1948

Frank Capra - William Daniels - asst dir

"A Hole in the Head" [1958]

               

WILLIAM H. DANIELS

Born: 1 December 1901 [or 1900], Cleveland, Ohio, USA.

Died: 14 June 1970, Los Angeles, Calif., USA.

Education: University of Southern California.

Career: 'I managed to land a job at the age of 15 with the Triangle Film Corporation/Kay-Bee; they needed an assistant cameraman, and of course I knew nothing about it, but they gave me a job anyway. I got twelve dollars a week. I carried a camera and held a slate. We loaded the film magazines and the still camera and carried all of the equipment to the set. My first job as an assistant was on Gloria Swanson's first dramatic film. When the company failed, I went over to Universal, and worked on some of their serials. After a year they let me become full photographer, on a one-reel Bert Roach comedy, then I did more comedies and more serials, while working alternately with von Stroheim on his big pictures.' [From 'Hollywood Cameramen' by Charles Higham, 1970.]

Worked for prod Samuel Goldwyn [1922-23], MGM [1924-43] - where he ph 20 films with Greta Garbo [*] - and Universal. Illness and a contract dispute kept him inactive during the mid-1940s.

Was a member and president [1961-63] of the ASC. His brother Jack was a theatre and tv director.

Awards: 'Oscar' AA nom [1929/30] for 'Anna Christie'; 'Oscar' AA [1948; b&w] for 'The Naked City'; 'Oscar' AA nom [1958; color] for 'Cat on a Hot Tin Roof'; 'Oscar' AA nom [1963; color; shared] for 'How the West Was Won'.



'From Death Valley with von Stroheim to Doll Valley with Jacqueline Susann - an obvious time-rhyme but in no way symbolic. William H. Daniels' checklist certainly has its share of dull patches, but the number of interesting and worthwhile subjects is well above the professional average. His career is bestrode by two directors - von Stroheim and Anthony Mann; and two players - Garbo and Sinatra. That the von Stroheim films are pictorially the most satisfying is unarguably thanks primarily to their director who, apart from the question of talent, held out tenaciously for marathon shooting schedules, thus allowing Daniels and Co. time to programme all the movement and clutter. His contribution to the Mann pictures seems more identifiable, as indicated by a comparison between 'Winchester '73' and another Mann Western made the same year, 'Devil's Doorway' [ph by John Alton, used frequently by Mann in the 40's]. Alton/Mann go in for shadows, extravagant angles, night-time imagery. With Daniels/Mann, it always seems to be high noon, the sun shining and everything plain, simple and very rugged; the actual night scenes in 'Winchester '73' hold no particularly sinister overtones. As to Garbo, Daniels himself has said he made no attempt at consistency in photographing her, filming each role according to its particular necessities. Reading between the lines, it's a good guess that she liked to work with Daniels less because of his technical excellence than because of his personal qualities of sympathy and tact. Whether these were also the qualities that recommended him to Frank Sinatra is an open question, but he certainly provided the sort of bright, glittery visuals appropriate for the star to move around in.' [Bob Baker in 'Film Dope' #9, April 1976.]

[Right] with dir Clarence Brown and Greta Garbo

"Anna Karenina" [1935]

William H. Daniels gained considerable stature as a creative artist, even though he began his career by working well within the tradition of the Hollywood silents. In 1918, Daniels began working as cinematographer at Universal Studio, making serials and one-reel comedies. During the early 1920s he worked with Erich von Stroheim, whose obsession with detail is a Hollywood legend and who may very well have instilled in Daniels [although on a healthier scale] the eye for detail that was to become his own hallmark. The demands that von Stroheim made upon Daniels's lighting and photographic skills were tremendous, given the time: outdoor shots in Death Valley, shots taken deep in a gold mine [according to Daniels, in 132-degree heat] or a junk-man's cabin. Many of the shots over which Daniels took such great pains were cut out of the final version of 'Greed', but the discipline of shooting them left its mark on Daniels, who was about to face his greatest challenge - filming Greta Garbo.

Daniels achieved a major triumph in photographing Garbo in 'Flesh and the Devil'. This cinematographer elegantly tailored his style, which called for the heavy use of gauzes and filters, to capture the sophisticated beauty of Garbo. He often lit Garbo with sidelights in half-tone, creating a chiaroscuro effect in which one half of the actress's face is lit, the other in shadows. However, unlike the way Lee Garmes consistently lit Dietrich, Daniels varied his lighting - often showing great imagination by improvising effects that can only be called romantic, in the broadest sense. These effects often lend the subtlest detail, and Daniels felt that the invention of details was his contribution to the director's vision.

It is no surprise that of the sound films made by Garbo, the most significant were photographed by William Daniels. 'Queen Christina' is a masterpiece. This film includes one rare moment of pure cinema: the famous scene showing Garbo moving around the room in the inn where she first knew love. Daniels freely admitted that the realistic elements were added under the influence of von Stroheim - the sources of light placed so as to seem as if the fire were the only source of light. The cinematographer, however, failed to acknowledge that the lighting and filming have an expressive side, which transcends the actual. In this scene, Daniels achieves the goal of conveying the drama through light as the director does through speech and action. 'Ninotchka', for all its shallowness, is a flawlessly photographed and lit apotheosis of cinematic Art Nouveau. It is these films' magical mixture of Daniels and Garbo, of the actual and the glamorous, that represent the best of what is quintessentially Hollywood. It would be wrong to perceive Daniels merely as the best glamour director of the most glamorous of studios - MGM. He never lost touch with the deeper dramatic, psychological significance of a shot.

It is difficult after these films with Garbo to see Daniels's career as anything other than a decline. However, he did achieve some successes. He won the Academy Award for 'The Naked City', an acknowledgment of the realistic side of his talent. Nevertheless, a romantic mixture of life and daydreams remained his forte. 'Pat and Mike' is a sun-filled world of tennis courts and golf courses. Katharine Hepburn was never photographed in any other film better than she is in this 1952 romantic comedy. In 'Valley of the Dolls', mediocre as it is otherwise, the face of Barbara Parkins, especially in the scenes set in New England, calls forth something vaguely reminiscent of the old Daniels-Garbo magic. Daniels combined romanticism with realism; and, like all great portraitists, his ultimate achievement was only as good as the face and personality he rendered. [From article by Rodney Farnsworth on the filmreference.com website.]

·····

"Flesh and the Devil"

"Susan Lenox"

"Grand Hotel"

"Queen Christina"

"The Painted Veil"

"Anna Karenina"

"Camille"

"Ninotchka"

William H. Daniels: 'I didn't create a 'Garbo face'. I just did portraits of her I would have done for any star. My lighting of her was determined by the requirements of a scene. I didn't, as some say I did, keep one side of the face light and the other dark. But I did always try to make the camera peer into the eyes, to see what was there. Garbo had natural long eyelashes and in certain moods I could throw the light down from quite high, and show the shadows of the eyelashes come down on the cheeks; it became a sort of trade mark with her. Her eyelashes were real; after I did that many stars got false ones and had their cameramen do the same lighting for them, but it wasn't quite the same thing.' [From 'Hollywood Cameramen' by Charles Higham, 1970.]



 FILMS [1 reel = c. 10m]

1920

Foolish Wives [Erich von Stroheim] b&w; 14 reels; cph: Ben Reynolds; filmed July 1920-June 1921; prod Universal Film Manufacturing Company

1923

Merry-Go-Round [Rupert Julian (replaced Erich von Stroheim, who started film)] b&w; 10 reels; cph: Ben Reynolds & Charles Kaufman; prod Universal Pictures

1924

Greed [Erich von Stroheim] b&w; 10 reels; cph: Ben Reynolds; filmed January-October; the initial 42-reel film was reduced to 24 by von Stroheim, then 18 by Rex Ingram, then 10 by June Mathis; re-issue in 1999 (239m); prod Metro-Goldwyn Pictures Corporation (MGPC)

1924

Helen's Babies [William A. Seiter] b&w; 6 reels; addph: Glen MacWilliams; prod Principal Pictures Corporation

1924

Women and Gold [James P. Hogan] b&w; 6 reels; prod Gotham Productions

1924

The Merry Widow [Erich von Stroheim] b&w; 10 reels; co-uncred cph; ph: Oliver T. Marsh; prod MGPC

1925

MGM Studio Tour [?] b&w; short/?m; made for MGM stockholders

1925

Dance Madness [Robert Z. Leonard] b&w; 7 reels; cph: John Arnold; prod MGM

1925

Torrent/Ibáñez' Torrent [Monta Bell] b&w; 7 reels; USA debut Greta Garbo; prod Cosmopolitan Pictures*

1926

Monte Carlo/Dreams of Monte Carlo [Christy Cabanne] b&w; 7 reels; prod MGM

1926

Money Talks [Archie Mayo] b&w; 6 reels; prod MGM

1926

The Boob/The Yokel [William A. Wellman] b&w; 6 reels; prod MGM

1926

Bardelys the Magnificent [King Vidor] b&w; prod MGM

1926

The Temptress [Fred Niblo (replaced Mauritz Stiller after 10 days)] b&w; cph: Gaetano Gaudio [with dir M. Stiller]; prod Cosmopolitan Productions*

1926

Flesh and the Devil [Clarence Brown] b&w; prod MGM*

1926

Altars of Desire [Christy Cabanne] b&w; 7 reels; prod MGM

1927

Captain Salvation [John S. Robertson] b&w; prod Cosmopolitan Productions

1927

Tillie the Toiler [Hobart Henley] b&w; 7 reels; prod Cosmopolitan Productions

1927

On ze Boulevard [Harry Millarde] b&w; 6 reels; cph: André Barlatier; prod MGM

1927

Love/Anna Karenina [Edmund Goulding & (uncred) John Gilbert] b&w; film started in April with dir Dimitri Buchowetzki, but the footage he dir is lost; version with music (1994); prod MGM*

1928

The Latest from Paris [Sam Wood] b&w; prod MGM

1928

Bringing Up Father [Jack Conway] b&w; 7 reels; prod MGM

1928

The Actress/Trelawny of the Wells [Sidney Franklin] b&w; 7 reels; prod MGM

1928

The Mysterious Lady [Fred Niblo] b&w; version with music (2002); prod MGM*

[Behind camera/glasses] with actress Greta Garbo

"A Woman of Affairs"

1928

A Woman of Affairs [Clarence Brown] b&w; silent & sound (efx + music) versions; prod MGM*

1928

Telling the World [Sam Wood] b&w; prod MGM

1928

Dream of Love [Fred Niblo] b&w; 6 reels; cph: Oliver T. Marsh; prod MGM

1928

A Lady of Chance [Robert Z. Leonard] b&w; cph: Peverell Marley; silent & sound versions; prod MGM

1928

Wild Orchids [Sidney Franklin] b&w; silent & sound (efx + music) versions; prod MGM*

1928

Queen Kelly [Erich von Stroheim & (uncred) Richard Boleslawski, Edmund Goulding, Irving Thalberg & Sam Wood] b&w; 8 reels; co-uncred cph; ph: Gordon Pollock & Paul Ivano; von Stroheim was removed before end of prod - his 11-reel version was reduced to 8; restored in 1985 (101m); prod Gloria Swanson Pictures Corporation

1929

The Trial of Mary Dugan [Bayard Veiller] b&w; silent & sound versions; prod MGM

1929

The Last of Mrs. Cheyney [Sidney Franklin] b&w; silent & sound versions; prod MGM

1929

Wise Girls/Kempy [E. Mason Hopper] b&w; silent & sound versions; prod MGM

[Right] with dir Jacques Feyder and Greta Garbo - "The Kiss"

1929

The Kiss [Jacques Feyder] b&w; 7 reels; silent & sound (music) versions; prod MGM*

1929

Their Own Desire [E. Mason Hopper] b&w; 7 reels; silent & sound versions; prod MGM

1929

Anna Christie [Clarence Brown] b&w; silent & sound (Greta Garbo's first 'talkie') versions; also German (prod July/August 1930; dir by Edgar G. Ulmer, but with Jacques Feyder on the credits) and Swedish (dir by Jacques Feyder) language versions; prod MGM*

1930

Montana Moon [Malcolm St. Clair] b&w; silent & sound versions; prod MGM

1930

Strictly Unconventional [David Burton] b&w; 55m; cph: Oliver T. Marsh

1930

Le spectre vert [Jacques Feyder] b&w; French language version of 'The Unholy Night' (1929, Lionel Barrymore; ph: Ira Morgan)

Greta Garbo - Gavin Gordon - Clarence Brown - asst dir - William Daniels [seated] - "Romance" - photo by Milton Brown

1930

Romance [Clarence Brown] b&w; silent & sound versions; prod MGM*

1930

Si l'empereur savait ça!/If the Emperor Only Knew That [Jacques Feyder] b&w; French language version of 'His Glorious Night' (1929, Lionel Barrymore; ph: Percy Hilburn)

1930

Olympia [Jacques Feyder] b&w; German language version of 'His Glorious Night'

1930

The Great Meadow [Charles Brabin] b&w; cph: Clyde De Vinna

1930

Inspiration [Clarence Brown] b&w*

1931

Strangers May Kiss [George Fitzmaurice] b&w

1931

A Free Soul [Clarence Brown] b&w

1931

Susan Lenox (Her Fall and Rise)/Rising to Fame/The Rise of Helga [Robert Z. Leonard] b&w*

1931

Mata Hari [George Fitzmaurice] b&w*

1931

Lovers Courageous [Robert Z. Leonard] b&w

1931

Grand Hotel [Edmund Goulding] b&w*

1932

As You Desire Me [George Fitzmaurice] b&w*

1932

Skyscraper Souls [Edgar Selwyn] b&w

1932

Rasputin and the Empress/Rasputin, the Mad Monk [Richard Boleslawski & (uncred) Charles Brabin] b&w

1932

The White Sister [Victor Fleming] b&w; aph: Elmer Dyer

1933

The Stranger's Return [King Vidor] b&w

1933

Dinner at Eight [George Cukor] b&w

1933

Broadway to Hollywood/Ring Up the Curtain [Willard Mack & (retakes) Jules White] b&w-c; cph: Norbert Brodine

1933

Christopher Bean/Her Sweetheart, Christopher Bean/The Late Christopher Bean [Sam Wood] b&w

With Rouben Mamoulian [right] and Greta Garbo - "Queen Christina"

1933

Queen Christina [Rouben Mamoulian] b&w*

1934

The Barretts of Wimpole Street/Forbidden Alliance [Sidney Franklin] b&w

1934

The Painted Veil [Richard Boleslawski] b&w; background ph China (superv): George W. Hill*

1934

Naughty Marietta [W.S. Van Dyke & Robert Z. Leonard] b&w

1935

Anna Karenina [Clarence Brown] b&w*

1935

I Live My Life [W.S. Van Dyke] b&w; uncred cph; ph: George Folsey

1935

Rendezvous [William K. Howard & (uncred) Sam Wood] b&w; uncred cph: James Wong Howe

1935

Rose-Marie/Indian Love Call [W.S. Van Dyke] b&w

1935

Romeo and Juliet [George Cukor] b&w; sfx: Slavko Vorkapich

With actor Robert Taylor - "Camille"

1936

Camille [George Cukor] b&w; cph: Karl Freund; also colorized version (1990)*

1937

Personal Property/The Man in Possession [W.S. Van Dyke] b&w

1937

Broadway Melody of 1938 [Roy Del Ruth] b&w; uncred cph: Ray June; montages: Slavko Vorkapich

1937

Double Wedding [Richard Thorpe] b&w; uncred cph: Harold Rosson & Joseph Ruttenberg

1937

The Last Gangster [Edward Ludwig] b&w; montages: Slavko Vorkapich

1937

Beg, Borrow or Steal [William Thiele] b&w

1938

Marie Antoinette [W.S. Van Dyke] b&w; uncred cph: George Folsey & Leonard Smith; montages: Slavko Vorkapich

1938

The Shopworn Angel [H.C. Potter] b&w; uncred cph; ph: Joseph Ruttenberg; montages: Slavko Vorkapich

1938

Three Loves Has Nancy [Richard Thorpe] b&w

1938

Dramatic School [Robert B. Sinclair] b&w; uncred cph: Joseph Ruttenberg

1938

Idiot's Delight [Clarence Brown] b&w; montages: Slavko Vorkapich & John Hoffman

1939

Stronger Than Desire [Leslie Fenton] b&w; montages: Peter Ballbusch

1939

Ninotchka [Ernst Lubitsch] b&w; also colorized version (1990)*

1939

Another Thin Man/Return of the Thin Man [W.S. Van Dyke] b&w; cph: Oliver T. Marsh; uncred ph (last half): John F. Seitz; 3rd film in 6-part 'The Thin Man'-series (MGM, 1934-47)

1939

The Shop Around the Corner [Ernst Lubitsch] b&w

1939

New Moon/Lover Come Back [Robert Z. Leonard & W.S. Van Dyke (uncred; was replaced by R.Z. Leonard after 2 weeks)] b&w

1940

The Mortal Storm [Frank Borzage] b&w; uncred cph: Lloyd Knechtel & Leonard Smith

1940

So Ends Our Night [John Cromwell] b&w

1940

Back Street [Robert Stevenson] b&w

1941

Love Crazy [Jack Conway] b&w; uncred cph; ph: Ray June

1941

They Met in Bombay [Clarence Brown] b&w

1941

Honky Tonk [Jack Conway] b&w; uncred cph (replaced in late June due to illness); ph: Harold Rosson

1941

Shadow of the Thin Man [W.S. Van Dyke] b&w; 4th film in 6-part 'The Thin Man'-series (MGM, 1934-47)

1941

Design for Scandal [Norman Taurog] b&w; cph: Leonard Smith

1941

Dr. Kildare's Victory/The Doctor and the Debutante [W.S. Van Dyke] b&w; 9th film in 15-part 'Dr. Kildare/Dr. Gillespie'-series (MGM, 1938-47)

1942

For Me and My Gal/For Me and My Girl [Busby Berkeley] b&w

1942

Keeper of the Flame [George Cukor] b&w; sfx ph: Warren Newcombe

1943

Girl Crazy [Norman Taurog & Busby Berkeley] b&w; cph: Robert Planck; after dir the mus number 'I Got Rhythm', dir B. Berkeley was dismissed; the prod was shut down for a month and resumed with dir N. Taurog

1943

The Heavenly Body [Alexander Hall & Vincente Minnelli (uncred dir last 3 weeks)] b&w; uncred cph; ph: Robert Planck

1943

The Canterville Ghost [Jules Dassin & (uncred) Norman Z. McLeod] b&w; uncred cph; ph: Robert Planck; sfx ph: Lester White; dir N.Z. McLeod was replaced after 38 days by J. Dassin and ph R. Planck by W. Daniels

1944

Maisie Goes to Reno/You Can't Do That to Me [Harry Beaumont] b&w; uncred cph; ph: Robert Planck; 8th film in 9-part 'Maisie'-series (MGM, 1939-46)

1946

Sure Cures [David Barclay (= Dave O'Brien)] b&w; doc/11m

1946

Lured/Personal Column [Douglas Sirk] b&w

1947

Diamond Demon [Dave O'Brien] c; doc/9m

1947

Brute Force [Jules Dassin] b&w; spph: David S. Horsley

1947

The Naked City [Jules Dassin] b&w

1948

For the Love of Mary [Frederick De Cordova] b&w

1948

Family Honeymoon [Claude Binyon] b&w

1948

The Life of Riley [Irving Brecher] b&w

1948

Illegal Entry [Frederick De Cordova] b&w

1949

The Gal Who Took the West [Frederick De Cordova] c

1949

Abandoned/Abandoned Woman [Joseph M. Newman] b&w

1949

La duchesse de Langeais/Lover and Friend/The Wicked Duchess [Max Ophüls] this prod with Greta Garbo came as far as shooting tests; the 1st test was ph on 5 May by Joseph Valentine, who died a couple of weeks later; the 2nd test was ph on 25 May by James Wong Howe and the 3rd test was ph by W. Daniels, also on 25 May*

1949

Three Came Home [Jean Negulesco] b&w; uncred cph (?); ph: Milton Krasner; 2uc (Borneo): Charles G. Clarke; spec pfx: Fred Sersen

1949

Woman in Hiding [Michael Gordon] b&w; spec pfx: David S. Horsley

1949

Deported [Robert Siodmak] b&w

1950

Winchester '73 [Anthony Mann] b&w

1950

Harvey [Henry Koster] b&w

1950

Bright Victory/Lights Out [Mark Robson] b&w

1950

Thunder on the Hill/Bonaventure [Douglas Sirk] b&w

1951

The Lady Pays Off [Douglas Sirk] b&w; spph: David S. Horsley

1951

When in Rome [Clarence Brown] b&w

1951

Glory Alley [Raoul Walsh] b&w

[Right] with Spencer Tracy and Katherine Hepburn

"Pat and Mike"

1952

Pat and Mike [George Cukor] b&w; sfx ph: Warren Newcombe

1952

Plymouth Adventure [Clarence Brown] c; miniature ph: Max Fabian

1952

Never Wave at a WAC/The Private Wore Skirts [Norman Z. McLeod] b&w

1952

Thunder Bay [Anthony Mann] c

1953

Forbidden [Rudolph Maté] b&w

1953

War Arrow [George Sherman] c

1953

The Glenn Miller Story [Anthony Mann] c

1953

The Far Country [Anthony Mann] c

1954

Strategic Air Command [Anthony Mann] vv/c; aph: Tom Tutwiler; spec pfx: John P. Fulton; process ph: Farciot Edouart

1954

Six Bridges to Cross [Joseph Pevney] b&w

1954

Foxfire [Joseph Pevney] c

1954

The Shrike [José Ferrer] b&w

1954

The Girl Rush [Robert Pirosh] vv/c; spec pfx: John P. Fulton; process ph: Farciot Edouart

1955

Away All Boats [Joseph Pevney & James C. Havens (spec action scenes)] vv/c; spph: Clifford Stine

1955

The Benny Goodman Story [Valentine Davies] c

1955

The Unguarded Moment/The Gentle Web [Harry Keller] c; spph: Clifford Stine

1956

My Man Godfrey [Henry Koster] cs/c; spph: Clifford Stine

1956

Istanbul [Joseph Pevney] cs/c; spph: Clifford Stine

1956

Interlude [Douglas Sirk] cs/c

1956

Night Passage [James Neilson (replaced Anthony Mann)] tr/c; spph: Clifford Stine

1957

Voice in the Mirror [Harry Keller] cs/b&w; spph: Clifford Stine

1958

Cat on a Hot Tin Roof [Richard Brooks] c

[Left] with Vincente Minnelli, Frank Sinatra and Dean Martin - "Some Came Running"

1958

Some Came Running [Vincente Minnelli] cs/c

1958

A Stranger in My Arms/And Ride a Tiger [Helmut Käutner] cs/b&w; spph: Clifford Stine

1958

A Hole in the Head [Frank Capra] p/c; first film 'Filmed in Panavision' (with high-speed Panatar lens)

With Gina Lollobrigida - "Never So Few"

1959

Never So Few/Campaign Burma [John Sturges] p/c

1959

Can-Can [Walter Lang] tao/c

1959

All the Fine Young Cannibals [Michael Anderson] cs (lenses by Panavision)/c

1960

Ocean's Eleven [Lewis Milestone] p/c

1961

Come September [Robert Mulligan] cs/c

1961

How the West Was Won [seg 'The Plains' dir by Henry Hathaway] cr (+ cs & up70)/c; 5 seg + transitional seq; other ph: Milton Krasner (seg 'The Outlaws' dir by H. Hathaway), Charles Lang Jr. & Joseph LaShelle; 2uc: Harold Wellman; pick-up ph: Dale Deverman & Robert Surtees; spec vfx: A. Arnold Gillespie & Robert R. Hoag

1962

Something's Got to Give [George Cukor] cs/c; unfinished; cph: Franz Planer, Charles Lang Jr. & Leo Tover; 37m were released in 2001 as part of the tv-doc 'Marilyn Monroe: The Final Days'

1962

Jumbo/Billy Rose's Jumbo [Charles Walters] p/c; spec vfx: A. Arnold Gillespie, Robert R. Hoag & J. McMillan Johnson

1963

Dokonjo monogatari - zeni no odori/Money Talks/The Money Dance [Kon Ichikawa] Daieiscope/c; cph: Kazuo Miyagawa

1963

Come Blow Your Horn [Bud Yorkin] p/c; spec pfx: Paul K. Lerpae

1963

The Prize [Mark Robson] p/c; spec vfx: A. Arnold Gillespie, Robert R. Hoag & J. McMillan Johnson

1964

Robin and the 7 Hoods [Gordon Douglas] p/c; + assoc prod

1965

Von Ryan's Express [Mark Robson] cs/c; 2uc: Harold Lipstein; spec pfx: L.B. Abbott & Emil Kosa Jr.

1965

Marriage on the Rocks [Jack Donohue] p/c; + prod

With Virna Lisi - "Assault on a Queen"

1966

Assault on a Queen [Jack Donohue] p/c; + assoc prod; uwph: Owen Marsh; spec pfx: Lawrence W. Butler & Paul K. Lerpae; process ph: Farciot Edouart

1966

In Like Flint [Gordon Douglas] cs/c; spec pfx: L.B. Abbott, Emil Kosa Jr. & Art Cruickshank

1967

Valley of the Dolls [Mark Robson] p/c

1968

The Impossible Years [Michael Gordon] p/c

1968

Marlowe [Paul Bogart] c; spec vfx: J. McMillan Johnson & Carroll L. Shepphird

1969

The Maltese Bippy [Norman Panama] p/c

1970

Move [Stuart Rosenberg] p/c; spec pfx: L.B. Abbott & Art Cruickshank


 TELEVISION

1957

The Trail to Christmas [James Stewart] tvm/30m; ep 'General Electric Theater/G.E. Theatre', 1953-62

1959

Frances Langford Presents [Ed Hillie & Nathan Juran] special/60m; an hour of music, song, and comedy in which hostess Frances Langford presents top-name performers; the program is actually two unsold half-hour pilots that were re-edited to form a sixty-minute special; for NBC-tv


 MISCELLANEOUS

1917

Robinson Crusoe [Robert Z. Leonard; 3 reels] c.asst; ph: ?; re-release (in February] of film from 1913 dir by Otis Turner with R.Z. Leonard as Robinson Crusoe

1919

Blind Husbands [Erich von Stroheim] 2nd cam; ph: Ben Reynolds

1919

The Devil's Passkey [Erich von Stroheim] 2nd cam; ph: Ben Reynolds

1922

The Long Chance [Jack Conway] 2nd cam; ph: Ben Reynolds

1964

None But the Brave [Frank Sinatra] assoc prod; ph: Harold Lipstein