JackFavell

Oh, what a game! How awful, and how close they came. It was heartbreaking to see those guys at the end.

OH MY GOSH! That is about the funniest thing I've ever seen!

That's so exciting that you have "connections" like that! I do understand the situation, my sister does not make copies either, because she knows folks in the silent video industry. It can be very frustrating though, to be so close and yet so far away from seeing or owning some of these great films. You are also lucky to be able to get to the big screen showings, I am on the east coast too, but I am not able to get to the city at all lately. I am glad to live vicariously through posters like you describing the events, and writing reviews of the movies. Thanks for all the info!

It is a great movie - you have good taste.

The movie is called The Best Years of Our Lives.

Yes, I am discovering through these pictures how hard it is to tell what is attributable to the director, the DP, the art director, or the lighting people...... I think the thing that most impressed me about Hoch was that he shared his Academy Award with second unit photographer Archie Stout of "The Quiet Man". I think that *cinematographer* must be the most difficult job in movies since a camaraman must be completely familiar with all lighting equipment and techniques (and be able to make up his own techniques when required), plus know the camera as well as light meters and reflective materials. He must be creative AND technical at the same time.

Awww... he's so cute as a cartoon character! Almost as cute as in real life....

Winton Hoch (pronounced Hoke or Huke) was one of only two cinematographers to win back to back Oscars - for Joan of Arc (1948) and She Wore a Yellow Ribbon (1949). I may be wrong, but his specialty seemed to be Technicolor photography. In looking at some of his movies, I am amazed at how he is able to differentiate between the foreground and background. There is a painterly aspect to his camera work, as if the background was all done in oil or pastel. Some of his shots look like copies of actual paintings: At first, I thought that his films looked cold and flat, and some do have a very cold light: Then I started to see more warmth, depending on the scene: Then suddenly, there was an entire movie of warm, soft and saturated color: Now look at these photos from several of Hoch's films - he actually is able to separate warm and cold light, color and lack of color: The cabin is bathed in warmth, beyond, to the left, the cold light is encroaching. Wayne and O'Hara are vibrantly warm and colorful, while surrounded by black and white. The edge of the tent is lit hard (supposedly from the lamp), while the protectors of motherhood and children are in low, soft, protective light. Wayne is shown close and thoughtful, against a background of misty grey. Joan is almost black and white against a fiery background of color.

Beautiful caps, FF! That one from The Killers is really interesting. I will have to go and look up Woody Bredell - don't let me forget to come back to him. Izcutter - Welcome! I put together some pictures from William H. Daniels career, since he seems to me to be remarkable for having shot just about every genre of film over his 50 year (!) career. Take a look at these photos - you can see why he was Garbo's favorite: Foolish Wives Flesh and the Devil Romance The Barretts of Wimpole Street Rose Marie Romeo and Juliet The Shop Around the Corner Brute Force Winchester 73 How the West Was Won

Thanks. I have my eye on Painting with Light, but I am a cheapskate! I may check the library first.....

> Wow Jack.... great idea for a thread. With the limited knowledge that I have of such things (meaning next to none) I think it will be interesting to see and read what some of the more learned post-ers on here (and I would put you in that group) would have to say on the topic. Oh, mercy! I am as stupid as they come about camerawork! I just really wanted to look at some beautiful pictures, and name some names that we don't really get to hear much. I've wanted a book on this subject for a huge long time, and so I thought I would sort of propel the information my way. The book about filmmakers I've been reading just reminded me of the topic. I will post some of the quotes from cameramen at a later date if no one minds.... I can barely understand what some of them are talking about. If you like you can just talk about films you like, or post pictures or you tubes you find. I kind of thought a bunch of beautiful pictures would be awesome here, the way that there are threads about costumes...... > I can only add that for me, films (and why we like them or not) are a very "subjective" thing... But the visual aspect of a film... HOW it looks and the way in which the story is presented, while still a very subjective sort of medium... is a very concrete way of enhancing (and/or) detracting from the story as a whole. (does that make sense?) Any way... thanks for the interesting thread. That totally makes sense. I feel like the visual parts of a movie really work on my sub-conscious in a way that writing or acting never reaches. Maybe what I'm saying is a lot of hooey, I don't know how the mind works - but I know that when I look at Citizen Kane, without even hearing the dialogue, I feel sort of angular, alone and small. Like there are huge blocks or buildings in my way. Aloof? Alienated? Pushed away? I'm not sure I can put it into words. And I think it's directly due to the way that movie looks. It's as if Charles Foster Kane was pushing me away from the lens.... I think it is almost the same with music, you might not be aware of it at the time, but it reaches you on a different level, somehow. Anyhoo, thanks for posting! and feel free to lurk or post at your pleasure.

BUMP Kathy, I'm so glad your hubby made you watch it! The movie is just super, with outstanding performances by Connery and Caine....I don't know why it is one of my favorites, except that it tells a story of adventure, hubris and friendship as simply and elegantly as I've ever seen. The tendrils of the mysterious plot are caught up and explained in a most fascinating fashion. It just gets me, every time. It was among the first two or three movie I ever got on tape, when VHS came out. If I hear the tune of *The Minstrel Boy*, the first thing I think of is Daniel and Peachy...... The Son of God goes forth to war, A kingly crown to gain; His blood red banner streams afar: Who follows in His train? Who best can drink his cup of woe, Triumphant over pain, Who patient bears his cross below, He follows in His train. That martyr first, whose eagle eye Could pierce beyond the grave; Who saw his Master in the sky, And called on Him to save. Like Him, with pardon on His tongue, In midst of mortal pain, He prayed for them that did the wrong: Who follows in His train? A glorious band, the chosen few On whom the Spirit came; Twelve valiant saints, their hope they knew, And mocked the cross and flame. They met the tyrant?s brandished steel, The lion?s gory mane; They bowed their heads the death to feel: Who follows in their train? A noble army, men and boys, The matron and the maid, Around the Savior?s throne rejoice, In robes of light arrayed. They climbed the steep ascent of Heav?n, Through peril, toil and pain; O God, to us may grace be given, To follow in their train.

Marie Dressler for sure! Katy Jurado Pedro Armendariz Anthony Quinn Alfonso Bedoya Cantinflas Gilbert Roland

Edna May Oliver in David Copperfield Elsa Lanchester Dame May Whitty Dame Edith Evans Margaret Rutherford (was she a dame?) Jane Darwell Jean Dixon Cuddles Warren Hymer Edward Gargan James Gleason Jack Carson J. Farrell MacDonald Oscar Homolka Felix Bressart Henry Travers Edward Brophy Raymond Walburn George Sanders Walter Catlett Hugh Griffith Harpo Marx

That's really cool, but a little too 21 century for me.... I would completely zone out on everything, if I were walking around like that. Although the idea of living in a constant bubble with all my old movie pals is an alluring thought.....

> {quote:title=FrankGrimes wrote:}{quote} > So you just proved that Amy is actually yucky, after all! > > She's not yucky! She just needs to have her eyes opened. Yes. She does have remarkably slitty eyes..... disturbing. The sign of a maniac......

>DP and cinematographer are pretty much interchangeable terms, as far as I know. Thanks, FF. I have been wondering about DP as opposed to cinematographer, and could not find a good description of either title.... *Visions of Light* Is a documentary that I have wanted to see since it came out. I wasn't able to at the time, and I have been kicking myself ever since. I thought there was a book that came out too. Maybe TCM has shown the documentary? Yes, here it is. I just found a link to the book on an interesting website for the American Society of Cinematographers. It is a double set with another book called "Masters of Light". I have no idea if this is a good price or not. Perhaps a little more research would be in order. Here is the link anyway: http://www.ascmag.com/store/product.php?productid=9150&cat=318&page=1 I feel ashamed that I didn't mention *Gregg Toland* first. He is the first cinematographer I can remember ever hearing about or noticing. He was a genius as far as I am concerned, in an industry full of geniuses with the camera. His career spanned the 30's and the 40's, and most of his films are incredibly striking and different - *The Winning of Barbara Worth, Mad Love, Wuthering Heights, The Grapes of Wrath, The Westerner, The Long Voyage Home, The Little Foxes, Citizen Kane, The Best Years of Our Lives, and Enchantment*, his last film. Can you even imagine working on all these great films even in a small capacity? And he is the one who gave them the look that stays with you. Now imagine you made all of these films before you were 44 years old. Many years ago I went to the bookstore to find a book about Toland, and could find......nothing. Nothing about cinematography, nothing about cameramen. It is a crying shame. Toland with first wife Helene Barclay From: *We Live Again* *Wuthering Heights*

Hey, Jeff! I just found this blog - it's a sort of an "identify the photo" type thing. I thought you might like the pics of Evelyn Brent.... latimesblogs.latimes.com/.../mystery_photo/

> {quote:title=CineMaven wrote:}{quote} > Helllooooooooooooooo Jackie, > > That was awesome writing. And I think you are right. Mildred was guilty because she was never around, so she bought Veda. > > To be fair to poor poor Mildred, it wasnt that she was never around. Remember, she was a housewife (baking pies and cakes for local people) until Bert left her. Mildred might have tried to assuage her own perceived inadequacies by trying to buy Veda. But she was home at least till Veda was sixteen. I stand corrected. My only excuse is it has been eons since I've seen the movie..... > To Veda the best that could happen to her was a never ending supply of money, and Mildred gone. Veda was just complying with Mildred's own wishes in a twisted way by cutting her out of her life...harsh, but true. > > Very very nicely put and quite true. Mildred being alive would be a constant sorry reminder to Veda that she wasnt really to the manor born. Even Monty would not be enough. Nothing would ever be enough for Veda Pierce. > > Thanxxx so much for your thoughts. You are doing some pretty great writing there, yourself!

A thing of beauty is a joy for ever: Its loveliness increases; it will never Pass into nothingness; but still will keep A bower quiet for us, and a sleep Full of sweet dreams, and health, and quiet breathing. - J.Keats - Endymion 'Beauty is truth, truth beauty,?that is all Ye know on earth, and all ye need to know.' - John Keats - Ode on a Grecian Urn >*What do you remember most about a movie?* In *King's Row*, it was not Ronald Reagan's performance, nor was it Charles Coburn as the creepy doctor, nor even Ann Sheridan's good natured strength. For me, it was the way the film looked. The leaves on the trees, the way the hazy sun reflected on the water, and especially the light and shadow, mingling and spreading over everything. *James Wong Howe's* cinematography made the movie so much more memorable for me, creating an emotional feeling in the film that was strikingly beautiful. This mood is what I remember. We know that Murnau directed *Sunrise*, and that he created maybe the most beautiful movie ever made. But who was his Cinematographer? What is the difference between a Cinematographer and a DP (Director of Photography)? How much did they have to do with the way the movie looked? How did they do it? I am interested in these questions so I am starting a thread in order to find out the answers. I thought it would be a nice place to give tribute to those people who continue to make our lives a more beautiful place. You can post photos or clips, talk about particular movies, discuss camera work and techniques, lighting - anything to do with the art of cinematography. *Sunrise* Photographers: Charles Rosher and Karl Struss

LOL! !!!!!

OMG, I cannot believe that! They look like Geordie's glasses on Star Trek.....

LOL!

Lauren Bacall could have worked - but boy am I glad they gave it to Ms. Grahame......

No, they were pretty mild and then turned to rain this afternoon. But my back aches from shoveling heavy snow.... That's the problem for me - TCM just keeps showing good movies every day - I either watch and wish I had taped, or I tape and wish I had watched....