BERT GLENNON

Born: 19 November 1893, Anaconda, Montana, USA, as Robert Lawrence Glennon.

Died: 29 June 1967, Sherman Oaks, Calif., USA.

Education: Stanford University.

Career: While attending university in 1912, he was hired as a c.asst, and upon graduation went into the film business full-time. Worked for the Keystone Film Company, the Famous Players Film Company and the William H. Clune Film Corporation [as laboratory superintendent]. In 1920, he went to Australia to work for Snowy Baker Productions. In 1928, he embarked on a career as director, but the few films he directed from 1928 to 1932 were increasingly mediocre. He resumed his cinematography career. Retired in 1963.

Was a member of the ASC since 1924. His son James [1942-2006] was a doph.

Appeared in 'The March of Time Volume IX, Issue 10: Show Business at War' [1943].

Awards: 'Oscar' AA nom [1939; color; shared] for 'Drums Along the Mohawk'; 'Oscar' AA nom [1939; b&w] for 'Stagecoach'; 'Oscar' AA nom [1941; color] for 'Dive Bomber'.

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'The camera is the pen of our craft,' stated Josef von Sternberg. Though Bert Glennon is, typically, not mentioned in his autobiography, and though Lucien Ballard has cast some doubt on the validity of the official photography credits on the Sternberg films, I still choose to believe that Glennon was his most talented scribe. And even if you exclude 'Underworld', 'The Last Command' and 'Blonde Venus' from his list, it remains mightily impressive. In February 1930, at a time when he was engaged in his ultimately abortive directorial interlude, Glennon quoted the following as part of his cinematographical philosophy: 'I remember telling a friend of mine who asked for a formula by which to test cameramen - if a man comes to you and you don't know how good he is, have him make you a test shot of two people, cutting them off at the knees. Almost any good cameraman can make an attractive long shot or close-up, but it takes a real artist to make a beautiful two-shot.' The same article [in American Cinematographer] goes on to criticize the excessive lighting ['Most modern sets are grossly overlit.'] prevalent at the time, making it clear that Glennon was one of those artists for whom less is more. [Markku Salmi in 'Film Dope', No. 19, December 1979.]

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Bert Glennon was a visual stylist whose cinematography enhanced the best work of such disparate directors as John Ford and Josef von Sternberg. Glennon exemplifies the professional Hollywood craftsperson overshadowed by volatile, individualistic directors, his name rarely mentioned in film histories.

There were two Glennon styles - the glossy soft-focus of his 1920s Paramounts, and the dramatic, often minimalist, realism he employed at 20th Century-Fox in the late 1930s and at Warners ten years later. Along with Victor Milner, Glennon helped define the corporate Paramount look, with assignments for such directors as Cecil B. DeMille, Malcolm St. Clair, Rowland V. Lee, and Mauritz Stiller.

Glennon's two great silent triumphs were 'The Ten Commandments' and 'Underworld'. The DeMille epic was the most spectacular production up to that time. The contemporary story is well handled, but the film is most satisfying in the Biblical sequences, many shot in reverential tableaux, with sweeping camera movements on the action scenes. A prologue of the Israelites fleeing Egypt was co-photographed in two-strip Technicolor with Ray Rennahan.

'Underworld' foreshadowed many later crime films, uniting elements of that genre which would become commonplace, including Glennon's chiaroscuro photography. There are many fine photographic touches - the underworld ball, the police car chase - rendered in a crisp, economic manner. 'Underworld' was a much more starkly lit work than was common at Paramount, but in his next film for von Sternberg, 'The Last Command', Glennon reverted to the softer studio style. His mobile camera makes both 'Underworld' and 'The Last Command' among the most visually pleasing films of the late silent era.

Glennon directed nine programmers between 1928 and 1931. He returned to cinematography in 1932 with von Sternberg's 'Blonde Venus', shooting interiors [Paul Ivano handled the exteriors]. Among the scenes Glennon worked on is the "Hot Voodoo" number, with icon Marlene Dietrich emerging from a gorilla suit.

Glennon reunited with von Sternberg on 'The Scarlet Empress', which cast Dietrich as Russia's Catherine the Great. Glennon achieved an extraordinary Baroque look, with dazzling camera movement complemented by von Sternberg's eccentric mise en scène and lavish art direction by Hans Dreier. Truly one of the most photographically stunning works in American cinema, 'The Scarlet Empress' was a Glennon masterwork, culminating his contributions to the von Sternberg canon. Typically, the director made no mention of Bert Glennon in his autobiography.

Glennon moved to Fox in 1934, and inexplicably toiled on B-movies. His fortunes improved when Darryl Zanuck merged his 20th Century Pictures with the failing Fox and assigned him to shoot 'The Prisoner of Shark Island' [1935], the first of eight John Ford films shot by Glennon. The story of Dr. Samuel Mudd, the man who treated John Wilkes Booth's wound after the Lincoln assassination and found himself incarcerated as an unwitting accomplice, the film reveals Ford's passion for the era, nicely realized by Glennon. The Shark Island prison sequences are dark and gloomy, contrasted with the juleps-and-magnolia South symbolized by Mudd's family. Like much of Ford's best work, there is a silent film-feel to the cinematography.

Glennon's position as a master cinematographer was confirmed with the 1938-39 Ford films. 'Stagecoach' deserves its reputation as one of the great westerns. Picturesque Monument Valley vistas and expert action sequences were expertly captured by Glennon, making 'Stagecoach' one of the best looking black-and-white movies ever made. In a direct stylistic contrast to the von Sternberg films, there is little camera movement, and rare use of close-ups, the notable exception being the Indians on the bluff in a pre-attack sequence.

Smaller in scope, 'Young Mr. Lincoln' impeccably recreated Indiana and Illinois of the 1830s and 1840s. While an uncredited Arthur C. Miller shot the riverside locations, Glennon was responsible for the bulk of the film's classical look, with the fight in the clearing particularly well rendered. 'Drums Along the Mohawk' was a much more difficult film. Forced by Zanuck's release schedule to rush from 'Young Mr. Lincoln' to 'Drums Along the Mohawk', the filmmakers were plagued by minimal preparation, an unpolished script, and a rugged location in Utah's Wasatch Mountains. Summer storms played havoc with matching shots, and to compound problems, the film was shot in three-strip Technicolor, Ford's first in color. Despite these rigors, 'Drums Along the Mohawk' is exquisitely photographed, as perfect an exercise in color as 'Stagecoach' was for black-and-white.

It was ten years before Glennon worked with Ford again, but the occasion and the project was a special one - 'Wagon Master'. Ford told Peter Bogdanovich that 'Wagon Master' was one of the films that "came closest to being what I had wanted to achieve." A western masterwork, the film is graced by Glennon's newsreel quality cinematography.

Glennon did superlative work for another strong director, Raoul Walsh, on 'They Died with Their Boots On', in which he photographed a spectacular recreation of Custer's Last Stand; and 'Desperate Journey', a slam-bang Second World War adventure highlighted by an exhilarating car chase. Glennon closed his career at Warners with some of the best 3-D photography ['House of Wax', 'The Moonlighter', 'The Mad Magician']. [From article by John A. Gallagher on the Film Reference website.]

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FILMS

1915        Stingaree [James W. Horne] b&w; 12-part serial

1916        Ramona [Donald Crisp] b&w; cph: Enrico (Enrique) Vallejo

1916        The Eyes of the World [Donald Crisp] b&w; 7 & 10 reel version; cph: Enrico (Enrique) Vallejo

1919        Lightning Bryce [Paul C. Hurst] b&w; 15-part serial

1920        The Heart of Sonya [?] b&w

1920        Little Erolinda [?] b&w

1920        Parted Curtains [Bertram Bracken] b&w; or ph Walter L. Griffin

1920        The Kentucky Colonel [William A. Seiter] b&w; cph: Allen M. Davey

1920        The Torrent [Stuart Paton] b&w; cph: Roland Price

1921        The Dangerous Moment [Marcel De Sano] b&w

1921        Cheated Love [King Baggot] b&w; 50m

1921        The Kiss [Jack Conway] b&w

1921        A Daughter of the Law [Jack Conway] b&w

1921        Moonlight Follies/The Butterfly [King Baggot] b&w; 50m

1921        Nobody's Fool [King Baggot] b&w

1922        Moran of the Lady Letty [George Melford] b&w; co-2nd cam; ph: William Marshall

1922        The Woman Who Walked Alone [George Melford] b&w

1922        Burning Sands/The Dweller in the Desert [George Melford] b&w; 2nd cam: James Wong Howe

1922        Ebb Tide [George Melford] b&w; 2nd cam: James Wong Howe (took over 1st cam for a few days while BG was ill)

1922        Java Head [George Melford] b&w

1923        You Can't Fool Your Wife [George Melford] b&w; 60m

1923        Salomy Jane/The Law of the Sierras [George Melford] sometimes cred as ph, but prod was ph by Charles G. Clarke

1923        The Ten Commandments [Cecil B. DeMille] b&w + color seq (the Exodus); cph: Ray Rennahan (color seq), J. Peverell

                    Marley, Archie Stout, J.F. 'Fred' Westerberg, Edward S. Curtis & Donald Biddle Keyes; visual efx & tech dir: Roy

                    Pomeroy; filmed 21 May-16 August

1924        Triumph [Cecil B. DeMille] b&w

1924        Changing Husbands [Frank Urson & Paul Iribe] b&w

1924        Open All Night/One Parisian "Knight" [Paul Bern] b&w; 64m

1924        Worldly Goods [Paul Bern] b&w; 60m

1924        Tomorrow's Love [Paul Bern] b&w; 60m

1925        The Dressmaker From Paris [Paul Bern] b&w

1925        Are Parents People? [Malcolm St. Clair] b&w; 60m

1925        Grounds for Divorce [Paul Bern] b&w; 60m

1925        Wild Horse Mesa [George B. Seitz] b&w

1925        Flower of Night [Paul Bern] b&w

1925        A Woman of the World [Malcolm St. Clair] b&w

1926        The Crown of Lies [Dimitri Buchowetzki] b&w; 50m

1926        Good and Naughty [Malcolm St. Clair] b&w; 60m

1926        Old Ironsides/Sons of the Sea [James Cruze] b&w (2 seq shot in Magnascope); uncred co-addph; ph: Alfred Gilks;

                    silent (12 reels) & sound (1928; 8 reels) version

1926        Hotel Imperial [Mauritz Stiller] b&w; prod delayed midway for a couple of months due to the death of Rudolph

                    Valentino

1927        Barbed Wire [Rowland V. Lee (replaced Mauritz Stiller, who started film)] b&w; 67m

1927	Underworld/Paying the Penalty [Josef von Sternberg (replaced Arthur Rosson)] b&w
1927	We're All Gamblers [James Cruze] b&w
1927	The Woman On Trial [Mauritz Stiller] b&w; 60m
1927	The City Gone Wild [James Cruze] b&w; 60m

1927        The Last Command [Josef von Sternberg] b&w

1928        The Street of Sin/King of Soho [Mauritz Stiller (started film), Lothar Mendes (replaced M. Stiller) & Ludwig

                    Berger (finished film)] b&w; or ph Harry Fischbeck & Victor Milner

1928        The Patriot [Ernst Lubitsch] b&w; silent & sound version

1932        Blonde Venus [Josef von Sternberg] b&w; addph (ext): Paul Ivano

1932        The Half Naked Truth [Gregory La Cava] b&w

1932        Christopher Strong [Dorothy Arzner] b&w; sfx: Vernon Walker; transitions: Slavko Vorkapich

1933        Gabriel Over the White House [Gregory La Cava] b&w

1933        Melody Cruise [Mark Sandrich] b&w; sfx: Vernon Walker, Linwood Dunn, Cecil Love (assoc) & Clifford Stine (assoc)

1933        Morning Glory [Lowell Sherman] b&w; addph: Henry Gerrard

1933        So This Is Harris! [Mark Sandrich] b&w; short/28m

1933        The Bowery [Raoul Walsh] b&w; uncred cam; ph: Barney McGill

1933        Alice in Wonderland [Norman Z. McLeod] b&w; anim & live action; cph: Henry Sharp; tech efx: Gordon Jennings &

                    Farciot Edouart

1933        The Scarlet Empress [Josef von Sternberg] b&w

1934        Grand Canary [Irving Cummings] b&w

1934        She Was a Lady [Hamilton MacFadden] b&w

1934        Hell in the Heavens [John G. Blystone] b&w

1934        The Lottery Lover [Wilhelm (William) Thiele] b&w

1935        Under the Pampas Moon [James Tinling] b&w; uncred backgrounds ph; ph: Chester A. Lyons

1935        Ginger [Lewis Seiler] b&w

1935        Thunder in the Night [George Archainbaud] b&w; 67m

1935        Bad Boy [John G. Blystone] b&w; 56m

1935        Show Them No Mercy!/Tainted Money [George Marshall] b&w

1935        The Prisoner of Shark Island [John Ford] b&w

1936        Little Miss Nobody [John G. Blystone] b&w; 65m

1936        Half Angel [Sidney Lanfield] b&w; 65m

1936        Dimples [William A. Seiter] b&w

1936        Can This Be Dixie? [George Marshall] b&w; 68m; cph: Ernest Palmer

1936        Lloyd's of London [Henry King] b&w

1937        The Prisoner of Zenda [John Cromwell; (uncred) George Cukor (add scenes) & W.S. Van Dyke (fencing seq)] b&w;

                    uncred cph; ph: James Wong Howe; sfx: Jack Cosgrove, John M. Nickolaus & Harry Redmond Jr.

1937        The Hurricane [John Ford & (assoc) Stuart Heisler] b&w; South Seas ph (Winter 1936): Archie Stout & Paul Eagler;

                    spec pfx: Ray Binger

1937        The Adventures of Marco Polo [Archie Mayo (replaced John Cromwell after a few days); (uncred action seq) John Ford]

                    b&w (tinted & toned); 2uc + co-2ud; ph: Rudolph Maté & Archie Stout

1937        Swiss Miss [John G. Blystone; (uncred) Hal Roach (fill-in) & S.S. Van Keuren (add scenes in April 1938)] b&w; uncred 2uc

                    and some 1st unit ph; ph: Norbert Brodine & Art Lloyd; pfx: Roy Seawright

1938        Kidnapped [Alfred L. Werker (replaced Otto Preminger in 2nd week of filming)] b&w; uncred cph (?); ph: Gregg Toland

1938        Stagecoach [John Ford] b&w; spec pfx: Ray Binger

1939        Young Mr. Lincoln [John Ford] b&w; uncred cph: Arthur Miller

1939        The Rains Came [Clarence Brown] b&w; uncred cph (started film, but fell ill; replaced by A. Miller); ph: Arthur Miller

1939        Second Fiddle [Sidney Lanfield] b&w; uncred ph add scenes; ph: Leon Shamroy

1939        Winter Carnival [Charles F. Reisner] b&w; uncred ph ice carnival seq; ph: Merritt Gerstad

1939        Drums Along the Mohawk [John Ford] c; cph: Ray Rennahan

1939        Swanee River/The Life of Stephen Foster [Sidney Lanfield] c

1940        Our Town [Sam Wood] b&w; spec pfx: Jack Cosgrove

1940        The Howards of Virginia/The Tree of Liberty [Frank Lloyd] b&w; montages: Slavko Vorkapich

1940        Down Argentine Way [Irving Cummings] c; uncred 2uc; ph: Leon Shamroy & Ray Rennahan

1940        Virginia [Edward H. Griffith] c; cph: William V. Skall; process ph: Farciot Edouart

1940        The Reluctant Dragon/A Day at Disneys/Behind the Scenes at Walt Disney Studio/A Day at the Studio (20m excerpt)

                    [Alfred L. Werker (live action)] b&w/c; anim + live action; b&w live action ph; Technicolor live action ph: Winton C. Hoch

1940        One Night in Lisbon [Edward H. Griffith] b&w

1941        Dive Bomber [Michael Curtiz] c; cph: Winton C. Hoch; aph: Elmer Dyer; sfx ph: Byron Haskin & Rex Wimpy

1941        The Tanks Are Coming [B. Reeves Eason] c; short/20m

1941        They Died with Their Boots On [Raoul Walsh] b&w

1941        Juke Girl [Curtis Bernhardt] b&w

1942        Desperate Journey [Raoul Walsh] b&w; sfx: Edwin DuPar, Byron Haskin & Nathan Levinson

1942        The Desert Song [Robert Florey] c; sfx: Lawrence Butler & Edwin DuPar; release was delayed because of wartime

                    restrictions

1942        Mission to Moscow [- The Former U.S. Ambassador Joseph E. Davies' Mission to Moscow] [Michael Curtiz] b&w;

                    sfx: Roy Davidson & H.F. Koenekamp; montages: Don Siegel & James Leicester

1943        Ozzie Nelson and His Orchestra #2 [Jean Negulesco] b&w; mus short/9m

1943        This Is the Army [Michael Curtiz] c; cph: Sol Polito; sfx: Jack Cosgrove; montages: James Leicester & Don Siegel

1943        One More Tomorrow [Peter Godfrey (replaced Irving Rapper)] b&w; filmed April-June & October-November;

                    released in 1946

1943        [Edna Ferber's] Saratoga Trunk [Sam Wood] b&w; uncred fill-in ph (while E. Haller was ill); ph: Ernest Haller; filmed

                    February-June; released in 1946

1943        In Our Time [Vincent Sherman] b&w; uncred cph; ph: Carl Guthrie; sfx: Robert Burks; montages: James Leicester

1943        Destination Tokyo [Delmer Daves] b&w; filmed June-September; sfx: Willard Van Enger & Lawrence Butler (dir)

1944        The Very Thought of You [Delmer Daves] b&w

1944        Hollywood Canteen [Delmer Daves] b&w

1944        San Antonio [David Butler; (uncred) Robert Florey & Raoul Walsh] c; uncred cph: William V. Skall; sfx: Willard Van Enger

1945        Shadow of a Woman [Joseph Santley] b&w; sfx: Edwin DuPar & Harry Barndollar

1945        Night and Day [Michael Curtiz] c; uncred cph; ph: Peverell Marley (replaced B. Glennon after 2 weeks) & William V. Skall

1946        The Red House/No Trespassing [Delmer Daves] b&w

1946        Mr. District Attorney/District Attorney [Robert B. Sinclair] b&w

1946        Copacabana [Alfred E. Green] b&w; spec pfx: John P. Fulton

1947        Ruthless [Edgar G. Ulmer] b&w

1948        The Adventures of Ichabod and Mr. Toad [Jack Kinney, James Algar & Clyde Geronimi] c; anim (+ live action)/68m;

                    live action ph; live action seq cut from film

1949        Red Light [Roy Del Ruth] b&w; 2uc: James Van Trees

1949        Wagon Master [John Ford] b&w; 2uc: Archie Stout

1950        Rio Grande [John Ford] b&w; 2uc: Archie Stout

1950        Operation Pacific [George Waggner] b&w; sfx: H.F. Koenekamp & William McGann (dir)

1951        The Sea Hornet [Joseph Kane] b&w; spph: Ellis F. Thackery

1951        The Big Trees [Felix Feist] c; sfx: H.F. Koenekamp

1951        About Face [Roy Del Ruth] c

1951        Mara Maru [Gordon Douglas] b&w; was scheduled as ph or uncred cph (?); ph: Robert Burks

1951        The Man Behind the Gun [Felix Feist] c

1952        Thunder Over the Plains [André De Toth] c

1952        Crime Wave/The City Is Dark [André De Toth] b&w

1953        House of Wax [André De Toth] c; cph: J. Peverell Marley; uncred fill-in ph (when B. Glennon fell ill): Robert Burks;

                    originally in Natural Vision (3-D)

1953        Riding Shotgun [André De Toth] c

1953        The Moonlighter [Roy Rowland] b&w; originally in Natural Vision (3-D)

1953        The Mad Magician [John Brahm] b&w; sfx: Dave Koehler; originally in 3-D

1959	Sergeant Rutledge [John Ford] c
1962	Lad: A Dog [Aram Avakian & Leslie H. Martinson] c
1963	The Man From Galveston [William Conrad] b&w; 57m; unaired pilot for the tv-series 'Temple Houston' (1963-64)

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TELEVISION

1955	Jiminy Cricket Presents Bongo [Hamilton Luske] ep #24 (color) of 'Disneyland'; 2nd season, 1955-56; actually first half of 'Fun and Fancy Free' (1947); ph live action seq (dir by William Morgan); or ph Charles P. Boyle
1955	Disneyland: Frontierland - Davy Crockett [ep #4 'Davy Crockett's Keelboat Race' & #5 'Davy Crockett and the River Pirates' dir by Norman Foster] 5-part seg of 'Disneyland: Frontierland'-series, 1954-55/c; 2nd season, 1955; ep #4 + #5 also released theatrically (81m) in 1956
1955	The Goofy Success Story [Jack Kinney & Wolfgang Reitherman] anim + live action; ep #33 (b&w) of 'Disneyland'; 2nd season, 1955-56
1957	The Arsonist [Norman Foster] pilot (b&w) for unsold series 'Chicago 2-1-2'
1957	Maverick [ep dir by various] 124-part western series/b&w, 1957-62 (ABC-tv)
1957	M Squad [ep #18 'The Long Ride' dir by David Lowell Rich] 117-part police series/b&w, 1957-60 (NBC-tv); 1st season, 1957-58
1958	State Trooper [ep #59 'Stay Lost, Little Girl' dir by John English] 106-part police series/b&w, 1956-59 (syndicated only); 2nd season, 1957-58
1958	M Squad [ep #60 'The Take Over' dir by Don Medford & #64 'Ghost Town' dir by John Brahm] 2nd season, 1958-59; see 1957
1959	Markham [ep #1 'A Princely Sum' dir by Richard Bartlett] 59-part detective series/b&w, 1959-60 (CBS-tv)
1959	Bonanza/Ponderosa [pilot 'A Rose for Lotta' dir by Edward Ludwig] 431-part western series, 1959-73 (NBC-tv); 1st season, 1959-60
1959	The Betty Hutton Show [pilot 'Goldie Crosses the Tracks' dir by Edward Ludwig] 30-part sitcom series/b&w, 1959-60 (CBS-tv); other ph: Charles Van Enger
1959	Laramie [ep #7 'The Iron Captain' dir by Robert Sinclair] 124-part western series/b&w, 1959-63 (NBC-tv); 1st season, 1959-60
1959	Bourbon Street Beat [ep #15 'Inside Man' dir by Leslie H. Martinson, #38 'Reunion' dir by William Hole Jr. (WHJ) & #39 'Teresa' dir by WHJ] 39-part detective series/b&w, 1959-60 (ABC-tv)
1959	M Squad [ep #98 'A Debt of Honor' dir by Herman Hoffman (HH) & Francis D. Lyon & #101 'Needle in a Haystack' dir by HH] 3rd season, 1959-60; see 1957
1960	Coronado 9 [ep #16 'Wrong Odds' dir by William Witney] 39-part private eye series/b&w, 1960-61 (syndicated); other ph: Bud Thackery, Benjamin Kline & Ray Rennahan
1960	77 Sunset Strip [ep #62 'Legend of Crystal Dart' dir by Montgomery Pittman] 206-part  (+ pilot) detective series/b&w, 1958-64 (ABC-tv); 2nd season, 1959-60
1960	Sugarfoot [ep #61 'Shadow Catcher' dir by Leslie Goodwins] 69-part western series/b&w, 1957-61 (ABC-tv); 4th season, 1960-61
1960	Lawman [6 ep dir by various] 156-part western series/b&w, 1958-62 (ABC-tv); 3rd season, 1960-61
1960	77 Sunset Strip [ep #76 'The Negotiable Blonde' dir by Mark Sandrich Jr.] 3rd season, 1960-61; see 1960
1961	Lawman [12 ep dir by various] 4th season, 1961-62; see 1960
1962	Cheyenne [ep #95 'A Man Called Ragan' dir by Richard Sarafian] 108-part western series/b&w, 1955-62 (ABC-tv); 6th season, 1961-62; this ep was also the pilot for the series 'The Dakotas'
1962	Surfside 6 [ep #74 'Midnight for Prince Charming' dir by George Waggner] 74-part detective series/b&w, 1960-62 (ABC-tv); 2nd season, 1961-62
1962	77 Sunset Strip [ep #161 'The Odds on Odette' dir by Charles Rondeau] 5th season, 1962-63; see 1960
1962	The Dakotas [13 ep dir by various] 19-part western series/b&w, 1963 (ABC-tv)
1962	General Electric True/True [ep #30 'Heydrich Part 1', #31 'Heydrich Part 2' & #32 'Commando' dir by William Conrad] 33-part dramatic anthology series/b&w, 1962-63 (CBS-tv)
1963	77 Sunset Strip [ep #193 '88 Bars' dir by Abner Biberman, #198 'The Fumble' dir by Lawrence Dobkin & #200 'Paper Chase' dir by Byron Paul] 6th season, 1963-64; see 1960

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FILMS AS DIRECTOR

1928	Perfect Crime [ph: James Wong Howe]

1928	Gang War/All Square [ph: Virgil Miller]
1928	The Air Legion [ph: Paul Perry]
1929	Syncopation/Stepping High [ph: Dal Clawson, Frank Landi & George Webber]
1929	Girl of the Port [ph: Leo Tover]
1930	Around the Corner [ph: Joseph Walker] 68m
1930	Paradise Island [ph: Max Dupont] 68m
1931	In Line of Duty [ph: Archie Stout] 64m
1931	South of Santa Fe [+ ed] ph: Archie Stout; 60m

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MISCELLANEOUS

1912	A Hospital Hoax [?; short] actor (as Herbert Glennon); ph: ?
1914	The Patchwork Girl of Oz/L. Frank Baum's Whimsical Fairy Tale The Patchwork Girl of Oz/The Ragged Girl of Oz/The Raggedy Girl [J. Farrell MacDonald] actor (as Herbert Glennon); ph: Jim Crosby
1918	The Family Skeleton [Victor Schertzinger] co-scrpl; ph: Chester Lyons
1920	The Man From Kangaroo [Wilfred Lucas] asst dir; ph: Robert Doerrer
1920	The Shadow of Lightning Ridge [Wilfred Lucas] asst dir; ph: Robert Doerrer
1920	The Jackeroo of Coolabong/The Fighting Breed [Wilfred Lucas] asst dir; also ph?
1930	Second Wife [Russell Mack] co-scrpl; ph: William Marshall