow Jacques Tourneur ( Tech) William Seiter. The Lash Lloyd. The Dawn Patrol (AAN). Dallas Stuart Heisler. Chain Lightning 1958 Edge of Fury (with Marvin Weinstein , Howard Hawks . 1931 Ten Cents a Dance Lionel Heis/er . 1951 Jim Thorpe-All American Curtiz. Jack Couller) Robert Guerney, Jr. and Irving Barrymore. Millie Dillon . The Finger Points On Moonlight Bay Del Ruth ( Tech). Pictura: Lerner . 1965 The Wild Seed Brian Hutton. The Dillon . Chances Dwan. Girls About Town Adventure in Art (Pictura Films Corp.). Saboteur: Code Name Morituri Bernard Wicki George Cukor. I Like Your Nerve William . 1953 Monsoon Rod Amateau (Tech). The (AAN) . 1966 Incubus Leslie Stevens. Harper McGann . Twenty-Four Hours Marion Gering. Carnival Story Kurt Neumann (Agfacolor). Jack Smight (Tech). The Professionals Richard Honor of the Famil y Bacon. Compromised John . 1955 Rebel Without a Cause Nicholas Ray Brooks (Pan, Tech) (AAN) . 1967 Divorce Adolfi . 1932 The Woman from Monte Carlo (CScope, Warnercolor). The Tiger and the Flame American Style Bud Yorkin (Tech). Cool Hand Michael Curtiz. The Rich Are Always With Us Sohrab Modi ( Tech) . 1956 The Come On Luke Stuart Rosenberg (Pan, Tech) . In Cold Alfred Green . The Crash William Dieterle. Night Russell Birdwell. Magic Fire Dieterle ( Trucolor). Blood Brooks ( Pan) (AAN) . 1968 Hell in the After Night Archie Mayo. Scarlet Dawn Dieterle. The Dakota Incident Lewis Foster ( Trucolor). Pacific John Boorman (Pan, Tech) . 1969 Tell . 1933 King of the Jungle H. Bruce Strange Intruder Irving Rapper. The Cruel Tower Them Willie Boy Is Here Abraham Polonsky Humberstone and Max Marcin. Murders in the Lew Landers . 1957 The Young Don 't Cry Alfred (Pan , Tech). Butch Cassidy and the Sundance Zoo Edward Sutherland. House on 56th Street Werker. Hell on Devi l's Island Christian Nyby Kid George Roy Hill (Pan, DeLuxe) (AA). The Robert Florey. The Emperor Jones Dudley (Rega/scope). Back from the Dead Charles Happy Ending Brooks ( Tech) . l 971 Fat City Murphy . 1934 Easy to Love William Keighley. Warren (Rega/scope) . 1958 Men in War John Huston (color). Journal of a Crime Keighley. Merry Wives of Anthony Mann. Plunder Road Hubert Cornfield Reno Humberstone. The Key Curtiz. Desirable ( Rega/scope). Hell's Five Hours Jack Copeland. ERNEST HALLER (1896 -1970) Mayo. British Agent Curtiz. The Firebird Dieterle. God 's Little Acre Mann . Man of the West Mann .1935 Mary Jane's Pa Keighley. Age of (CScope, DeLuxe). Circus of Love Kurt 1920 Love Is Everything Bennett. The Inner Indiscretion Edward Ludwig. Escapade Robert Z. Neumann ( Tech). Speed Crazy William Hole, Jr. Voice R. William Neill. Neglected Wives Burton Leonard. Dangerous Green . 1936 Petticoat . 1959 The Miracle Irving Rapper ( Techn irama , King. The Discarded Woman King. Yes or No Fever George Fitzmaurice. The Voice of Bugle Tech) . 1960 The Third Voice Cornfield Neill. Dead Men Tell No Tales Tom Terriss . Ann Richard Thorpe. Public Enemy's Wife Nick (CScope). The Boy and the Pirates Bert Gordon Trumpet Island Terriss . 1921 The Gilded Lily Grinde. Captain's Kid Grinde . 1937 The Great (Percepto-Vision , Eastman). Why Must I Die? Robert Leonard. Such a Little Oueen George O'Malley Dieterle. Call It a Day Mayo. Mountain Roy Del Ruth . 1961 Three Blondes in His Life Fawcett. Salvation Nell Kenneth Webb . Wife Justice Curtiz. That Certain Woman Edmund Leon Chooluck. Armored Command Byron Against Wife Whitman Bennett. The Iron Trail Goulding. The Great Garrick James Whale. Haskin . Fear No More Bernard Wiesen. Neill. For Your Daughter 's Sake King . The Road . 1938 Brother Rat Keighley. Four Daughters . 1962 Pressure Poin t Cornfield. Whatever to Arcady King . 1922 Outcast Chester Withey. Curtiz. Four's a Crowd Curtiz. Jezebel William Happened to Baby Jane? Robert Aldrich (AAN). . 1923 Woman Proof Alfred Green . Homeward Wyler (AAN) . 1939 Dark Victory Goulding. The . 1963 Lilies of the Field Ralph Nelson (AAN). Bound Ralph Ince. The Ne'er Do Well Green . Roaring Twenties Raoul Walsh . Gone With the . 1964 Dead Ringer Paul Henreid. . 1924 Pied Piper Malone Green. Empty Hearts Wind (with Garmes. Rennahan, Kline) Victor Alfred Santell. Rough Ridin ' Richard Thorpe . Fleming . Sam Wood, George Cukor (Tech) (AA). RUSSELL HARLAN * (1903- Three Keys Edward LeSaint . 1925 The New . 1940 All This and Heaven Too Anatole Litvak Commandment Howard Higgin . Parisian Nights (AAN). It All Came True Lewis Seiler. Invisible 1937 North of Rio Grande Nate Watt. San tell. High and Handsome Harry Garson . Any Stripes Lloyd Bacon. No Time for Comedy Hopalong Rides Again Lesley Selander. Rustler's Woman Henry King. Bluebeard 's Seven Wives Keighley . 1941 Honeymoon for Three Bacon . Valley Watt. Texas Trail David Selman. Partners San tell. Stella Dallas (2nd camera) King . Footsteps in the Dark Bacon . Manpower Raoul of the Plains Selander .1 938 Bar Twenty Justice . 1926 Hair Trigger Baxter (with E. Miller) Jack Walsh. The Bride Came C.O.D . Keighley. Selander. Cassidy of Bar Twenty Selander. Heart Nelson . Stacked Cards Robert Eddy . The Dancer Outlaws of the Cherokee Tra il Les Orlebeck. of Arizona Selander. Sunset Trail Selander. The of Paris Santell. The Reckless Lady Howard Blues in the Night Litvak . 1942 In This Our Life Frontiersman Selander. Mysterious Rider Higgin. The Wilderness Woman Higgin. Prince of John Huston. George Washington Slept Here Selander. In Old MeXICO Edward Venturini. Tempters Lothar Mendes. The Great Deception Keighley . 1943 Princess O'Rourke Norman . 1939 Heritage of the Desert Selander. Silver on Hlggin . 1927 Convoy Joseph C. Boyle. Dance Krasna . 1944 Mr . Skeffington Vincent Sherman . the Sage Selander. The Llano Kid Venturini. Law Magic Victor Halperin . Broadway Nights Boyle. Doughgirls James V. Kern . 1945 Saratoga of the Pampas Watt. Range War Selander. For the Love of Mike Frank Capra. French Trunk Sam Wood. Mildred Pierce Curtiz (AAN). Renegade Trail Selander . 1940 The Showdown Dressing Allan Dwan . 1928 Whi p Woman Boyle. Rhapsody in Blue (with Polito, Gerstad) Irving Howard Bretherton. Santa Fe Marshall Selander. Mad Hour Boyle. Wheel of Chance Santell. Knights of the Range Selander. The Light of 38 SUMMER 1972

She Wore a Yellow Rib bon, Winton Hoch. Walking Down Broadway. J ames Wong Howe. Bell (Tech sequence) Not So Long Ago Olcott. • 1926 Mantrap Fleming . Padlocked Allan Dwan. Western Stars Selander. Hidden Gold Selander. Before It Melts Delbert Mann (Pan , Metro). The Sea Horses Dwan . The Song and Dance Man Stagecoach War Selander. Three Men from Great Race Edwards (Pan , Tech) (AAN). Brenon . 1927 The Rough Riders Flem ing Texas Selander. Cherokee Strip Selander. . 1966 Hawaii George Roy Hill (Pan, DeLuxe) Sorrell and Son Brenon . 1928 Four Walls • 1941 Doomed Caravan Selander. In Old (AAN) . 1967 Tobruk Arthur Hiller (Technlscope. William Nigh . The Perfect Crime Bert Glennon . Colorado Bretherton . Pirates on Horseback Tech) . 1970 Darling Lili Edwards (Pan, Tech) . Laugh , Clown , Laugh Brenon . 1929 Desert Selander. Border Vigilantes Derwin Abrahams. Nights Nigh . 1930 Today Nigh . 1931 The The Parson of Panamint William McGann. Riders WINTON HOCH * Criminal Code (wilh T. Tetzlaff) Howard Hawks . of the Timberline Selander. Wide Open Town Transatlantic William K. Howard. The Spider Setander. Stick to Your Guns Selander. Twilight 1940 Dr. Cyclops (with Sharp) Ernest William Cameron Menzies , Kenneth MacKenna. Schoedsack (Tech) . 1941 The Reluctant Yellow Ticket Raoul Walsh . Surrender Howard. on the Trail Bretherton . Secrets of the Dragon (with Glennon) AI Werker (Tech • 1932 Dance Team Sidney Lanfietd. After Wastelands Abrahams. Outlaws of the Desert sequence) . Dive Bomber (with Glennon) Michael Tomorrow Frank Borzage. Amateur Daddy John Bretherton . 1942 Undercover Man Selander. Curtiz (Tech) (AAN) . 1942 Captains of the Blystone. Man About Town John F. Dillon . Tombstone , the Town Too Tough to Die Clouds (with Polito, Dyer, Marshall, Cline) Curtiz Chandu the Magician Marcel Varnel, Wm . C. McGann. Silver Oueen Lloyd Bacon . American (Tech) (AAN) . 1948 Tap Roots (with Lindon) Menzies. Walking Down Broadway Erich von Empire McGann . 1943 Hoppy Serves a Writ George Marshall (Tech). Three Godfathers (with Stroheim, Alfred Werker . 1933 Beauty for Sale George Archainbaud. The Leather Burners Boyle) John Ford (Tech). So Dear to My Heart Richard Boleslawski. The Power and the Glory Joseph Henaberry. Lost Canyon Selander. Harold Schuster ( Tech). Joan of Arc (with Skall, William K. Howard . 1934 Viva Villa l (2nd unit) Buckskin Frontier Selander. Colt Comrades Valentine) Victor Fleming ( Tech) (AA). Melody Jack Conway and Hawks. The Show Off Charles Selander. Bar Twenty Selander. Border Patrol Time Walt Disney Productions (Tech ). Reisner. The Th in Man W. S. Van Dyke. Setander. The Kansan Archainbaud. False . 1949 Tulsa Stuart Heisler (Tech) . She Wore a Holl ywood Party Boleslawski ( Tech sequence). Colors Archainbaud. Tarzan 's Desert Mystery Yellow Ribbon John Ford (Tech) (AA) . 1950 The Stamboul Quest Sam Wood. Have a Heart David Witliam Thiele . The Woman of the Town Sundowners George Templeton (Tech). Halls of Butler. Biography of a Bachelor Girl Edward Archainbaud . 1944 Mystery Man Archainbaud. Montezuma (with Jackson) Lewis Milestone Griffith . 1935 The Night is Young Dudley Riders of the Deadline Selander. Texas (Tech) . 1951 Bird of Paradise Delmer Daves Murphy. Mark of the Vampi re Tod Browning. The Masquerade Archainbaud. The Forty Thieves (Tech) . 1952 The Quiet Man (with Stout) Ford Flame Within Edmund Goulding. Selander. Lumberjack Selander . 1945 A Walk in (Tech) (AA). Redhead from Wyoming Lee O'Shaughnessy 's Boy Boleslawski. Three Live the Sun Lewis Mitestone . 1947 Ramrod Andre Sholem ( Tech) .1 953 Return to Paradise Mark Ghosts (with C. Lyons) H. Bruce Humberstone. de Toth . 1948 Four Faces West Alfred Green. Robson ( Tech) . 1955 Mister Roberts John Ford, . 1936 Whipsaw Sam Wood. Fire Over England Red River Howard Hawks. Bad Men of Mervyn LeRoy (CScope. Warner) . 1956 The Howard. Farewell Again (with Schneeberger) Tombstone Kurt Neumann . 1949 Deadly as the Searchers Ford (VV, Tech) .1 957 Jet Pilot Josef Tim Whelan . Under the Red Robe (with Perina!) Female Joseph H. Lewis . 1950 Tarzan and the von Sternberg (Tech) . 1958 The Missouri Victor Seastrom . 1937 The Prisoner of Zenda Slave Girl Lee Sholem. Guilty Bystander Joseph Traveler Jerry Hopper (Tech) . 1959 This Earth John Cromwell. The Adventures of Tom Sawyer Lerner. Southside 1-1000 Boris Ingster. The is Mine (with Melly) Henry King (CScope, Tech). Norman Taurog (Tech) . 1938 Algiers Cromwell Man Who Cheated Himself Felix Feist. The Darby O'Gil1 and the Little People Robert (AAN). Comet Over Broadway Busby Berkeley. Kangaroo Kid Howard Brown . 1951 The Thing Stevenson ( Tech). The Big Circus Joseph M. . 1939 They Made Me a Criminal Berkeley. The Christian Nyby . 1952 The Big Sky Howard Newman (CScope, Tech). The Young Land (with Oklahoma Kid Lloyd Bacon . Daughters Hawks (AAN). The Ring Neumann . Ruby Gentry Sharp) Ted Tetzlaff (Tech) . 1960 The Lost Courageous Michael Curtiz. Dust be My Destiny King Vidor . 1954 Riot in Cell Block 11 Don World Irwin Allen (CScope, DeLuxe). Lewis Seiler. On Your Toes Ray Enright. Abe Siegel . 1955 The Blackboard Jungle Richard . 1961 Voyage to the Bottom of the Sea Allen Lincoln in Illinois Cromwell (AAN) . 1940 Dr. Brooks (AAN) . Land of the Pharaohs (with (CScope, DeLuxe) . 1962 Sergeants Three Ehrl ich 's Magic Bullet William Dieterle. Garmes) Hawks (CScope, Warner) . 1956 The John Sturges (Pan, Tech ). Five Weeks in a Saturday 'S Children Vincent Sherman . Torrid Last Hunt Brooks (CScope , East). Lust for Life Balloon Allen (CScope, DeLuxe). Zone William Keighley. City for Conquest (with (with Young) Vincent Minnelli (CScope, Metro). . 1964 Robinson Crusoe on Mars Byron Haskin Po lito) Anatole Litvak. A Dispatch from Reuter 's . 1957 Something of Value Brooks. This Could (Techniscope . Tech) . 1968 The Green Berets Dieterle. The Strawberry Blonde Walsh . be the Night Robert Wise (CScope) . Witness for John Wayne. Ray Kellogg, Mervyn LeRoy (Pan, . 1941 Shining Victory Irving Rapper. Navy Blues the Prosecution Billy Wilder . 1958 Run Silent, Tech ) . 1971 The Toy Factory Bert Gordon . (with Gaudio. Polito) Lloyd Bacon . Out of the Run Deep Wise. King Creole Michael Curtiz. Fog Litvak. Kings Row Wood (AAN). . 1959 Rio Bravo Hawks (Tech) . Day of the JAMES WONG HOWE' (1899- ) . 1942 Yankee Doodle Dandy Curtiz. The Hard Outlaw Andre de Toth . Operation Petticoat Blake Way Sherman . Hangmen Also Die Fritz Lang . 1923 Drums of Fate Charles Maigne. The . 1943 Air Force (with Dyer, Marshall) Hawks Edwards (East) . 1960 Pollyanna David Swift Woman With Four Faces Herbert Brenon. The (AAN). The North Star Lewis Milestone (AAN) . (Tech). Sunrise at Campobello Vincent Donehue Call of the Canyon Victor Fleming . The Spanish . 1944 Passage to Marseille Curtiz. (Tech) . 1962 Hatari! (with J. Burns) Hawks Dancer Brenon . To the Last Man Flem ing . Trail . 1945 Objective Burma Walsh . Counter Attack (Tech) (AAN) . The Spiral Road Robert Mulligan of the Lonesome Pine Maigne . 1924 The Zoltan Korda . Confidential Agent Herman (East) . 1963 To Kill a Mockingbird Mulligan Alaskan Brenon . The Breaking Point Brenon . Shumlin. Danger Signal Robert Florey. My (AAN). A Gathering of Eagles Delbert Mann Peter Pan Brenon . The Side Show of Life Brenon . Reputation Curtis Bernhardt . 1947 Nora (East) . 1964 Man 's Favorite Sport? Hawks • 1925 The Best People Sidney Olcoll. The Prentiss Sherman . Pursued Walsh . Bod y and (Tech) . 1965 Dear Heart Delbert Mann. Ouick Charmer Olcoll. The King on Main Street Monta Soul Robert Rossen . 1948 Mr. Blandings Builds His Dream House H. C. Potter. The Time of Your Life Poller . 1949 The Eagle and the Hawk Lewis Foster (Tech) . 1950 The Baron of Arizona Samuel Fulfer. Tripoli William Price ( Tech). . 1951 The Brave Bulls (with Crosby) Rossen . He Ran All the Way John Berry. Behave Yourself George Beck. The Lad y Says No Frank Ross. . 1953 Main Street to Broadway Tay Garnell. Come Back, Little Sheba Daniel Mann . The World of Dong Kingman (short film) James Wong Howe. . 1955 The Rose Tattoo Daniel Mann (VV) (AA). Picnic Joshua Logan (CScope, Tech). . 1956 Death of a Scoundrel Charles Martin . Drango Hall Bartlell, Jules Bricken . 1957 The FILM COMMENT 39

Sweet Smell of Success Alexander Mackendrick. Queen Kelly, Paul Iva no. Arrowsmith, Ray June. The Old Man and the Sea John Sturges (Warner) (AAN) . 1958 Bell , Book and Candle Ric hard With Music Lilley. She 's for Me Charles Barton . Richardson . Money to Burn Walter Lang. Ouine ( Tech ) . 1959 The Last Angry Man Daniel You 're a Lucky Fellow , Mr. Smith Feist. Phantom of the Forest Henry McCarthy. Racing Mann . 1960 The Story on Page One Clifford . 1944 The Imposter Duvivier. Adventure in Blood Richardson . The Shadow of the Law Odets (CScope). Song Without End Charles Music (with Rose, Ludden and Jackson) Ernest Wallace Worsley. The Sign of the Claw B. Vidor, George Cukor (CScope, East / Path). Matray, J. K. Winston and Reginald LeBorg . See Reeves Eason. The Shadow on the Wall Eason . . 1961 Tess of the Storm Country Pau l Guilfoyle My Lawyer Eddie Cline. Slightly Terrific Cline. The Unknown Soldiers Renaud Hoffman . The (CScope, DeLuxe) . 1963 Hud Martin Ritt (Pan) Pardon My Rhythm Feist. Dead Man 's Eyes Silent Power O 'Connor . 1927 The Cross Breed (AA) . 1964 The Outrage Ritt (Pan) . 1965 The LeBorg. Destiny (with G. Robinson) LeBorg. The Noel Smith . Heroes of the Night O 'Connor. The Glory Guys Arnold Laven (Pan , DeLuxe). Suspect Robert Siodmak. Hi, Beautiful! Leslie Opening Night Edward Griffith. The Silent . 1966 Th is Propert y is Condemned Sydney Goodwins . 1945 Swing Out Sister Lilley. The Avenger James Hogan . Through Thick and Thin Pollack ( Tech). Seconds John Frankenheimer Frozen Ghost Harold Young , The Strange Affair Eason[?J, Jack Nelson . The Final Extra Hogan . (AAN) . 1967 Hombre Ritt (Pan , DeLuxe) . of Uncle Harry Siodmak. Men in Her Diary Ouarantined Rivals Archie Mayo. Mountains of • 1968 The Heart IS a Lonel y Hunter Robert Barton . See My Lawyer Cline. Senorita from the Manhattan Hogan . Sinews of Steel O 'Connor. Miller ( Tech) . 1970 The Molly Maguires Ritt West Frank Strayer. Pursuit to Algiers Roy The Woman Who Did Not Care Phil Rosen . The (Pan , Tech ). The Last of the Mobile Hot Shots William Neill. Honeymoon Ahead (with Van Satin Woman Walter Lang . The Girl from Rio Sidney Lumet ( Tech ). Enger) LeBorg. I'll Tell the World Goodwins . Tom Terriss . The Warning George B. Seitz. Howe directed but did not photograph . 1946 The Spider Woman Strikes Back Arthur Blondes by Choice Hampton Del Ruth . Go , Man, Go ( 1954) and Invisible Lubin. Black Angel ( with D. S. Morsley) Neill. . 1928 The Siren Byron Haskin . The Wife 's Avenger co-directed with John Sledge ( 1958). Little Miss Big ErIe C. Kenton . The Dark Horse Relations Maurice Marshall. So This Is Love? Will Jason . 1947 Fun on a Weekend Andrew Frank Capra. Hellship Bronson Joseph PAU-I- IVANO \" ( 1900- ) Stone. The Gangster Gordon Wiles. They Live by Henaberry. Sporting Age Erie C. Kenton . Desert Night (helicopter shots) Nicholas Ray. Bride Walter Lang . A Woman 's Way Edmund 1920 Seven Years Bad Luck (co-dir) Max . 1948 Million Dollar Weekend Gene Raymond. Mortimer. United States Smith Henaberry. Linder . 1921 The Four Horsemen of the Concert Magic George Moscow. The Mozart Midnight Life Scott Dunlap. River Woman Apocalypse (technical dir) John Seitz. Camille Story Frank Wisbar. Johnny Belinda (helicopter Henaberry. Through the Breakers Joseph C. (te~hn ic al dir) Ray Smallwood . 1922 Moran shots) Negulesco . 1949 The Lovable Cheat Boyle. Companionate Marriage Kenton . Times of the Lady Letty (2nd camera) George Richard Oswald. Search for Danger Jack Square Boyle . 1929 Alibi Roland West. New Melford. A Doll 's House (2nd camera) Bernhard. Criss Cross (helicopter shots) York Nights Lewis Milestone. The Locked Door Charles Bryant. Salome (2nd camera) Siodmak . 1950 Champagne for Caesar Richard George Fitzmaurice . 1930 The Eyes of the Bryant. In the Palace of the King Wharf. The Second Face Bernhard. World (with J. Fulton) Henry King . Puttin ' on the (2nd camera) Emmett J. Flynn . . 1951 Pickup Hugo Haas . Gold Raiders Wharf. Ritz Edward Sloman (Tech sequence). The • 1923 Three Wise Fools (2nd camera) King The Girl on the Bridge Haas. Japanese War Lottery Bride Paul Stein (Tech sequence). The Vidor. Nelly , the Beautiful Cloak Model (2nd Bride (helicopter shots) King Vidor . 1952 For Bat Whispers (35mm version) West (65mm ph : camera) Flynn . Wild Oranges (2nd camera) King Men Only Paul Henreid. Red Snow Boris Petroff. Planck) . 1931 Reaching for the Moon (with Vidor. Vengeance of the Deep (with W. McGann ) Strange Fascination Haas. Captive Women Planck) Edmund Goulding. Indiscreet (with A. B. Barringer . 1924 Ben-Hur (chariot race and Stuart Gilmore. Breakdown Edmond Angelo. Toland) Leo McCarey. Bought Archie Mayo. follow shots) Fred Nib/o. Lorna Doone (2nd . 1953 One Girl 's Confession Haas . 1954 Fangs Corsair West. Arrowsmith John Ford (AAN). camera) Maurice Tourneur . 1925 The Man of the Wild William Cla xton . 1955 Hold Back . 1932 Disorderly Conduct John Considine. Who Came Back (2nd camera) Victor Tomorrow Haas . 1957 Lizzie Haas . 1962 The Sinners in the Sun Alexander Hall. Horse Schertzinger. The Dancers (with Palmer) Nun and the Sergeant Franklin Adreon. Feathers Norman McLeod. Cynara King Vidor. Flynn . 1926 The Seagull Josef von Sternberg. . 1968 Chubasco (with L. Jenn ings) Allen Miner . 1933 Secrets Frank Borzage. When Ladies Yellow Fingers (with Palmer) Flynn . 1927 The (Pan , Tech ). Meet Harry Beaumont. I Cover the Waterfront Four Devils (2nd un it and circus shots) F. W. James Cruze. Roman Scandals Frank Tuttle . Murnau . 1928 No Other Woman (with Palmer) RAY JUNE ( -1958) Anothe r Language Edward Griffith . Women in Lou Tellegen . Street Angel ( with Palmer) Frank His Life George Seitz . 1934 Riptide Goulding. Borzage (AAN). Oueen Kelly (with G. Pollack) 1921 Scrambled Wives (with McCoy) Edward Girl from Missouri Jack Conway. Hide-Out (with Erich von Stroheim . Hell 's Angels (2nd camera Griffith . 1922 Penrod (with D. Kesson) Marshal W3gner) W. S. Van Dyke. Treasure Island (With and aerial shots) Howard Hughes and James Neilan . 1923 Boy of Mine (with G. Richter) DeVinna, Rosson) Victor Flemmg. Kid Millions Whale . The Green Goddess (2nd camera) John William Beaudine. Penrod and Sam ( with E. Roy Del Ruth ( Tech sequence). The Gay Bride Adolfi. Gold Diggers of Broadway (2nd camera) Ulman) Beaudme. The Way Men Love Roy Conway . 1935 Vanessa - Her Love Story Roy Del Ruth ( Tech ). The Show of Shows (2nd William Neill . 1924 By Divine Right Neill. The William K. Howard. Ch ina Seas Tay Garnett. Riff cam era) Ado/fi ( Tech ) . 1932 Blonde Venus Narrow Street Beaudine. Wandering Husbands Raff J. Walter Ruben . Barbary Coast (with E. ( with Glennon ; exteriors only) Sternberg. Three Beaudine. Cornered Beaudine. Missing Curtis) Howard Hawks (AAN). Wife vs Secretary and a Day Jean Negulesco . 1933 Dawn to Daughters William Clifford. Racing Luck H. C. Clarence Brown . 1936 Suzy George Dawn Joseph Berne . 1936 The Plow That Broke Raymaker. Self Made Failure J. K. McDonald. Fitzmaurice. Born to Dance Roy Del Ruth . the Plains ( with Hurwitz, Steiner, Strand) Pare • 1925 The Broadway Butterfly William . 1937 Espionage Kurt Neumann . Night Must Lorentz. The Riding Avenger Harry Fraser. Beaudine. Tracked in the Snow Country Fall Richard Thorpe . Saratoga Conway. Live, Cavalcade of the West Fraser. Ambush Valley Raymaker. One of the Bravest Frank O 'Connor. Love and Learn Fitzmaurice . 1938 Test Pilot Franklin Shamray . 1937 Battle of Greed Howard . 1926 The Block Signal 0 'Connor. The Golden . 1944 Three Men in White Willis Goldbeck. Higgin . Luck of Roaring Camp Irvin Willat. The Web Walter Lang. King of the Pack Frank Hoosier Schoolboy William Nigh . The Thirteenth Man Nigh . Atlantic Flight Nigh . Blazing Barriers Aubrey Scotto . 1938 Fury Below Fraser. I Am a Cr iminal Nigh . 1939 Gone With the Wind (2nd un it) Victor Fleming, Sam Wood, George Cukor (Tech ). Should a Girl Marry? Lambert Hillyer. The Girl from Rio Hillyer . 1941 The Shanghai Gesture Von Sternberg . 1942 About Face Kurt Neumann . The Bashful Bachelor Mal St. Clair. Isle of Missing Men Richard Oswald. . 1943 Honeymoon Lodge Edward Lilley. All By Myself Felix Feist. Flesh and Fantasy (with Cortez) (three segments by Ivano) Julian Duvivier. Fired Wife Charles Lamont. Larceny 40 SUMMER 1972

KEY : Tech (Technicolor); Warner (Wa rnerco- lor); Pathe (Pathecolor); DeLu xe (DeLu xe Color); Metro (Metrocolor); East (Eastmancolor); Pan (PanavISlo n); CScope (Cin emaScope); VV (Vista VISion) ; AA (Academy Award); AAN (Academy Award Nomination) . Other terms are spelled out. A symbol such as Ea st / Pathe indicates East- mancolor processed by Pathe. Baby Doll, Boris Kauf man . Scarlet Street, Milton Krasner. Charles Lamont. Missing Evidence Ph il Rosen . Newsboy's Home Harold Young . You Can't Marriage is a Private Affair Leonard . 1945 Keep (with R. Hubert) Abel Gance . 1936 Pere Lampion Cheat an Honest Man George Marshall. You r Powder Dry Edward Buzzell. Twice Blessed Christian Jacques . 1937 Fort Dolores • 1940 The Bank Dick Edward Cline. Diamon d Harry Beaumont . 1946 The Hoodlum Saint Chaumette . 1938 Serenade Jean Boyer. Frontier Harold Schuster. Hired Wife William Norman Taurog. The Cockeyed Miracle S. . 1945 Better Tomorrow Alexander Seiter. The House of the Seven Gables May. The Sylvan Simon . 1947 The Beginn ing or the End Hackenschmied. Capital Story Henwar InVisible Man Returns May. The Man from Norman Taurog . 1948 Three Oaring Daughters Rodakiewitz. The Southwest Rodakiewitz. Montreal Christie Cabanne. Oh, Johnny, How Fred Wilcox (Tech). The Bride Goes Wild .1 947 Journey Into Medicine Willard Van Dyke. You Can Love Lamont. Private Affairs Albert Taurog . Alias a Gentleman Beaumont. A . 1950 The Tanglewood Story . 1954 The Rogell. Sandy IS a Lady Lamont. Ski Patrol Lew Southern Yankee Edward Sedgwick . 1949 The Garden of Eden Max Nosseck (East). On the Landers. Trail of the Vigilantes (with Valentine) Secret Garden Wilcox (Tech sequence). The Sun Waterfron t Elia Kazan (AA) . 1956 Crowded Allan Dwan. Zanzibar Schuster . 1941 Bachelor Comes Up Richard Thorpe (Tech) . 1950 Nancy Paradise Fred Pressburger. Baby 0011 Kazan Daddy Harold Young . Bu ck Privates Lubin. The Goes to RIo Robert Leonard (Tech). The (AAN). Pattern s Fielder Cook . 1957 Twelve Lady from Cheyenne Frank Lloyd. This Woman Reformer and the Redhead Norman Panama , Angry Men Sidney Lumet . 1959 That Kind of is Mine Lloyd. Paris Calling Edwin Marin. Too Melvin Frank. Shadow on the Wall Patrick Woman Lumet . 1960 The Fug itive Kind Lumet. Many Blondes Thornton Freeland. Jackson . Crisis Richard Brooks. Mrs . O'Malley . 1961 Splendor in the Grass Kazan (Tech ). . 1942 Arabian Nights (with Skall and Greene) and Mr. Malone Norman Taurog . 1951 Inside . 1962 Long Day 's Journey Into Night Lumet. John Rawlins ( Tech) (AAN). A Gentleman After Straight Gerald Mayer. Strictly Dishonorable . 1963 All the Way Home Alex Segal. Gone Are Dark Marin. The Ghost of Fran kenstein (with E. Frank and Panama. It's a Big Country (with the Days Nicholas Webster . 1964 The World of Bredell) Erie C. Kenton. Men of Texas Ray Alton Mellor) seven directors. Callaway Went Henry Orient (with Ornitz) George Roy Hill (Pan , Enright. Pardon My Sarong Kenton. The Spoilers Thataway Panama and Fran k . 1952 Just Th is DeLuxe) . 1965 Film (short film) Alan Enright . 1943 Gung Ho En right. So 's Your Once Don Weiss . Invitation Gottfried Reinhardt. Schneider. The Pawnbroker Lumet . 1966 The Uncle (with Bredell) Jean Yarbrough. The Mad Above and Beyond Frank and Panama . Sky Full Group Lumet (DeLuxe) . 1967 Bye , Bye Ghoul James Hogan . We've Never Been Licked of Moon Norman Foster . 1953 Code Two Fred Braverman Lumet (Tech ) . 1968 Uptight Dassin John Rawlins. Two Tickets to London Marin . Wilcox. Sombrero Foster (Tech). A Slight Case (Tech). The Brotherho od Martin Rill . 1944 Hat Check Honey Cline. The Invisible of Larceny Weiss. Easy to Love Charles Walters (Tech) . 1970 Tell Me That You Love Me , Junie Man 's Revenge Ford Beebe. The Woman in the (Tech) . 1954 This is My Home Stuart Heisler Moon Otto Premlnger ( Tech). Window Fritz Lang . 1945 Along Came Jones (Path). Day of Tflumph Irving Pichel (East I Path). Stuart Heisler. Delightfully Dangerous Arthur . 1956 The Court Jesters Panama and Frank MILTON KRASNER ' Lubin. Scarlet Street Fritz Lang . 1946 The Dark (VV, Tech) . Hot Blood Nicholas Ray (CScope, Mirror Roben Siodmak. Without Reservation s Tech) . 1957 Funn y Face Stanley Donen (VV, 1933 Golden Harvest Ralph Murphy. I Love Mervyn LeRoy . 1947 The Farmer's Daughter H. Tech ) (AAN). The Seventh Sin Ronald Neame That Man Harry Joe Brown . Sitting Pretty Bro wn . C. Potter. The Egg and I Chester Erskine. (CScope) . 1958 Houseboat Melville Shavelson Strictly Personal Murphy . 1934 Death on the Something in the Wind Irving Pich el . 194 8 The (VV, Tech) . Diamond Edward Sedgwick. Great Fl irtation Accused William Dieterle. A Double Life George Murphy. Private Scandal Murphy. Paris Interlude Cukor. The Saxon Charm Claude Binyon. Up in BORIS KAUFMAN ' EdWin Marin. She Made Her Bed Murphy. Central Park William Seiter . 1949 Holiday Affair . 1935 Cheers of the Crowd (with H. Newman) Don Hartman . House of Strangers Joseph L. 1928 La Marche des Machines Eugene Vin Moore. Great God Gold Arthur Lubin . The Mankiewicz. The Set Up Robert Wise . 1950 All Deslaw. 24 Heures en 30 Minutes (co-dir) Jean Great Impersonation Alan Crosland. Hold 'em About Eve Mankiewicz (AAN). Three Came Lods . 1929 A Propos de Nice (co -dir) Jean Yale Sidney Lanfield. Honeymoon Limited Vida Home. Jean Negulesco. No Way Out Vigo . Les Hales Andre Galitzine . 1931 Taris, Hurst. Murder in the Fleet Sedgwick. The Virginia Manklewicz . 1951 Half Angel Richard Sale Champion de Natation (consultation)Vigo. Judge SedgWick. Women Must Dress Reginald ( Tech ). I Can Get It for You Wholesale Michael . 1932 Le Mile avec Jules Ladounegue Lods . Barker . 1936 Crash Donovan William Nigh Gordon . The Model and the Marriage Broker . 1933 Zero de Conduit Vigo. Seine Lods . Forbidden Heaven Barker. Girl on the Front Cukor. People Will Talk Mankiewicz. Rawhide Flem ing. Woman Against Woman Robert Page Harry Beaumont. Laughing Irish Eyes (with Henry Hathaway . 1952 Deadline U.S.A. Richard Sinclair. Rich Man - Poor Girl Reinhold R. Lanning) Joseph Santfey. Love Letters of a Brooks. Dreamboat Binyon. Monkey Business Schunzel. Vacation from Love Fitzmaurice. Star Lewis Foster and Milton Carruth. Mister Howard Hawks. O'Henry's Fu ll House (with . 1939 Honolulu Edward Buzzell. Lu cky Night Cinderella Edward Sedgwick. Yellowstone Lubin. Ahern. Ballard, MacDonald) Hathaway, King, Norman Taurog . Fast and Furious Busby . 1937 A Girl With Ideas S. Sylvan Simon . The Hawks, Koster and Negulesco. Phone Call from Berkeley. Babes in Arms Berkeley . 1940 The Lady Fights Back Simon . Love in a Bungalo w a Stranger Negulesco . 1953 Dream Wife Sidney Man from Dakota Leslie Fenton . The Earl of Raymond McCarey. Mysterious Crossing Lubin. Shelton . Taxi Gregory Ratoff. Vicki Harry Horner. Chicago Thorpe. And One Was Beautiful Oh , Doctor McCarey. Prescription for Romance . 1954 Demetrius and the Gladiators Delmer Sinclair. Strike Up the Band Berkeley Little Nelly Simon. She's Dangerous Foster and Carruth . Daves (CScope . TeCh) . Desiree Henry Koster Kelly Taurog . 1941 Ziegfleld Girl Roben Z. There Goes the Groom Santfey. We Have Our (CScope, DeLuxe). Garden of Evil Hathaway Leonard (Tech). Love Crazy Conway. The Moments Alfred Werker . 1938 The Jury's Secret (CScope, Tech). Three Coin s in the Fountain Feminine Touch Van Dyke. H. M. Pulham , Ted Sloman. Midnight Intruder Lubin . The Negulesco (CScope, DeLuxe) (AA) . 1955 The Esquire King Vidor . 1942 I Married an Angel MiSSing Guest John Rawlins. The Nurse from Girl In the Red Velvet Swing Richard Fleischer Van Dyke. Calling Or. Gillespie Harold S. Brooklyn Simon . The Storm Harold Young. The (CScope, DeLuxe). How to Be Very, Very Bucquet. Cairo Van Dyke. Journey for Margaret Crime of Or . Hallett Simon . 1939 The Family Popular Nunnally Johnson (CScope, DeLuxe). Van Dyke . 1943 I Dood It Vincent Minnelli. Next Door Santfey. The House of Fear Joe May. The Rains of Ranchipur Negulesco (CScope, .1 934 L 'Atalante Vigo . 1935 Lu crece Borgia I Stole a Million Fran k Tuttle . Little Accident DeLuxe). The Seven Year Itch Billy Wilder (CScope, DeLuxe) . 1956 Bus Stop Joshua Logan (CScope, DeLuxe). 23 Paces to Baker Street Hathaway (CScope, DeLuxe) . 1957 An Affair to Remember Leo McCarey (CScope , FILM COMMENT 41

Death Takes a Holida y, Charles B. Lan g. . 1970 Beneath the Planet of the Apes Ted Post Koster. Red Mountain Dieterle ( Tech). ( Pan, DeLuxe). Zachanah George Englund . 1952 Atomic City Jerry Hopper Aaron Slick The Chase, Joseph La Shelie. (Me tro). from Punkin Crick Claude Binyon (Tech). Sudden Fear David Miller (AAN) . 1953 Salome DeLuxe) (AAN). Boyan a Dolphin Negulesco CHARLES B. LANG (1902- Dieterle (Tech) . The Big Heat Fritz Lang. It (CScope, DeLuxe). Kiss Them for Me Stanley Should Happen to You George Cukor. Donen (CScape, DeLuxe) . 1958 The Gift of 1927 Ritzy Richard Rossen . 1929 Shopworn . 1954 Sabrina Wilder (AAN). PhHt Mark Robson. Love Negulesco (CScope, DeLuxe). A Certain Angel Richard Wallace. Innocents of Paris . 1955 The Man from Laramie Anthony Mann Smile Negulesco (CScope, DeLuxe) . 1959 The Wallace. Behind the Makeup Robert Milton . (CScope, Tech). Female on the Beach Joseph Remarkable Mr. Pennypacker Henry Levin Halfway to Heaven (with Gilks) George Abbott. Pevney. Queen Bee Ronald MacDougall (AAN). (CScope, DeLuxe). Count Your BlesSings (with Seven Days Leave Wallace . 1930 Street of · 1956 The Rain-Maker Joseph Anthony (VV, Fo lsey) Negulesco (CScope, Metro). The Man Chance John Cromwell. Sarah and Son Dorothy Tech). Autumn Leaves Robert Aldnch. The Solid Who Understood Women Johnson (CScope, Arzner. Light of the Western Stars Otto Brower, Gold Cadillac Richard Ouine . 1957 Gunfight at DeLuxe) . 1960 Home from the Hill Vincent Edwin Knopf. Shadow of the Law Louis Gasn ier, the O.K . Corral John Sturges (VV, Tech). Loving Minnelli (CScope, Metro). Bells Are Ringing Max Marcin. For the Defense Cromwell. You Hal Kanter (VV, Tech). Wild Is the Wind Minnelli (CScope, Metro) . 1961 Go Naked in Anybody's Woman Arzner. Tom Sawyer Cukor (VV) . 1958 The Matchmaker Anthony the World Randall MacDougall (CScope, Metro). Cromwell. Right to Love Wallace (AAN). (VV). Separate Tables Delbert Mann (AAN) . King of Kings (with Planer, Berenguer) Nicholas . 193 1 Unfaithful Cromwell. Vice Squad . 1959 Some Like It Hot Wilder (AAN). Last Train Cromwell. Newly Rich Norman Taurog. Caught from Gun Hill John Sturges (VV, Tech). Ray (70 mm Super Technirama , Tech). Edward Sloman . Magnificent Lie Berthold Viertel. . 1960 Strangers When We Meet Ouine . 1962 Four Horseman of the Apocalypse Once a Lady Guthrie McClintic . 1932 A (CScope, East). The Magnificent Seven Sturges Farewell to Arms Frank Borzage (AA). Tomorrow (Pan , DeLuxe) . 1961 The Facts of Life Melvin Minnelli (CScope. Metro). Sweet Bird of Youth and Tomorrow Wallace. No One Man Lloyd Frank (AAN). One Eyed Jacks Marlon Branda Richard Brooks (CScope, Metro). Two Weeks in Corrigan. Devil and the Deep Marion Gering. He (VV, Tech) (AAN). Summer and Smoke Peter Another Town Minnelli (CScope, Metro). Learned About Women Corrigan . Thunder Glenville (Pan , Tech) .1 962 Blue Hawaii . 1963 How the West Was Won (with Daniels, Below Wallace . 1933 She Done Him Wrong Norman Taurog (Pan , Tech) . 1963 Critic's Lang, La Shelle) Hathaway, Ford, Marshall Lowell Sherman . A Bedtime Story Taurog . Choice Don Weis (Pan , Tech). The (Cinerama, Tech) (AAN). The Courtship of Gambling Ship Louis Gasnier, Max Marcin . The Wheeler-Dealers Arthur Hiller (Pan , Metro). A Edd ie's Father Minnelli (Pan , Metro). A Ticklish Way To Love Taurog . Cradle Song Mitchell Girl Named Tamiko Sturges (Pan , Tech). How Affa ir George Sidney (Pan , Metro). Love With the Leisen . 1934 Death Takes a Holiday Leisen . the West Was Won (with Daniels, Krasner, La Proper Stranger Robert Mulligan (A AN). We're Not Dressing Taurog . She Loves Me Not Shelle) Hathaway, Ford, Marshall (Cinerama , . 1964 Advance to the Rear George Marshall Elliott Nugent. Mrs. Wiggs of the Cabbage Patch Tech) (AAN). Charade Stanley Donen ( Tech). ( Pan). Looking for Love Don Weis ( Pan, Metro). Taurog . 1935 Mississippi Edward Sutherland. . 1964 Paris When It Siules Ouine (Tech). Fate Is the Hunter Ralph Nelson (CScope) Lives of a Bengal Lancer Henry Hathaway. Peter .1 965 Father Goose Ralph Nelson (Tec h). Sex (AAN). Goodbye, Charlie Minnelli (CScope, Ibbetson (with G. Jennings) Hathaway. and the Single Girl Ouine ( Tech) . 1966 Inside DeLuxe) . 1965 Red Line 7000 Howard Hawks .1 936 Desire Borzage . 1937 Angel Ernst Daisy Clover Robert Mulligan (Tech, Pan). How (Tech). The Sandpiper Minnelli (Pan, Metro). Lubitsch . Souls at Sea Hathaway. Tovarich to Steal a Million William Wyler ( Pan, DeLuxe). . 1966 Made in Paris Boris SagaI (Pan , Metro). Anatole Litvak . 1938 Dr . Rhythm Frank Tuttle. Not With My Wife You Don't l Norman Panama The Sin ging Nun Henry Koster (Pan, Tec,')). You and Me Fritz Lang. Spawn of the North ( Tech) . 1967 Hotel Ouine (Tech) . The Fl im Flam . 1967 The Venetian Affair Jerry Thorpe (Pan , Hathaway . 1939 Midnight Leisen . Zaza George Man Irvin Kershner (Pan, DeLuxe). Wait Until Metro). Hurry Sundown (with Griggs) Otto Cukor. The Gracie Allen Murder Case Alfred Dark Terence Young ( Tech) . 1968 A Flea in Her Preminger (Pan, Tech). The SI. Valentine 's Day Green . The Cat and the Canary Nugent. Ear Jacques Charon (Pan, DeLuxe). The Massacre Roger Corman (Pan , DeLuxe). The . 1940 Women Without Names Robert Florey. Stalking Moon Mulligan (Pan , Tech) . 1969 How Ballad of Josie Andrew McLaglen (color). Adventure in Diamonds George Fitzmaurice. to Commit Marriage Panama (Tech). Bob and . 1968 Don 't Just Stand There Ron Winston (Tech). Buck Benny Rides Again Mark Sandrich . Th e Carol and Ted and Alice Paul Mazursky ( Tech) . 1969 The Sterile Cuckoo Alan Pakula ( Tech). Ghost Breakers George Marshall. Arise My Love (AAN). Cactus Flower Gene Saks (Tech). Leisen (A AN) .1 941 Dancing on a Dime Joseph .1 970 A Walk in the Spring Ra in Guy Green Sant/ey. The Shepherd of the Hills (with Greene) (Pan, Tech). Doctor 's Wives George Shaeffer Hathaway (Tech). Sundown Hathaway (AAN). (East) .1 971 The Love Machine Jack Haley, Jr. Nothing But the Truth Nugent. Skylark Sandrich. (Color). . 1942 The Lady Has Plans Sidney Lanfield. Are Husbands Necessary? Taurog . The Forest JOSEPH LA SHELLP ( 1905- Rangers (with Skall) Marshall ( Tech) . 1943 So Proudly We Hail Sandrich (A AN). True to Life 1943 Happy Land Irving Piche/. Marshall. No Time for Love Leisen .1 944 The . 1944 Bermuda Mystery Benjamin Stoloff. The Uninvited Lewis Allen (AAN). Standing Room Eve of SI. Mark John M. Stahl. Take It or Leave Only Lanfield. I Love a Soldier Sandrich . It Stoloff. Laura Otto Preminger (AA). Practically Yours Leisen. Here Come the Waves . 1945 Hangover Square John Brahm. A Bell for Sandrich . 1945 The Stork Club Hal Walker. Miss Adana Henry King . Fallen Angel Preminger. Doll Susie Slagle 's John Berry .l 946 Blue Skies Face Lewis Seiler . 1946 Cluny Brown Ernst (with Snyder) Stuart Heisler ( Tech). Cross My Lubitsch . Claudia and David Walter Lang. Heart Berry . l 947 The Ghost and Mrs . Muir .1 947 The Late George Apley Joseph L. Joseph L. Mankiewicz (AAN). Desert Fury (with Mankiewicz. The Fa xes of Harrow Stahl. E. Cronjager) Lewis Allen ( Tech). Where Th ere's · 1948 Deep Waters King . The Luck of the Irish Life Sidney Lanfie ld . 1948 A Foreign Affair Billy Henry Koster. Road House Jean Negulesco. Wilder (AAN). Miss Tatlock 's Millions Richard . 1949 The Fan Preminger. Come to the Stable Haydn . My Own True Love (with Jennings, Koster (AAN). Everybody Does It Edmund Edouard) Compton Bennett . 1949 Rope of Goulding .1 950 Under My Skin Negulesco. Sand William Diete rle . The Great Lover Mother Didn 't Tell Me Claude Binyon. Where the Alexander Hall . l 950 Fancy Pants George Sidewalk Ends Preminger. Mister 880 Gouldmg. Marshall ( Tech). Branded Rudolph Mate ( Tech). The Jackpot Waller Lang . 1951 The Guy Who Copper Canyon John Farrow ( Tech). September Came Back Joseph M. Newman. The 13th Letter Affair (with Milner) William Dieterle. The Mating Preminger. Elopement Koster. Mr. Belvedere Season Mitchell Leisen . 1951 Ace in the Hole Rings the Bell (with Lang) Koster . 1952 The Billy Wilder. Peking Express William Dieterle. Mr . Outcasts of Poker Flat Newman . Les Miserables Belvedere Rings the Bell (with La Shelle) Henry continued on page 43 42 SUMMER 1972

LewIs Milestone. Something for the Birds Robert Ridge FrancIs Lyon . ,958 Attack of the Puppet Point Blan k, Ph i lip Lat hro p. Wise . My Cousin Rachel Koster (AAN) People Bert Gordon. The Space Children Jack • t 953 Dangerous Crossing Newman. Mister Arnold. The Restless Years Helmuth Kautner Careless Years Arthur Hiller. Hell Ship Mutiny Scoutmaster Henry Levm . 1954 River of No (CScope) . 1959 Ten Seconds to Hell Aldrtch. Sholem and Elmo Williams . 1958 Spanish Affair Return Preminger (CScope, Tech) . 1955 Marty . ,960 Inherit the Wind Stanley Kramer (AAN). Don Siegel (VV, Tech). The Defiant Ones Stanley Delbert Mann (AAN) . 1956 Our MIss Brooks AI Tormented Gordon . ,96, The Last Sunset Kramer (AA). The Fearmakers Jacques LewIs. The Conqueror (with Tover, Snyder, Wild) Aldrtch (East). Judgment at Nuremberg Kramer Tourneur . ,959 Pork Chop Hill LeWIS Dick Powell (CScope, Tech) . Storm Fear Cornel (70 mm) (AAN) . ,963 It's a Mad. Mad, Mad , Milestone. Anatomy of a Murder Premmger Wilde. Run for the Sun Roy Boulting Mad World Kramer (Cinerama, Ultra-Pan, Te ch) (A AN). The Crimson Kimono Samuel Fuller. Five (SuperScope. Tech) . 1957 Crime of Passion (AAN). Four for Texas Aldrich (Tech ) . ,964 One Gates to Hell James Clavell (CScope) Gerd Oswald. Fury at Showdown Oswald The Man 's Way Oems Sanders . 1965 Baby , the Rain . 1960 Seven Thieves Henry Hathaway Bachelor Party Delbert Mann . The Abductors Must Fall Robert Mulligan. Ship of Fools Kramer (CScope). Exodus Preminger (Super-Pan 70, Andrew McLaglen (Regalscope). I Was a (AA) . 1966 Fantastic Voyage Fleischer (CScope, Tech ) (AAN) . ,961 The Right Approach DaVid Teenage Werewolf Gene Fowler, Jr. The Fuzzy DeLuxe) (AAN) . 1967 Luv ClIVe Donner (Pan. Butler (CScope) . ,962 Cape Fear J. Lee Pink Nightgown Norman Taurog . No Down East) . ,968 Star Robert Wise (Todd-AO. Thompson . AdVise and Consent Premmger Payment Martin Rltt (CScope) . 1958 The Long , DeLuxe) (AAN) . ,969 The First Time James (Pan) . 1963 Diamond Head Guy Green (Pan . Hot Summer Ritt (CScope. DeLuxe). The Naked Neilson (DeLuxe). Daddy's Gone A-Hunting East/Path). Johnny Cool William Asher. and the Dead R30ul Walsh (Warnerscope, Tech). Mark Robson ( Tech) . 1970 Airport George . 1964 Shock Treatment Denis Sanders . 1959 Career Joseph Anthony (AAN). Seaton (Todd-AO 70 mm Te ch) (AAN). (CScope) . 1965 Two on a Guillollne William • 1960 The Apartmen t Billy Wilder (Pan) (AAN). Conrad (Pan). My Blood Runs Cold Conrad • t 961 Al l in a Night 's Work Anthony ( Tech) . The PHILIP LATHROP * (Pan ). Major Dundee Sam Peckinpah (Pan, Honeymoon Machine Richard Thorpe (CScope, Path / TeCh ). Brainstorm William Conrad (Pan) Metro) . '962 The OutSider Delbert Mann . 1958 Girls on the Loose Paul Henreid. Live . 1966 Dr. GOldfoot and the Bikini Machine . ,963 A Child is Waiting John Cassavetes. How Fast , Die Young Hen reid. The Saga of Hemp Norman Taurog (Pan, Path). An American the West Was Won (with Daniels, Krasner. Lang) Brown Richard Carlson (CScope, East) Wild Dream Robert Gist (Tech ). I Deal in Danger (with Hathaway, Ford and Marshall (Cinerama, Tech) Heritage Charles Haas (CScope, East). K. Grigoleit) Walter Grauman (D eLuxe). (AAN). Irma la Douce Wilder (Pan, Tech) (AAN). . ,959 Money, Women and Guns Richard Murderer's Row Henry Levin ( Tech ). . ,964 Wild and Wonderful Michael Anderson Bartlett (CScope, East). The Perfect Furlough . 1967 Guess Who's Coming to Dinner? Kramer (East). KIss Me , Stupid Wilder (Pan). Blake Edwards (CScope. East). Cry Tough (with ( Tech) . 1968 Where Angels Go - Trouble . ,965 Seven Women John Ford (Pan , Melro). Irving Glassberg) Paul Stanley. The Monster of Follows! James Neilson (Path). The Wrecking . ,966 The Chase Arthur Penn (Pan, Tech). The Piedras Blancas Irvin Berwick . ,96, The Private Crew Phil Karlson ( Tech) . ,970 The Fortune Cookie Wilder (Pan) (AAN). Lives of Adam and Eve Albert Zugsmith , Mickey Grasshopper Jerry Paris ( Tech) . 1971 Star . 1967 Barefoot in the Park Gene Saks (Tech) . Rooney (Spectacolor sequence). Spangled Girl Paris (Movlelab Color). . ,968 Kona Coast Lamont Johnson ( Tech) . . ,962 Experiment in Terror Edwards. Lonely . ,969 Eighty Steps to Jonah Oswald (Tech). Are the Brave David Miller (Pan) . ,963 Days of KEY: Tech (Technicolor): Warner (Warnerco- Wine and Roses Edwards. Dime With a Halo lor): Pathe (Pathecolor): DeLu xe (DeLu xe Color) : ERNEST LASZLO \" (1905 - Boris Saga/. Twilight of Honor Sagal (Pan). Metro (M etrocolor); East (Eastman color) ; Pan Soldier in the Rain Ralph Nelson . '964 The Pink (Panavislon): eScope (Cin emaScope): VV (Vista 1928 The Pace That Kills Norton Parker. Panther Edwards ( Technirama. Tech). The Vision) ; AA (Academy Award); AAN (Academy . ,929 Linda (with Cronjager, Baldridge) Mrs. Americanization of Emily Arthur Hiller (AAN). Award Nomination). Other terms are spelled out. Wallace Reid. The White Outlaw Robert Horner. . ,96536 Hours George Seaton (Pan). In A symbol such as East/ Path indicates East- . ,930 Hell 's Angels (2nd camera) Howard Harm 's Way (2nd unit only) Otto Preminger mancolor processed by Pathe. Hughes and James Whale (Tech sequence). (Pan). Girl Happy Sagal (Pan, Metro). The . 1931 Primrose Path (with H. Cronjager) William Cincinnati Kid Norman Jewison (Metro) . Never O 'Connor . ,944 The Hitler Gang John Farrow. Too Late Bud York,n (Pan, Tech) . 1966 What . 1946 Two Years Befo re the Mast Farrow. Did You do in the War, Daddy? Edwards (Pan , . ,947 Dear Ruth William D. Russell. The Road DeLuxe). The Happening Elliot Silverstein to Rio Norman Z. McLeod. Let's Live a Little (Tech). Don 't Make Waves Alexander Richard Wallace. A Miracle Can Happen [On Our Mackendrick (Pan, Metro). Gunn Edwards Merry Way] (with Avil. Biroc, Seltz) King Vidor (TeCh). Point Blank John Boorman (Pan , Metro). and Leslie Fenton . 1948 Lulu Belle Fenton . • 1968 I Love You , Alice B. TOklas Hy Averback The Girl from Manhattan Alfred Green . (Tech) . Finian's Rainbow Francis Ford Coppola . 1949 Manhandled Lewis Foster. The Lucky (Pan , Tech) . ,969 The Illustrated Man Jack Stiff Foster. Impact Arthur Lubin . Cover Up Smight (Pan, TeCh ). They Shoot Horses, Don 't Green. The Big Wheel Edward Ludwig . D.OA They? Sidney Pollack (Pan , DeLuxe). The Gypsy Rudolph Mate . 1950 Riding High Frank Moths John Frankenheimer (Metro) . 1970 The Capra. The Jackie Robinson Story Green . Hawaiians (with Ballard) Tom Gries (Pan , . 1951 M Joseph Losey. The Well Leo Popkin , DeLuxe). The Travelling Exec utioner Smight Russell Rouse. When I Grow Up Michael Kanin . (Pan, Metro). Rabbit , Run Smight (Pan. Tech). • 1952 Three fo r Bedroom C Milton Bren · ,971 Wild Rovers Edwards (Pan, Metro). (Na tural Color). Mutiny Edward Dmytryk (Tech). Portnoy 's Complaint E. Lehman (Pan, Tech ). The First Time Frank Tashlm . Lady in the Iron Every Little Crook and Nanny C. Howard Mask Ralph Murphy (Natural Color). The Steel (Metro). Trap Andrew Stone . 1953 The Moon Is Bl ue Preminger. 5talag 17 Billy Wilder. Scared Stiff SAM LEAVITT * George Marshall. The Star Stuart Heisler. Houdini Marshall (Tech) . ,954 The Naked 1952 The Thief Russell Rouse . ,953 MiSSion Jungle Byron Haskm (Tech) . Apache Robert Over Korea Fred Sears. China Venture Don Aldrich (Tech). Vera Cruz Aldrich (Superscope. Siegel . 1954 Southwest Passage Ray Nazzaro Tech) . About Mrs. Leslie Daniel Mann . (3-D, Path). A Star Is Born George Cukor . ,955 Kiss Me Deadly AldriCh . The Kentuckian (CScape, Tech). Carmen Jones Otto Preminger Burt Lancaster (CScope, Tech). The Big Knife (CScope, DeLuxe) . 1955 An Annapolis Story Aldrich . ,956 Bandido Richard Fleischer Don Siegel ( Tech) . The Court Martial of Billy (CScope, DeLuxe). While the City Sleeps Fritz Mitchell Preminger (CScope, Warner) . The Man Lang . ,957 Omar Kh ayyam William Dieterle With the Golden Arm Premmger • 1956 The Bold (VV, Tech) . Valerie Gerd Oswald. Gunsight and the Brave Lewis Foster (SuperScope). Crime in the Streets Siegel. The Wild Pa rty Harry Horner. • 1957 Sierra Strangers Lee Sholem . The FILM COM MENT 43

Viva Zapata, Joseph MacDo nald . . 1948 Call Northside 777 Hathaway. The Street Higgin . Show Folks (with D. Abel) Paul Stein. With No Name William Keighley. Yellow Sky . 1929 Dynamite De Mille. The Godless Girl The King of Kings, J. Peve rel l Marley. William Wellman . 1949 It Happens Every Spring De Mille. It 's a Great Life Sam Wood (Tech Bacon . Down to the Sea in Ships Hathaway. sequence) . 1930 Th is Mad World (With Rosson) JOSEPH MACDONALD (1906-1968) Pinky Elia Kazan . 1950 Panic in the Streets William De Mille. The Woman Racket Robert 1941 Charlie Chan in Rio Harry Lachman . Kazan . Stella Claude Binyon . 1951 Fourteen Ober, Atbert Kelley . 1931 Wicked Allan Dwan . Hours Hathaway. You're in the Navy Now . 1933 Fast Worker Tod Browning. This Day and • 1942 The Man Who Wouldn 't Die Herbert Hathaway. As Young as You Feel Harmon Jones. Age C. B. De Mille. Her Secret Warren Millais. Leeds . The Postman Didn't Ring Harold • 1952 Viva Zapata! Kazan. What Price Glory? Gallant Lady Gregory LaCava . 1934 House of Schuster. Little Tokyo , USA Otto Brower. That Ford ( Tech) . O'Henry 's Full House (in Rothschild Alfred Werker (Tech sequence). Other Woman Ray McCarey. Ouiet Please , collaboration) Hathaway, Hawks, King, Koster, Bulldog Drummond Strikes Back Roy Del Ruth. Murder John Larkin . 1943 Wintertime (with Negulesco . 1953 Niagara Hathaway (Tech ). The Count of Monte Cristo Rowland V. Lee. The MacWilliams) John Brahm . 1944 In the Titanic Jean Negulesco. Pickup on South Street Mighty Barnum Walter Lang . 1935 Clive of India Meantime , Darling Otto Preminger. The Big Samuel Fuller. How to Marry a Millionaire Richard Boles/awski. Follies Bergere (with Noise Mal St. Clair. Sunday Dinner for a Soldier Negulesco (CScop e, Tech ) . 1954 Hell and High McGill) Del Ruth . Cardinal Richelieu Lee. Let 'em Lloyd Bacon . 1945 Captain Eddie Bacon . Water Fuller (CScop e, Tech ). Broken lance Have It (with Planck) Sam Wood. The Three • 1946 Shock (with MacWilliams) Alfred Werker. Edward Dmytryk (CScope, DeLuxe). Woman 's Musketeers Lee. King of Burlesque Sidney The Dark Corner Henry Hathaway. Behind World Negulesco (CScope, Tech) . 1955 The Lanfield . 1936 It Had to Happen Del Ruth . One Green Lights Brower. My Darling Clementine Racers Hathaway (CScape, DeLuxe). House of Rainy Afternoon Lee. Private Number Del Ruth . John Ford . 1947 Moss Rose Gregory Ratoff. Bamboo Fuller (CScope, DeLuxe). The View Sing , Bab y, Sing Lanfield. Winterset Alfred from Pompey 's Head Philip Dunne (CScope, Santell . 1937 The Toast of New York Lee. KEY : Tech (Technicolor ); Warner (Warnerco- DeLuxe) . 1956 On th e Threshold of Space Women of Glamour (with H. Freulich) Gordon lor); Pathe (Pathecolor); Deluxe (Deluxe Color); Robert Webb (CScope, DeLuxe). Hilda Crane Wiles. Wise Girl Leigh Jason .1 938 In Old Metro (Metrocolor) ; East (Eastmancolor); Pan Dunne (CScope, Tech ). Bigger Than Life Chicago Henry King . Alexander's Rag Time (Panavision) ; CScope (CinemaScope) ; VV (Vista Nicholas Ray (CScope. DeLuxe). Teenage Band King. Suez AI/an Dwan (AAN). Up the Vision); AA (Academy Award) ; AAN (Academy Rebel Edmund Goulding (CScope) . 1957 The River Werker . 1939 The Hound of the Award Nomination). Other terms are spelled out. True Story of Jesse James Ray (CScope, Baskervilles Lanfield. The Three Musketeers A symbol such as EastJPathe indicates East- DeLuxe). A Hatful of Rain Fred Zinnemann Dwan . Hotel for Women Gregory Ratoff. Daytime mancolor processed by Pathe. (CScope). Will Success Spoil Rock Hunter? Wife Ratoff • 1940 Star Dust Walter Lang. The Frank Tashlin (CScope, DeLuxe) . 1958 The Man I Married Irving Piche/. Hudson 's Bay (with Young Lions Dmytryk (CScope) (A AN). Ten Barnes) Pichel . 1941 Sleepers West Eugene North Frederick Dunne (CScope). The Fiend Forde. Adam Had Four Sons Ratoff. The Great Who Walked the West Gordon Douglas American Broadcast (with Shamroy) Archie (CScope) . 1959 Wa rlock Dmytryk (CScope, Mayo . Moon Over Miami (with Davey, Shamroy) DeLuxe) . 1960 The Gallant Hours Robert Walter Lang ( Te ch). Charley's Aunt Archie Mayo. Montgomery. Pepe George Sidney (Pan, Swamp Water Jean Renoir . 1942 The Night CScope, Tech) (AAN) . 1961 The last Time I Before the Divorce[?]. The Magnificent Dope Saw Archie Jack Webb . 1962 A Walk on the Walter Lang . 1943 Di xie Dugan Otto Brower. Wild Side Dmytryk. Taras Bulba J. Lee The Meanest Man in the World Lanfield. Thompson (Pan , East/ DeLuxe) . 1963 Forty . 1944 Four Jills in a Jeep William A. Seiter. Pounds of Trouble Norman Jewison (Pan , East). Sensations of 1945 (with Mescal/) Anthony The List of Adrian Messenger John Huston . Stone . 1945 Pride of the Marines Delmer Daves. Kings of the Sun J. Lee Thompson (Pan , . 1946 Night and Day (with Skall) Michael CurtlZ DeLuxe) . 1964 Flight from Ashiya (with Guffey) ( Tech) . Of Human Bondage Edmund Goulding. Michael Anderson (Pan , East). The The Two Mrs . Carrolls Peter Godfrey . 1947 life Carpetbaggers Dmytryk (70 mm Super Pan , With Father (With Skall) Michael Curtiz (Tech) Tech). Rio Conchos Gordon Douglas (CScope, (AAN) . 1948 Wh iplash Lewis Seiler . 1949 Night DeLuxe). Invitation to a Gunfighter Richard Unto Night Don Siegel. Homicide Felix Jacoves . Wilson (DeLuxe). Where love Has Gone John Loves Mary David Butler. Look for the Dmytryk ( Techniscope, 7ech) . 1965 Mirage Silver Lining Butler ( Tech) .1 950 Perfect Dmytryk. The Reward Serge Bourgignon Strangers Bretaigne Windust . Return of the (CScope, DeLuxe) . 1966 Blindfold Dunne (Pan, Frontiersman Richard Bare (Tech). Kiss Tech). Alvarez Kelly Dmytryk (Pan , East I Path). Tomorrow Goodbye Gordon Douglas. Pretty The Sand Pebbles Robert Wise (Pan , DeLuxe) Baby Windust . 1951 The Groom Wore Spurs (AAN) . 1967 A Guide for the Married Man Gene Rich ard Whorf . 1952 The Greatest Show on Kelly (Pan, DeLuxe) . 1969 Mackenna's Gold J. Earth (with Barnes , Kelley) Cecil B. De Mille Lee Thompson (Super Pan , Tech ). ( Tech) . 1953 Off Limits George Marshall. House of Wax (with Glennon) Andre de Toth J. PEVERELL MARLEY (1899-1964) (Natural Vision, Warner) . Charge at Feather 1923 The Ten Commandments ( with Glennon . River Gordon Douglas (3-D, Warner) . Stout, Westerberg) Cecil B. De Mille ( Tech . 1954 The Phantom of the Rue Morgue Roy sequence) . 1924 Feet of Clay (with Stout) Del Ruth (3 -D, Warner). King Richard and the De Mille . 1925 Forty Winks Frank Urson , Paul Crusaders David Butler (CScope, Warner) . Iribe. The Golden Bed De Mille. Hell 's High Road Drum Beat Delmer Daves (CScope, Warner) . Rupert Julian. The Night Club Urson and Iribe. . 1955 Jump into Hell Butler. Illegal Lewis Allen. The Road to Yesterday De Mille . 1926 Her Man . 1956 The Steel Jungle Walter DOnlger. of War Urson . Silence Julian . Sunny Side Up Serenade Anthony Mann (Warner). The Ten Donald Crisp. Three Faces East Julian . The Commandments (2nd camera) Cecil B. De Mille Volga Boatman (with Miller, Westerberg) De (VV, Tech) . 1957 The Spirit of St. Louis (with Mille. Young April Crisp . 1927 Chicago Urson . Burks) Billy Wilder (CScope, Warner). Johnny The Cou ntry Doctor Julian . Dress Parade Crisp . Trouble John Auer • 1958 The Left Handed Gun King of Kings De Mille ( Tech sequence). Arthur Penn . 1959 Westbound Budd Boetticher . 1928 Celebrity Tay Garnett. A lad y of Chance (Warnercolor) . 1961 The Sins of Rachel Cade (with Dan iels) Robert Z. Leonard. Power Howard Douglas ( Tech ). A Fever in the Blood Vincent Sherman . 44 SUMMER 1972

OLIVER MARSH (1893-1941) the Golden West Leonard. The Toy Wife Richard San Francisco, Oliver Marsh . Th orpe , Sweethearts (with Da vey) Van Dyke 1918 The Floor Below Clarence Badger. (Tech) . 1939 Broad way Serenade Leonard. Ice Th e Flame of New Orleans, Rud olph Mate. Money Mad Hobart Henley. Dodging a Million Follies of 1939 ( with Ruttenberg ) Reinhold George Tucker. Joan of Plattsburg Tucker Schunzel (Tech sequen ce). It's a Wonderful Giant, Willi am Mellor, . 1919 The Brand Reginald Barker. The Girl from World Van Dyke. The Women (with Rutten berg) Outside Barker . 1920 The Love Expert David George Cukor ( Tech sequen ce). Another Thin Home on the Range Arthur Jacobson . Wings in Kirkland. Good References Roy William Neill. Man Van Dyke . 1940 Broadway Melody of 1940 the Dark (with Wrigley) James Flood. Without The Perfect Woman Kirkland Two Weeks Sidney (With Ruttenberg) Norman Taurog. I Love You Regret Harold Young . 1936 Collegiate Ralph Franklin . The Virtuous Vamp Kirkland. The Again Van Dyke. Bittersweet (With Davey) Va n Murphy. Poppy Edward A. Sutherland. The Sky Temperamental Wife Kirkland. In Search of a Dyke ( Tech ) (AAN) . 1941 Blonde Inspiration Parade Otho Lovering. A Son Comes Home E. Sinner Kirkland, Perfect Woman Kirkland. Busby Berkeley. Rage in Heaven Van Dyke. The A. Dupont, Woman Trap Harold Young . Dangerous Woman Neill . 1921 Mamma 's Affair Wild Man of Borneo Robert Sincla ir, Lad y be . 1937 Bulldog Drummond Comes Back Louis Victor Fleming. Something Different Neill. Good Norman Z. McLeod King . Champagne Waltz Sutherland. Exclusive Lessons m Love Chet Withey. Wedding Bells Alexander Hall. Make Way for Tomorrow Leo Withey. Woman 's Place (with J. Hunt) Fleming. RUDOLPH MATE (1898-1964) McCarey. Thrill of a Lifetime George • 1922 The Mohican 's Daughter (with L. Lang) Archainbaud . 1938 Bulldog Drummond in S. E. V. Taylor. Peacock Alley Robert Z . 1924 Mikael ( with Freund) Carl Th . Dreyer. Africa King. Ride a Crooked Mile Alfred E. Leonard. Broadway Rose Leonard. Fascmation . 1928 La Passion de Jeanne d'Arc Dreyer, Green . Romance in the Dark H. C. Potter. Stolen Leonard. Red Hot Romance (with Palmer) . 1931 Le Monsieur de Minu it Harry Lachmann. Heaven Andrew Stone . 1939 Ambush Kurt Fleming . 1923 Fashion Row Leonard. The Vampyr Dreyer . 1933 Les Aventures du Roi Neumann , Disputed Passage Frank Borzage. French Doll Leonard. Jazzmania Leonard, The Pansole Alexis Granousky. La Mille-et-Deu xi eme Hotel Imperial Robert Florey. Magn ificent Fraud Unknown Purple Rowland West . 1924 Love 's NUlt Alexander Wolkoff. Une Femme au Volant Florey. $1000 a Touchdown James Hogan . Wilderness Leonard. Married Flirts Robert Kurt Gerron and Pierre Billon . Dans les Rues Undercover Doctor King . 1940 Comin' Round Vignola . Circe the Enchantress Leonard. Daring Victor Trivas . 1934 Le Dernier Milliardaire Rene the Mountain Archainbaud. The Great McGint y Love (with J. Diamond) Roland Edwards . Clair. Liliom Fritz Lang . 1935 Dante 's Inferno Preston Sturges. Moon Over Burma King , The Mademoiselle Midnight Leonard . 1925 The Lachman , Dressed to Thrill Lachman . Road to Singapore Victor Schertzinger, Typhoon Masked Bride Josef von Sternberg and Christie Metropolitan Richard Boleslawski. Beauty' s King ( Tech ) . 1941 Birth of the Blues Cabanne. The Midsh ipman Cabanne, Soul Daughter (with Seitz) Allan Dwan . Professional Schertzinger. Las Vegas Nights Ralph Murphy. Mates Jack Conway. Time, the Comedian Soldier Tay Garnett .1 936 Charlie Chan 's Reaching For the Sun William Wellman . Leonard. The Merry Widow (with Daniels, Secret Gordon Wiles , Message to Garcia George . 1942 Beyond the Blue HOrizon (with Boyle) Reynolds) Ench von Strohelm (Tech sequence). Marshall. Our Relations Lachman . Dodsworth Alfred Santell ( Tech ). The Fleet's In • 1926 The Duchess of Buffalo Sidney Franklin, William Wyler. Come and Get It (with Toland) KiKI Clarence Brown . Love 's Blindness (with J . Wyler and Howard Hawks . 1937 Outcast Robert FILM COMMENT 45 Arnold) John F. Dillon . 1927 Camille Fred Florey. Stella Dallas King Vidor. The Adventures Niblo . Annie Laur ie John S. Robertson . The of Marco Polo Arch ie Mayo . 1938 Blockade Dove West. The Enemy Niblo , The Road to William Dieterle, Youth Takes a Fling Mayo . Romance Robertson . 1928 The Divine Woman Tradewinds Garnett . 1939 Love Affair Leo Victor Seastrom . Dream of Love ( with Daniels) McCarey. The Real Glory Henry Hathaway. Nib/o. Masks of the Devil Seastrom , Sadie . 1940 My Favorite Wife McCarey. Foreign Thompson (with Barnes, Kurrle) Raoul Walsh Correspondent Alfred Hitchcock (AAN). Seven (AAN) , The Smart Set Conway. Th e Woman Sinners Garnett . 1941 Lady Hamilton Alexander Disputed Henry King , Sam Taylor . 1929 Eternal Korda (AAN), Flame of New Orleans Clair, Love Ernst Lubitsch , Marianne Leonard. Our . 1942 To Be or Not To Be Ernst Lubitsch. Pride Modern Maidens Conway. The Single Standard of the Yankees Sam Wood (AAN) . 1941 It Robertson . Untamed Conway . 1930 The Started With Eve Henry Koster . l 943 They Got Floradora Girl Harry Beaumont (Tech Me Covered Da vid Butler. Sahara Zoftan Korda sequence). The Lady of Scandal (with A. Miller) (AAN) . 1944 Address Unknown William Franklin , Dubarry, Woman of Passion Taylor. In Cameron Menzies. Cover Girl (with Da vey) Gay Madrid Leonard. Not So Dumb King Vidor. Charles Vidor (Tech ) (AAN) . 1945 Tonight and Strictly Unconventional (with Daniels) David Every Night Victor Saville ( Tech). Over Burton . 1931 Bachelor Father Leonard, It's a Twenty-One Charles Vidor . 1946 Gilda Charles Wise Child Leonard. Just a Gigolo Conway. Man Vidor . 1947 Down to Earth Alexander Hall (Tech ), It Had to be You Don Hartman . in Possession Sam Wood. Phantom of Paris Mate directed but did not photograph the Robertson , New Adventures of Get-Rich-Ouick following films : The Dark Past (1948) , D,OA Wallingford Wood , The Sin of Madelon Claudet (1950) , Branded (1950), No Sad Songs for Me Edward Selwyn . Possessed Clarence Brown . (1950), Union Station (1950), The Prince Who Emma Brown .1 932 Arsene Lupin Conway. But Was a Th ief (1951) , When World s Collide the Flesh Is Weak Conway. Letty Lynton Brown , ( 1951 ), Green Glove (1952), Paula (1952), Sall y Divorce In the Family Charles F. Riesner, Rain and Samt Anne (1952), Mississippi Gambler Lewis Milestone. Faithless Beaumont, Th e (1952), Second Chance (1953), Forbidden Son-Daughter Brown . 1933 Today We Live (1953), The Siege of Red River (1953), The Howard Hawks. Looking Forward Brown . Night Black Sh ield of Falworth (1954 ), The Violent Flight (with Oyer, Marshall) Brown . Dancing Men (1955), The Far Horizons (1955) , Miracle Lady Leonard . 1934 Mystery of Mr. X Selwyn . in the Rain (1956), Rawh ide Years (1956), Port Sad ie McKee Brown. The Merry Widow Ernst Afrique (1956), Three Violent People (1956), Lubitsch . 1935 One New York Night Conway. The Deep Si x (1958) , The Three Hundred David Copperfield George Cukor, Baby Face Spartans (1962), Seven Seas to Calais (1963). Harrington Raoul Walsh . No More Ladles He produced and directed these films : The Edward Griffith . A Tale of Two Cities Conway. Return of October (1948), Serenade de Liuer . 1936 The Great Ziegfield Leonard, San Grossen Liebe (1959), Revak , Lo SChiavo di Fran cisco W. S. Van Dyke, Women Are Trouble Cartagine (1960), The Lion of Sparta (1961 ). Errol Taggart . His Brother's Wife Van Dyke. Love on th e Run Van Dyke, After the Thin Man Van WILLIAM MELLOR (1904-1963) Dyke . 1937 Maytime Robert Z. Leonard. The Firefly Leonard, Rosalie Van Dyke . 1938 Girl of 1934 Elmer and Elsie Gilbert Pratt. Wagon Wheels Charles Barton . 1935 Car 99 Barton .

Schertzinger. The Great Man 's Lady Wellman . The Black Cat , John Mescal!. The Appaloosa, Russell Metty. My Favorite Blonde Sidney Lan field. The Road to Morocco David Butler. Commandos Strike at Singapore Higgins. The Shady Lady Ed. Griffith. Ghost LeSlie Goodwin . The Big Street Re/s. The Dawn John Farrow - 1943 Di xie Sutherland - 1930 Big Money Russell Mack. Night Work Falcon 's Brother Stanley Logan . Army Surgeon ( Tech ) - 1946 Abie 's Irish Rose Sutherland. Mack. Sin Takes a Holiday Paul Stein. Edward A. Sutherland - 1943 Hitler 's Children - 1947 Blaze at Noon John Farrow. The Senator - 1932 New Morals for Old Charles Brabin. Almost Edward Dmytryk. Forever and a Day (with De Was Indiscreet George S. Kaufman - 1948 Man Married William Cameron Menzies - 1933 Return Grasse, Garmes, Musuraca) seven directors. Eater of Kumaom Byron HaSkin . Texas, Brooklyn of Casey Jones J. P. McCarthy. Beh ind the Rising Sun Edward Dmytryk. The and Heaven William Castle - 1949 Love Happy - 1934 By Cand lelight James Whale . The Poor Sky 's the Limit Edward Griffith. Around the David Miller. Too Late for Tears Haskin . Rich Edward Sedgwick. Affairs of a Gentleman Wo rld Allan Dwan . Tender Comrade Dmytryk. - 1950 The Next Voice You Hear Wellman . Edwin Marin . One More River Whale. The Black - 1944 Seven Days Ashore Jolin Auer. Music in - 1951 Across the Wide Missouri Wellman Cat Edgar Ulmer - 1935 Night Life of the Gods Manhattan Auer. The Master Race Herbert ( Tech). It's a Big Country (with Alton , June) Lowell Sherman . Smart Girl Aubrey Scotto. The Biberman - 1945 It 's in the Bag Richard Wallace. seven directors . A Place in the Sun George Bride of Frankenstein Whale. Magnificent Betrayal from the East William Berke. The Story Stevens (AA). Soldiers Three Tay Garnett. Obsession John M. Stahl. I've Been Around of G.1. Joe William Wellman. Pardon My Past Westward the Women Wellman . The Unknown Philip Cahn - 1936 Showboat Whale . Follow Leslie Fenton - 1946 Whistle Stop LeOn/de Man Richard Thorpe - 1952 Carbine Williams Your Heart (with A. Jones) Scotto - 1937 The Mogeny. Breakfast in Hollywood Harold Thorpe. My Man and I Wellman . Skirts Ahoy! Road Back Whale . Make a Wish Kurt Neumann. Schuster. The Stranger Orson Welles . The Sidney Lanfield (Tech) - 1953 The Affairs of - 1938 Happy Landing Roy Del Ruth . Josette Perfect Marriage Lewis Allen - 1947 The Private Dobie Gillis Don Weis. The Big Leaguer Robert Allan Dwan. My Lucky Star Del Ruth . Affairs of Bel-Ami Albert Lewin (Tech sequence). Aldrich . Give a Girl a Break Stanley Donen . The - 1939 When Tomorrow Comes Stahl. Exi le Ivy Sam Wood. Ride the Pink Horse Robert Naked Spur Anthony Mann (Te ch) - 1954 Alaska Express Otis Garett - 1940 Kit Carson George B. Montgomery. A Woman 's Vengeance Zoltan Seas Jerry Hopper. Bad Day at Black Rock John Seitz. Her First Romance Edward Dmytryk. South Korda - 1948 Arch of Triumph Lewis Milestone. Sturges (CScape, East) - 1955 The Last Frontier of Pago-Pago Alfred E. Green - 1941 Night of All My Sons Irving Reis . Mr . Peabody and the Anthony Mann (CScope, Tech) - 1956 Back January 16th William Clemens. Henry Aldrich for Mermaid Irving Pichel. Kiss the Blood Off My from Eternity Farrow. Giant Stevens (Warner). President Hugh Bennett. New Wine Douglas Hands Norman Foster. You Gotta Stay Happy H. Johnny Concho Don McGuire - 1957 Love in MacLean - 1942 Take a Letter, Darling Mitchell C. Potter - 1949 We Were Strangers John the Afternoon Billy Wilder. Peyton Place Mark Leisen (AAN). Night in New Orleans Clemens. Huston . The Lady Gambles Michael Robson (CScope, DeLuxe) (AAN) - 1958 Sing, Sweater Girl Clemens. Andy Hardy's Double Life Gordon . Bagdad Charles Lamont (Tech). Boy, Sing Henry Ephron (CScope) - 1959 The (with Fo/sey) Seitz - 1943 Three Russian Girls - 1950 Buccaneer's Girl Frederick de Cordova Diary of Anne Frank Stevens (CScope) (AA). Feydor Ozep - 1944 Sensations of 1945 (with ( Tech ). Sierra Alfred E. Green (Tech). Curtain Compulsion Ric hard Fleischer (CScope). A Marley) Andrew Stone. Youth Runs Wild Mark Call at Cactus Creek Lamont (Tech). Peggy de Woman Obsessed Henry Hathaway (CScope. Robson. Dark Waters Andre de Toth . Cordova (Tech). The Desert Hawk de Cordova DeLuxe). The Best of Everything Jean - 1945 Bedside Manner (2nd camera) Stone. ( Tech ). Wyoming Mail Reginald LeBorg (Tech). Negulesco (CScope, DeLuxe) - 1960 Crack in - 1950 Davy Crockett , Indian Scout Lew Landers - 1951 Katie Did It de Cordova. Up Front the Mirror Fleischer (CScope). One Foot in Hell (with G. Diskant) (Cinecolor) - 1957 The Quiet Alexander Knox . Little Egypt de Cordova (Tech). James Clark (CScope, DeLuxe) - 1961 Wild in Gun William Claxton (Rega/scope). The The Golden Horde George Sherman (Tech). Tile the Country Philip Dunne (CScope , DeLuxe). Desperadoes Are in Town Kurt Neumann Raging Tide Sherman . Flame of Araby Lamont The Big Gamble Fleisch er (CScope, DeLuxe). (Rega/scope). Not of This Earth Roger Corman . ( Tech) - 1952 The Treasure of Lost Canyon Ted - 1962 State Fair Jose Ferrer (CScope, DeLuxe). Tetzlaff (Tech ). Scarlet Angel Sidney Salkow Mr. Hobbs Takes a Vacation Henry Koster RUSSELL METTY · ( 1906- ( Tech ). The World in His Arms Raoul Walsh (CScape, DeLuxe) - 1965 The Greatest Story ( Tech). Yankee Buccaneer de Cordova (Tech). Ever Told (with Griggs) Stevens (Ultra-Pan 70 , 1934 West of the Pecos Phil Rosen . Because of You Joseph Pevney - 1953 Against Cinerama, Tech) (AAN). - 1936 Sylvi a Scarlet[?] (2nd camera) George All Flags George Sherman (Tech). Man from the Cukor. Night Wait ress Lew Landers - 1937 They Alamo Budd Boetticher (Tech). Seminole JOHN MESCALL (1 899- Wanted to Marry Landers . Behind the Headlines Boetticher ( Tech). It Happens Every Thursday Richard Rosen . Yo u Can 't Beat Love Christie Joseph Pevney. Take Me to Town Douglas Sirk 1920 It 's a Great Life E. Mason Hopper. Hold Cabanne. Annapolis Salute Cabanne. Forty ( Tech). Tumbleweed Nathan Juran (Tech) . Vei ls Your Horses Hopper - 1921 Dangerous Cu rve Naughty Girls Roy Webb - 1938 Bringing Up of Bagdad Sherman ( Tech) - 1954 Taza , Son of Ahead Hopper. Ali's Fair in Love Hopper. From Baby Howard Hawks . Annabella Takes a Tour Cochise Sirk (3 -0, Tech ). Four Guns to the the Ground Up Hopper - 1922 The Glorious Fool Landers. The Affairs of Annabella Benjamin Border Richard Carlson ( Tech ). Magnificent Hopper. Brothers Under the Skin Hopper. The Stoloff. Next Time I Marry Garson Kanin. Obsession Sirk (Tech). Naked Alibi Jerry Wall Flower Rupert Hugh es. Watch Your Step - 1939 The Great Man Votes Kanin . The Hopper. Sign of the Pagan Sirk (CScope). William Beaudine - 1923 Gimme Hughes. Reno Spellbinder Jack Hively. Three Sons Hively. - 1955 Cult of the Cobra Fran cis D. Lyon . The Hughes. Six Days Charles Brabin . Souls for Sale That's Right-Yo u 're Wrong David Butler. Hughes - 1924 His Hour King Vidor. The Tenth - 1940 Curtain Call Frank Woodruff. Irene Man from Bitter Ridge Jack Arnold (East). Man Woman James Flood. Three Weeks Alan Herbert Wilcox ( Tech sequence). Dance, Girl , Without a Star King Vidor ( Tech). Crashout Crosland. True as Steel Hughes. Wine of Youth Dance Dorothy Arzner. No , No , Nanette Wilcox. Lewis Foster. All That Heaven Allows Sirk Vidor - 1925 Below the Line Herbert Raymaker. - 1941 A Girl , a Guy and a Gob Richard Wallace. ( Tech) - 1956 There 's Always Tomorrow Sirko Bridge of Sighs Phil Rosen . Satan in Sables Sunny Wilco x. Four Jacks and a Jill Jack Hively. Miracle in the Rain Rudolph Mate. Congo Flood. The Wife Who Wasn't Wanted Flood. The Week-End for Three Irving Reis - 1942 Joan of Crossing Joseph Pevney ( Tech). Battle Hymn Woman Hater Flood - 1926 So This Is Paris Paris Robert Stevenson . Mexican Spitfire Sees a Sirk (CScope, Tech ). Written on the Wind Sirk Ern st Lubitsch. Oh, What a Nurse Charles F. Reisner. Silken Shackles Walter Morosco. The Social Highwayman Beaudine. The Lo ve Toy Erie C. Kenton - 1927 The Student Prince Lubitsch . The Wreck of the Hesperus Elm er Clifton . Ya nkee Clipper Rupert Julian - 1928 The Leopard Lad y Julian . Man-Made Women Paul Stein . Walking Back Julian . Captain Swagger Edward Griffith. Love Over Night Ed. Gritffith . - 1929 His First Command (with A. Miller) Gregory La Cava (Multicolor sequence). Red Hot Rhythm Leo McCarey ( Tech sequence). The Sophomore McCarey. High Voltage Howard Higgin . The Leatherneck Higgin . Sal of 46 SUMMER 1972

KEY : Tech (Technlcolor); Warner (Warnerco- lor); Pathe (Pathecolor); DeLu xe (DeLu xe Color); Metro (Metrocolor); East (Eastmancolor), Pan (Panavlslon ); CScope (CinemaScope); VV (Vi sta Vision ); AA (Academy Award ); AAN (Academy Award Nomination). Other terms are spelled out. A symbol such as East! Path indicates East- mancolor processed by Pathe. How Green Was My Va lley. Arthur Mi ller. Th e Song 01So ng s, Vi ctor Mi lner. Dwan . Little MISS Broadway Cumm ings. Submarine Patrol John Ford . 1939 The Little (Tech) . 1957 Mister Cory Blake Edwards for the Defense Fitzmaurice. Avalanche Princess ( with Skall) Walter Lang ( Tech). (CScope, East). Mi:ln Afraid Harry Keller Fitzmaurice. Our Better Selves Fitzmaurice. A Susannah of the Mounties Seiter. Here I Am a (CScope). The Midnight Story Pevney (CScope) . Society EXile Fitzmaurice . 1920 His House in Stranger Roy Del Ruth . The Rains Came Man of a Thousand Faces Pevney (CScope). Order Hugh Ford. On With the Dance Clarence Brown . 1940 The Blue Bird (with . 1958 The Female Animal Harry Keller Fitzmaurice. The Right to Love Fitzmaurice. Idols Rennahan) Walter Lang ( Tech ) (AAN). Johnny (CScope). Touch of Evil Welles. The Thing That of Clay Fitzmaurice. Lady Rose 's Daughter Hugh Apollo Henry Hathaway. On their Own Otto Couldn' t Die Will Cowan. A Time to Love and Ford . 192 1 Paying the Piper Fitzmaurice. Brower. The Mark of Zorro Rouben Mamoulian . a Time to Ole Sirk (CScope, East). Monster on Experience Fitzmaurice. Forever Fitzmaurice. Brigham Young Henry Hathaway. the Campus Jack Arnold . 1959 Step Down to • 1922 Kick In Fitzmaurice. The Man from Home . 1941 Tobacco Road John Ford. Man Hunt Fritz Terror Keller. Imitation of Life Sirk (East). This FitzmaUrice. Three Live Ghosts Fitzmaurice. To Lang . The Men in Her Life (with Stradling) Earth Is Mine (with Hoch) Henry King (CScope, Have and to Hold Fitzmaurice . 1923 Bella Gregory Ratoff. How Green Was My Valley John Tech) . 1960 Platinum High School Charles Donna Fitzmaurice. The Cheat Fitzmaurice. The Ford (AA) . 1942 This Above All Anatole Litvak Haas. Portrait In Black Michael Gordon (East). Eternal City Fitzmaurice . 1924 Cytherea (AAN). Iceland H. Bruce Humberstone. Spartacus (with Stine) Stanley Kubrick (Super Fitzmaurice (Tech sequence). In Hollywood with . 1943 The Moon Is Down Irving Pichel. The Technlrama 10, Tech) (AA). Midnight Lace Potash and Perlmutter (with H. Hallenberger) Immortal Sergeant (with De Vinna) John M. David Miller (East) . 1961 The Misfits John Alfred E. Green . Tarnish (with W Tuers) Stahl. The Ox-Bow Incident William Wellman . Huston . By Love Possessed John Sturges Fitzmaurice . 1925 A Thief in Paradise The Song of Bernadette Henry King (AA). (DeLuxe). Flower Drum Song Henry Koster Fitzmaurice. The Coming of Amos Paul Sloane. . 1944 The Purple Heart Lewis Milestone. The (Tech. East, Pan) (AAN) . 1962 That Touch of His Supreme Moment Fitzmaurice . 1926 Made Keys of the Kingdom Stahl (AAN) . 1945 A Ro yal Mink Delbert Mann (Pan. East). The Interns fo r Love Sloane. The Clinging Vine Sloane. Eve 's Scandal Otto Preminger and Ernst Lubltsch . David Swift. If a Man Answers Henry Levin Leaves Sloane. For Alimony Only William C. . 1946 Dragonwyck Joseph L. Mankiewicz. (East) . 1963 Tammy and the Doctor Keller deMilie. The Volga Boatman (with Marley. Anna and the King of Siam John Cromwell (AA). (East). The Thrill of It All Norman Jewison (East) . Westerberg) Cecil B. De Mille . 1927 The Angel The Razor 's Edge Edmund Goulding. . 1964 Captain Newman , MD. Miller (East) . I'd of Broadway Lois Weber. The Fighting Eagle . 1947 Gentlemen 's Agreement Elia Kazan . Rather Be Rich Jack Smlght (East) . 1965 Bus Donald Cnsp. Nobody's Widow Crisp. Vanity . 1948 The Walls of Jericho Stahl . 1949 A Riley 's Back in Town Harvey Hart (East). The Art CriSp . 1928 Annapolis (with Christie Cabanne). Letter to Three Wives Mankiewicz. of Love Jewlson (Tech). The War Lord Franklin Blue Danube Sloane. The Cop Crisp. Hold 'em . 1950 Whirlpool Preminger. The Gunfighter Schaffner (Pan. Tech) . 1966 Mister Buddwing Yale Edward Griffith. The Spieler Tay Garnett. King . 1951 The Prowler Joseph Losey. Delbert Mann. Madame X David Rich (Tech) . . 1929 Bellamy Trial Monta Bell. Big News The Apaloosa Sidney J. Furie (Techniscope. Gregory La Cava . The Flying Fool Garnett. His VICTOR MILNER * (1893- Tech). Texas Across the River Michael Gordon First Command (with Mescall) La Cava ( Techniscope, Tech) . 1967 Thoro ughly Modern (Multicolor sequence). Oh. Yeah! Garnett. 1914 Hiawatha Eberhard Schneider. Millie George Roy Hill (Tech). Rough Night in Sailor'S Holiday Fred Newmeyer. Strange Cargo . 1915 House of a Thousand Candles Gilson Jericho Arnold Laven (Techniscope , Tech). Benjamin Glazer, Arthur Gregor . 1930 The Lady Willets . 191 8 The Velvet Hand Douglas Gerrard. . 1968 The Secret War of Harry Frigg Smlght of Scandal (With Marsh) Sidney Franklin . Officer . 1919 A Fugitive from Matrimony Henry King . (Techniscope. Tech). Counterpoint Ralph O' Brien Garnett. See America Thirst (with C. A . 1920 Haunting Shadows King. Unchartered Nelson (Technlscope, Tech) . Madigan Don Jones) William Craft. The Truth About Youth Channels King . Out of the Dust John P. Siegel (Techniscope. TeCh). The Pink Jungle William Seiter. Behind the Make-Up Monta Bell. McCarthy. One Hour Before Dawn King . The Delbert Mann (Techniscope. Tech) . 1969 Eye of Father 's Son William Beaudine . 1931 Bad White Dove[?] Half a Chance Robert Thornby. the Cat (With Fredericks) David Rich (Tech). Company Garnett . 1932 Panama Flo Ralph Dice of Destiny King . Her Willing Husband Pau l Change of Habit William Graham . 1971 The Murphy. Big Shot Murphy. Young Bride William Scardon . Felix O'Day Thornby . 1921 Live Wires Omega Man Boris Sagal (Tech) . 1972 Ben Phil Seiter. Breach of Promise Paul Stein. Me and My Edward Sedgwick. Play Square William K. Karlson . Gal Raoul Walsh . Okay. America Garnett. Howard. What Love Will Do Howard. When We . 1933 Sailor's Luck Walsh . Hold Me Tight David Were 21 King . 1922 A Dangerous Game King ARTHUR MILLER (1895-1 970) Butler. The Man Who Dared Hamilton Baggott. Shadows of Conscience J. P. 191 5 At Bay George Fitzmaurice . 191 6 New MacFadden . The Last Trail James Tinling . The McCarthy. Her Night of Nights Hobart Henley. Mad Game Irving Cummings . My Weakness The Cave Girl Joseph Franz. Human Hearts York Fitzmaurice. Fifth Avenue Fitzmaurice. Big Butler . 1934 Bottoms Up Butler. Ever Since Eve Baggott. Kentucky Derby Baggott. Lavender Jim Garrity Fitzmaurice. Arms and the Woman George Marshall. Handy Andy Butler. Love Time Bath Lady Baggott . 1923 Cause for Divorce Fitzmaunce. Roman tic Journey Fitzmaunce. Tinling . The White Parade Cummings. Bright Hugh Dierker. What Love Will Do Robert . 1917 Hunting of the Hawk Fitzmaurice. Recoil Eyes Butler . 1935 The Little Colonel Butler Bradbury. Gossip Baggott. The Love Lettar Fitzmaurice. The Iron Heart Fitzmaurice. The (Tech sequence). It 's a Small World Cummings. Baggott. The Town Scandal Baggott . 1924 Her Mark of Cain Fitzmaurice. Sylvia of the Secret Black Sheep Allan Dwan . Welcome Home Night of Romance Sidney Franklin. The Red Lily Service Fitzmaurice. Vengeance Is Mine Frank Tinling . Paddy O'Day Lewis Seiler . 1936 White Fred Nib/o . Thy Name Is Woman Niblo. Crane. Stranded in Arcady Crane . 1918 The Fang Butler. 36 Hours to Kill Eugene Forde. . 1925 East of Suez Raoul Walsh. The Wanderer Hill crest Mystery Fitzmaurice. Convict 993 Pigskin Parade Butler. Stowaway William A Walsh . On the Stroke of Three F. H. Weight. William Parke. The Naulahka Fitzmaurice. A Seiter . 1937 Wee Willie Winkie John Ford. Heidi Learning to Love Franklin . The Spaniard Walsh . Japanese Nigh tingale Fitzmaurice. The Narrow Allan Dwan . 1938 The Baroness and the Butler . 1926 The Lucky Lady Walsh . You Never Know Path Fitzmaurice . 19 19 Counterfeit Fitzmaurice. Walter Lang. Rebecca of Sunnybrook Farm Women William Wellman . Lady of the Harem Common Clay Fitzmaunce. The Cry of the Weak Walsh . Kid Boots Frank Tuttle. The Cat's Fitzmaurice. The Profiteers Fitzmaunce. Witness Pajamas Wellman . 1927 Children of Divorce Frank Lloyd and Josef von Sternberg . The Way of All Flesh Victor Fleming. Blonde or Brunette Richard Rossen . Rolled Stockings Rossen . FILM COMMENT 47

A Midsummer Night ·s Dream , Hal Mohr. The River, Ernest Palmer. Blystone. I Loved You Wednesday Henry King . State Fair King . Warrior's Husband Walter Lang. . 1928 The Street of Sin (with Glennon , Man (with Snyder) H. Bruce Humberstone Devil 's In Love William Dieterle. The Worst Fischbeck) Mauritz Stiller. Three Sinners (Tech ) . 1946 The Strange Love of Martha Ivers Woman in Paris? Monta Bell .1 934 Carolina Rowland V. Lee. The Spotlight Tuttle. The Milestone . 1947 The Other Love Andre de Toth . King . As Husbands Go Ham ilton McFadden. Showdown Victor Schertzinger. Half a Bride . 1948 You We re Meant for Me Lloyd Bacon David Harum James Cruze. Charlie Chan's Gregory La Cava . Loves of an Actress Lee. (Tech). Unfaithfully Yours Sturges . 1950 The Cou rage George Hadden . Servant 's Entrance Woman from Moscow Ludwig Berger. Sins Furies Anthony Mann (AAN). Dark City William Frank Lloyd .1 935 County Chairman Blystone. of the Fathers Berger . 1929 Wolf of Wall Street Dieterle. September Affair (with Lang) Dieterle. A Midsummer Night's Dream Max Reinhardt and Lee. Wild Party Dorothy Arzner. The Studio . 1951 My Favorite Spy Norman Z. McLeod. William Dieterle (AA). Under Pressure Raoul Murder Mystery Tuttle. Charming Sinners Robert Carrie William Wyler . 1953 Jeopardy John Walsh . Captain Blood Curtiz . 1936 Green Milton. River of Romance Richard Wallace. The Sturges. Pastures William Keighley and Marc Connelly. Love Parade Ernst Lubitsch (AAN). Marriage Bullets or Ballots Keighley. The Walking Dead Playground Lothar Mendes .1 930 Paramount HAL MOHR * (1894- ) Curtl'z. Ladies in Love Edward Griffith .1 938 I on Parade (with Fischbeck) eleven directors 1913 Last Night of the Barbary Coast Hal Met My Love Again Arthur Ripley .1 939 Rio (Tech sequence). The Texan John Cromwell. John Brahm. Back Door to Heaven (with Kelly) True to the Navy Tuttle . Let's Go Navy Leo Mohr . 1914 Salomy Jane (2nd camera) Paul William K. Howard. Destry Rides Again George McCarey. Monte Carlo Lubitsch . 1931 No Limit Armstrong. Money James Keane . 1921 The Marshall. The Under-Pup Richard Wallace . Tuttle . Man of the World Wallace. Ladies Man Deceiver American Lifeograph . The Golden Trail . 1940 When the Daltons Rode Marshall. Mendes. Kick In Wallace . I Ta ke Th is Woma n American Lifeograph. Super Strategy Meno .1 941 Cheers for Miss Bishop Tay Garnett. Pot Marion Gering . Daughter of the Dragon Lloyd Films. Pan 's Mountain Itala-American . 0' Gold Marshall. International Lady Tim Whelan. Corrigan .1 932 This Is the Night Tuttle. Trouble . 1922 Watch Him Step Jack Nelson . The .1 942 Twin Beds Whelan .1 943 The Phantom in Paradise Lubitsch . Undercover Man James Unfoldment (with E. Gheller) George Kern , of the Opera (with Greene) Arthur Lubin (Tech) Flood. Broken Lullaby Lubitsch . Love Me Murdock MacOuarrie. Saved by Radio William (AA). Watch on the Rhine (with Gerstad) Herman Tonight Rouben Mamoulian . One Hour With Craft . 1923 Bag and Baggage Finis Fox. Shumlin . Top Man Charles Lamont. You Lubitsch and George Cukor . 1933 Lu xury . 1924 A Woman Who Sinned (with Jean Smith) . 1944 Ladies Courageous John Rawlins. This Is Liner Mendes. Song of Songs Mamoulian. Fox. Vanity 's Price Roy William Nelil . 1925 Little the Life Felix Feist. San Diego, I Love You One Sunday Afternoon Stephen Roberts. Annie Roonie (with Rosher) William Beaudine. Reginald LeBorg. The Climax (with Greene) Design for Living Lubitsch . 1934 All of Me He Who Laughs Last Nelson. The Monster George Waggner (Tech). My Gal Loves Music Flood. Wharf Angel William C. Menzies and Roland West . Playing With Souls Ralph Ince. Edward Lilley. Enter Arsene Lupin Ford Beebe. George Somnes. Cleopatra Cecil B. De Mille . 1926 The High Hand Leo Maloney. The .1 945 Her Lucky Night Lilley. Salome, Where (AA) .1 935 The Gilded Lily Wesley Ruggles. The Marriage Clause Lois Weber. Sparrows (with She Danced (with Greene) Lamont (Tech). Crusades De Mille (AAN). So Red the Rose King Struss, Rosher) Beaudine . 1927 The Jazz Shady Lady Waggner . 1946 A Night in Paradise Vidor . 1936 The General Died at Dawn Lewis Singer Alan Crosland. The Girl from Chicago (with Greene) Lubin (Tech). Because of Him Milestone (AAN) . Give Us This Night Alexander Ray Enright. The Th ird Degree Michael Curtiz. Wallace . 1947 The Song of Scheherazade (with Hall. Till We Meet Again Robert Florey. The A Million Bid Curtiz. Bitter Apples Harry Hoyt. Skall) Walter Reisch (Tech). The Lost Moment Plainsman Cecil B. De Mille . 1937 Bulldog Old San Francisco Alan Crosland. Th e Heart of Martin Gabel. Pirates of Monterey (with Greene, Drummond Escapes James Hogan. Hig h, Wide Maryland Lloyd Bacon. Slightly Used Archie Hallenberger) Alfred Werker (Tech). I'll Be Yours and Handsome Mamoulian . Artists and Models Mayo . 1928 The Wedding March (with William Seiter . 1948 Another Part of the Forest Walsh . 1938 The Buccaneer De Mille (AAN) . Klaffki) Erich von Stroheim (Tech sequence). Michael Gordon. Live Today for Tomorrow College Swing Walsh . Hunted Men Louis King. Love Me and the World is Mine (special Gordon .1 949 Johnny Holiday Willis Goldbeck. Say It In French Andrew Stone. Touchdown , photographic consultant) E. A. Dupont. The .1 950 Woman on the Run Norman Foster. Army Kurt Neumann. Give Me a Sailor Elliott Last Warning Paul Leni. Tenderlo in Curtiz. .1 951 The Big Night Joseph Losey. The Second Nugent . 1939 Union Pacific De Mille. What a Glorious Betsy Crosland . 1929 Noah 's Ark (with Woman James Kern .1 952 Rancho Notorious Life Jay Theodore Reed. Our Leading Citizen McGill, Reis) Curtiz. Broadway Paul Fejos (Tech Fritz Lang (Tech). The Fourposter Irving Reis Alfred Santell. The Great Victor Herbert Stone. sequence). The Last Performance Fejos. (AAN). The Member of the Wedding Fred .1 940 Northwest Mounted Poli ce (with Greene) Shanghai Lady John S. Robertson .1 930 The Zinnemann . 1954 The Wild One Laszlo De Mille (Tech ) (AAN) . Seventeen Louis King. King of Jazz (with Rennahan, J. Ash) John Benedek . 1956 The Boss Byron Haskin. Those Were the Days Reed. Christmas in July Murray Anderson (Tech). Captain of the Guard .1 957 Bab y Face Nelson Don Siegel .1 958 The Preston Sturges . 1941 The Lady Eve Preston (with Warrenton) Fejos and Robertson. The Czar Lineup Siegel. The Gun Runners Siegel. Sturges. The Monster and the Girl Stuart Heisler. of Broadway William James Craft. Big Boy . 1960 Th e Last Voyage Andrew Stone (Metro). My Li fe With Caroline Lewis Milestone. The Man Crosland. The Cat Creeps (with Ash) Rupert . 1961 Underworld , U.S.A. Samuel Fuller. Who Lost Himself Edward Ludwig . 1942 Reap Julian. The Cohens and Kellys in Africa Vin .1 963 Man from the Diner 's Club Frank Tashlin. the Wild Wind (with Skall) De Mille (Tech) (AAN) . Moore. Outward Bound Robert Milton . Free Love Creation of th e Humanoids Wesley Barry. The Palm Beach Story Sturges . 1943 Hostages Hobart Henley . 1931 Woman of Experience . 1968 Bamboo Saucer Frank Telford (DeLuxe). Tuttle . 1944 The Story of Dr. Wassell (with Harry Joe Brown . The Front Page (with .1 969 Topaz (special photographic consultant) Snyder) De Mille (Tech) . The Princess and the MacWilliams) Lewis Milestone. Big Gamble Fred Alfred Hitchcock. Mohr directed, but did not Pirate (with Snyder) David Butler (Tech). The Nib/o . Devotion Milton .1 932 Lady With a Past photograph When Love is Young (1937). Great Moment Sturges. The Mummy's Curse Edward Griffith. A Woman Commands Paul (Uncredited) Leslie Goodwins . 1945 Wonder Stein . Week Ends Only Crosland. First Yea r ERNEST PALMER\" (1885- William K. Howard. Tess of the Storm Country Alfred Santell .1 933 Change of Heart John 1912 Ivan hoe Herbert Brenon . 1913 Th e Prisoner of Zenda George Tucker. Th e Man x Man Tucker .1 9 17 Mother Tucker. .1 91 8 Hypocrites Tucker .1 919 The Miracle Man Tu cker . 1920 Even as Eve B. A. Rolfe, Chester Devonde *\" . 1921 Ladies Must Live Tucker. Prisoners of Love Arthur Rosson . The Child Thou Gavest Me John M. Stahl. .1 922 One Clear Call Stahl. The Song of Life Stahl. Always the Woman Rosson. Red Hot Romance (with Marsh) Victor Fleming. \"\" .1 923 The Wanters Stahl .1 925 The Champion of Lost Causes C. Bennett. The Dancers (with Ivana) Emmett Flynn . Wings of Youth Flynn . Th e Kiss Barrier Roy William Neill. 48 SUMMER 1972