GREAT CINEMATOGRAPHERS


#1: 1955

#2: With Gloria Talbott - "We're No Angels" [1954]

#3: With actress Lana Turner - 'Oscar' [1953]

 

   


LOYAL GRIGGS

 

Born: 15 August 1906, Michigan, USA, as Loyal Allen Griggs.

Died: 6 May 1978, Laguna Hills, Calif., USA.

Career: After graduating from High School, went to work in 1924 as asst in the special effects department at Paramount Studios. Retired in 1971.

Was a member of the ASC.

Awards: Honorary 'Oscar' AA [1938; shared] for creating 'Transparencies' in 'Spawn of the North'; 'Oscar' AA [1953; color] for 'Shane'; 'Oscar' AA nom [1956; color] for 'The Ten Commandments'; 'Oscar' AA nom [1965; b&w] for 'In Harm's Way'; 'Oscar' AA nom [1965; color; shared] for 'The Greatest Story Ever Told'.



Loyal Griggs entered the film industry right out of school, signing up with Paramount in 1924 and staying with that studio until 1969 [probably a record for longevity with one studio]. Griggs worked in the studio's process department, first as an asst photographer before moving up to second unit photographer and process camera photographer. In 1950-51, he was hired by Lewis R. Foster as director of photography on three films: the gangster feature 'Crosswinds', and the Westerns 'Passage West' and 'The Last Outpost'; Griggs specialized in that genre, shooting eleven in all. His other films ranged from crime dramas to musicals to period epics. One of Grigg's most challenging assignments was 'The Ten Commandments'. He was selected because he was the most experienced director of VistaVision photography at Paramount. Director Cecil B. DeMille was exacting and unforgiving in his requirements, and this was certainly the largest, most expensive biblical epic of the decade.


 

 FILMS

1936

San Francisco [W.S. Van Dyke] b&w; ph earthquake seq; ph: Oliver T. Marsh

1942

Dixie [A. Edward Sutherland] c; 2uc; ph: William C. Mellor

1950

Tripoli/The First Marines [Will Price] c; 2uc; ph: James Wong Howe

1950

Passage West/High Venture [Lewis R. Foster] c

1950

The Last Outpost/Cavalry Charge [Lewis R. Foster] c

1951

Crosswinds/Jungle Attack [Lewis R. Foster] c

1951

Shane [George Stevens] 1.37:1 & 1.66:1/c; spec unit ph: Irmin Roberts; process ph: Farciot Edouart; spec pfx: Gordon Jennings; filmed late July - mid-October 1951; 'Shane' is still remembered for its breathtaking vistas, but it wasn't actually shot in widescreen. CinemaScope was beginning to take over the film industry while the movie was in production, so Paramount made the decision to blow up the negative and present 'Shane' in the new format, even though the color faded considerably as a result. Loyal Griggs was aghast at what had happened to his images. The film was roadshown for several months so that it could be given the new 'widened screen treatment'. 'Shane' was projected in a 1.66:1 aspect ratio for its Radio City Music Hall screenings in New York and its Grauman's Chinese run in Los Angeles. According to the 'Variety' review, the audience for the Los Angeles trade preview was 'perched on makeshift seating' to accommodate the 'experimental widescreen' projection, and that 'the widescreen projection did contribute...to a sense of the bigness'. 'The New York Times' reviewer commented that the widescreen projection 'slightly favors the width', but that 'the difference is barely apparent, except that some scenes appear trimmed at the bottom and the top'. [From the TCM website.]

1951

Jumping Jacks [Norman Taurog] b&w; 2uc; ph: Daniel L. Fapp

1952

Sudden Fear [David Miller] b&w; uncred 2uc; ph: Charles Lang Jr.

1952

Road to Bali [Hal Walker] c; 2uc; ph: George Barnes

1952

The Stars Are Singing [Norman Taurog] c; 2uc; ph: Lionel Lindon

1952

Jamaica Run [Lewis R. Foster] c; 2uc; ph: Lionel Lindon

1953

L.A. Community Chest Trailer [Norman Taurog] ?

1953

Elephant Walk [William Dieterle] c; 2uc: Irmin Roberts; spec pfx: John P. Fulton & Paul K. Lerpae; process ph: Farciot Edouart & W. Wallace Kelley

1953

The Naked Jungle [Byron Haskin] c; 2uc; ph: Ernest Laszlo

1953

White Christmas [Michael Curtiz] vv/c; spec pfx: John P. Fulton; process ph: Farciot Edouart; 'VistaVision was Paramount's widescreen process and used single-strip Eastman color film and a new camera with a double, or 70mm, frame. The camera exposed the negative horizontally rather than vertically from magazines specially mounted on the side of the lens. The image was then optically printed into a positive 35mm frame and projected in the usual, vertical feed fashion. VistaVision boasted a consistent picture quality in the various widescreen projection ratios... from the standard 1.33:1 up to 2:1. The quality carries over into 2.55:1 when the negative is printed anamorphically for that aspect ratio.' [From the TCM website.]

1954

The Bridges at Toko-Ri [Mark Robson] c; 2uc: W. Wallace Kelley & Tom Tutwiler; aph: Charles G. Clarke; process ph: Farciot Edouart & W. Wallace Kelley; spec pfx: John P. Fulton; optical ph: Paul K. Lerpae

1954

3 Ring Circus/Jerrico, the Wonder Clown [Joseph Pevney] vv/c; spec pfx: John P. Fulton; process ph: Farciot Edouart

1954

We're No Angels [Michael Curtiz] vv/c; spec pfx: John P. Fulton

 

[Sitting/2nd from the right] with dir Cecil B. DeMille [dark hat], Charlton Heston [left]

and assoc prod Henry Wilcoxon [light hat] - "The Ten Commandments"

 

1954

The Ten Commandments [Cecil B. DeMille] vv (+ 70bu [Super VistaVision; 1989])/c; addph: Wallace Kelley, J. Peverell Marley & John Warren; process ph: Farciot Edouart; spec pfx: John P. Fulton; optical ph: Paul K. Lerpae; add vfx: David S. Horsley; filmed October-December 1954 in Egypt & March-August 1955 in Hollywood

1955

That Certain Feeling [Norman Panama & Melvin Frank] vv/c; cph: Wilfred M. Cline; process ph: Farciot Edouart; spec pfx: John P. Fulton

1956

Three Violent People [Rudolph Maté] vv/c; spec pfx: John P. Fulton; process ph: Farciot Edouart

1956

The Buster Keaton Story [Sidney Sheldon] vv/b&w

1956

The Tin Star [Anthony Mann] vv/b&w

 

[Left of camera] with dir Daniel Mann [right] and actresses Shirley Booth and Eileen Heckart - "Hot Spell"

 

1957

Hot Spell [Daniel Mann & (uncred) George Cukor] vv/b&w; spec pfx: John P. Fulton

1957

The Sad Sack [George Marshall] vv/b&w; spec pfx: John P. Fulton; process ph: Farciot Edouart

1957

Wild Is the Wind [George Cukor] vv/b&w; 2uc; ph: Charles Lang Jr.

1957

Vertigo [Alfred Hitchcock] vv/c; uncred co-2uc; ph: Robert Burks

1957

The Buccaneer [Anthony Quinn] vv/c; fill-in ph: Ellsworth Fredricks (for 4 days when Griggs was ill); prologue ph: Harold Rosson; spec pfx: John P. Fulton; optical ph: Paul K. Lerpae; process ph: Farciot Edouart & W. Wallace Kelley

1958

Tonka/A Horse Named Comanche [Lewis R. Foster] c

1958

The Hangman [Michael Curtiz] b&w

1958

The Jayhawkers! [Melvin Frank] vv/c; 2uc: Irmin Roberts; spec pfx: John P. Fulton

1959

Visit to a Small Planet [Norman Taurog] b&w; spec pfx: Farciot Edouart & John P. Fulton

1960

Walk Like a Dragon [James Clavell] b&w

 

[Far right] with Juliet Prowse, Elvis Presley and dir Norman Taurog [3rd left] - "G.I. Blues"

 

1960

G.I. Blues [Norman Taurog] c; spec pfx: John P. Fulton; process ph: Farciot Edouart

1960

Blueprint for Robbery [Jerry Hopper] b&w

1961

Love in a Goldfish Bowl [Jack Sher] p/c; spec pfx: John P. Fulton; process ph: Farciot Edouart

1961

Man-Trap [Edmond O'Brien] p/b&w

1962

Girls! Girls! Girls! [Norman Taurog] c; 2uc: Irmin Roberts; process ph: Farciot Edouart

1962

Papa's Delicate Condition [George Marshall] c; spec pfx: Paul K. Lerpae

1962

The Greatest Story Ever Told [George Stevens; (uncred) David Lean & Jean Negulesco] up70/c; 141m, 199m & 225m; cph: William C. Mellor (died during prod); spec pfx: A. Arnold Gillespie, Robert R. Hoag, J. McMillan Johnson & Clarence Slifer; started as a 3-strip Cinerama prod; filmed 1962-64

1963

A New Kind of Love [Melville Shavelson] c; 2uc; ph: Daniel L. Fapp

1964

In Harm's Way [Otto Preminger] p (+ 70bu)/b&w; 158m, 165m & 170m; 2uc: Philip Lathrop; spec pfx: Farciot Edouart

1964

Tickle Me [Norman Taurog] p/c; process ph: Farciot Edouart; spec pfx: Paul K. Lerpae

1965

The Slender Thread [Sydney Pollack] b&w

1965

The Night of the Grizzly [Joseph Pevney] ts/c; cph: Harold Lipstein; spec pfx: Paul K. Lerpae; process ph: Farciot Edouart

1966

Hurry Sundown [Otto Preminger] p/c; cph: Milton Krasner; Griggs started the film, but fell ill and was replaced by M. Krasner

1966

The Young Warriors/Eagle Warriors [John Peyser] ts/c

1967

Banning [Ron Winston] ts/c

1967

P.J./New Face in Hell [John Guillermin] ts/c

1967

In Enemy Country/In Enemy Hands [Harry Keller] ts/c

1969

...tick ...tick ...tick... [Ralph Nelson] p/c

1969

Paint Your Wagon [Joshua Logan] p (+ 70bu)/c; 2uc; ph: William Fraker

1969

Airport [George Seaton & (uncred ext winter scenes) Henry Hathaway] tao/c; 2nd cinematographer; ph: Ernest Laszlo

1971

Bunny O'Hare [Gerd Oswald] c; cph: John M. Stephens

 

 TELEVISION

1959

Destination Space [Joseph Pevney] pilot/b&w/51m; for CBS-tv

1966

Preview Tonight: Roaring Camp [Lamont Johnson] unsold pilot/60m; for ABC-tv

 

 MISCELLANEOUS

1927

Legion of the Condemned [William A. Wellman] co-c.asst; ph: Henry Gerrard

1928

Ladies of the Mob [William A. Wellman] co-c.asst; ph: Henry Gerrard

1928

Hot News [Clarence Badger] c.op; ph: William Marshall

1928

Marquis Preferred [Frank Tuttle] co-c.asst; ph: Harry Fischbeck

1929

The Love Parade [Ernst Lubitsch] co-c.op; ph: Victor Milner

1929

The Marriage Playground [Lothar Mendes] c.asst; ph: Victor Milner

1932

A Farewell to Arms [Frank Borzage] sfx asst; ph: Charles Lang Jr.

1932

Madame Butterfly [Marion Gering] sfx asst; ph: David Abel

1933

International House [Edward Sutherland] co-sfx staff; ph: Ernest Haller

1933

The Eagle and the Hawk [Stuart Walker & (assoc) Mitchell Leisen] co-assoc spec pfx; spec pfx: Farciot Edouart; ph: Harry Fischbeck

1933

Gambling Ship [Louis J. Gasnier & Max Marcin] co-assoc spec pfx; spec pfx: Farciot Edouart; ph: Charles Lang Jr.

1933

College Humor [Wesley Ruggles] co-assoc spec pfx; spec pfx: Farciot Edouart; ph: Leo Tover

1936

Florida Special [Ralph Murphy] co-spec pfx; ph: Leo Tover

1936

Waikiki Wedding [Frank Tuttle] transparencies; ph: Karl Struss

1938

Spawn of the North [Henry Hathaway] asst process ph; process ph: Farciot Edouart; ph: Charles Lang Jr.

1938

Men with Wings [William A. Wellman] asst spec pfx; spec pfx: Gordon Jennings; ph: W. Howard Greene

1939

Glove Slingers/The Glove Slingers No. 1 [Jules White; short] tech asst; ph: George Meehan

1939

The Biscuit Eater/God Gave Him a Dog [Stuart Heisler] c.op; ph: Leo Tover

1940

I Wanted Wings [Mitchell Leisen (replaced Theodore Reed)] co-2u transparency cam; ph: Leo Tover

1943

The Story of Dr. Wassell [Cecil B. DeMille] 2u transparencies; ph: Victor Milner & William Snyder

1943

Road to Utopia [Hal Walker] asst process ph; process ph: Farciot Edouart; ph: Lionel Lindon

1944

Practically Yours [Mitchell Leisen] asst process ph; process ph: Farciot Edouart; ph: Charles Lang Jr.

1944

Two Years Before the Mast [John Farrow] asst transparency projection; ph: Ernest Laszlo

1944

Kitty [Mitchell Leisen] asst sfx; sfx: Gordon Jennings; ph: Daniel L. Fapp

1944

Salty O'Rourke [Raoul Walsh] co-asst process ph; process ph: Farciot Edouart; ph: Theodor Sparkuhl

1944

The Lost Weekend [Billy Wilder] asst sfx; ph: John F. Seitz

1944

Love Letters [William Dieterle] asst process ph; process ph: Farciot Edouart; ph: Lee Garmes

1944

Hold That Blonde [George Marshall] co-asst sfx; sfx: Gordon Jennings; ph: Daniel L. Fapp

1945

Masquerade in Mexico [Mitchell Leisen] asst process ph (+ 1st cam Mexico); process ph: Farciot Edouart; ph: Lionel Lindon

1945

You Came Along [John Farrow] asst process ph; process ph: Farciot Edouart; ph: Daniel L. Fapp

1945

Our Hearts Were Growing Up [William D. Russell] asst process ph; process ph: Farciot Edouart; ph: Stuart Thompson

1945

The Trouble with Women [Sidney Lanfield] co-process ph; ph: Lionel Lindon

1945

Calcutta [John Farrow] asst transparency projection; ph: John F. Seitz

1945

To Each His Own [Mitchell Leisen] transparency projection ph; ph: Daniel L. Fapp

1945

Blue Skies [Stuart Heisler & (uncred) Mark Sandrich] c.op; ph: Charles Lang Jr. & William Snyder

1945

The Bride Wore Boots [Irving Pichel] asst process ph; ph: Stuart Thompson

1945

Monsieur Beaucaire [George Marshall] asst process ph; process ph: Farciot Edouart; ph: Lionel Lindon

1945

Easy Come, Easy Go [John Farrow] co-asst spec pfx; spec pfx: Gordon Jennings; ph: Daniel L. Fapp

1945

Ladies' Man [William D. Russell] co-asst process ph; process ph: Farciot Edouart; ph: Stuart Thompson

1945

The Searching Wind [William Dieterle] asst process ph; process ph: Farciot Edouart; ph: Lee Garmes

1946

The Perfect Marriage [Lewis Allen] asst process ph; process ph: Farciot Edouart; ph: Russell Metty

1946

O.S.S. [Irving Pichel] co-asst transparency projection; ph: Lionel Lindon

1946

My Favorite Brunette [Elliott Nugent] c.op; ph: Lionel Lindon

1946

Golden Earrings [Mitchell Leisen] asst spec pfx; spec pfx: Gordon Jennings; ph: Daniel L. Fapp

1949

A Place in the Sun [George Stevens ] co-process ph; ph: William C. Mellor

1950

Woman on the Run [Norman Foster] co-spec pfx; ph: Hal Mohr

1951

Detective Story [William Wyler] transparencies; ph: Lee Garmes

1951

My Son John [Leo McCarey] transparencies; ph: Harry Stradling Sr.

1952

Little Boy Lost [George Seaton] co-process ph; ph: George Barnes

1961

Don't Knock the Twist/Let's Twist Again [Oscar Rudolph] uncred c.op; ph: Gordon Avil