|
1962 |
|
|
Born: 8 March [some sources: 3 September] 1896, Prague, Bohemia, Austria-Hungary [now Czech Republic], as Ota Heller.
Died: 19 [some sources: 17] February 1970, London, UK.
Career: Apprenticed in the textile trade. Became usher at the Lido-Bio, then projectionist at the Kino Lucerna in Prague. During WWI he worked as a field cinema projectionist in the Austrian Army at the Italian front, and later in a military lab in Vienna. Became assistant military film reporter at the funeral of Emperor Franz Joseph in November 1916. After the war, the director of Pragafilm, Antonín Fencl, hired him as a cinematographer. His first film was a report on the return of [future president of Czechoslovakia] Tomás Masaryk to Prague in 1918. When the Nazis threatened Czechoslovakia, he left the country in 1938 and escaped to Great Britain in 1940 where he joined the Czech Air Force for a time until making 'Alibi' in 1942. He became a British citizen in 1945.
Heller, actress Anny Ondra, director Karel Lamac and writer Václav Wassermann were called the 'Great Four of Czech Film'.
Was a member of the BSC.
Awards: BAFTA Film Award 'British Cinematography - Colour' [1965] for 'The Ipcress File'; BAFTA Film Award 'British Cinematography - Colour' nom [1966] for 'Alfie'.
Technical standards of early Czechoslovak cinema were hampered by the absence of properly equipped studios until the American and Biografia companies combined into the AB Company and converted a former restaurant and dance hall into a studio in 1921. This was supplemented by the Kavalírka Studios established by actor-director Karel Lamac in 1924, where some of the most important films of the 1920s were made before the destruction of the studios by fire in 1929. The coming of sound produced further problems. The first Czech talkies were actually produced in Paris, France. In 1933, the AB Company constructed the Barrandov Film Studios in Prague, which were to form the basis for both pre- and postwar developments.
*****
The most striking thing about [Heller's filmography] is its sheer bulk. Solely due to our regrettable ignorance about the work of Svatopluk Innemann, and even that of Mac [Martin] Fric, we must take on trust the qualities of the first 150 films in the list. However, we can vouch for the versatility of Heller's subsequent work. In an interview, Thorold Dickinson has attested to Heller's qualities, both personal and professional, and certainly 'The Queen of Spades' and - a personal favourite - 'They Made Me a Fugitive' bear him out. [Markku Salmi in 'Film Dope' #24, March 1982.]
*****
Otto Heller is one of the many distinguished cameramen to have come from the Czechoslovak region [others include Karl Freund, Franz Planer, Miroslav Ondrícek, Jaroslav Kucera, Jan Stallich, and Václav Vích]. His output is extremely wide-ranging and prolific: credited with over 250 films, he worked in Czechoslovakia, Austria, Germany, Holland, France, and England.
Heller's career began in earnest in 1918, after he filmed the triumphal entry into Prague of the founder President of Czechoslovakia, Tomás Garrigue Masaryk. He contributed to many of the most famous Czech films. He was especially associated with the films of Anny Ondra and her husband Karl Lamac with whom he worked in many countries. Ironically, he was not appreciated as he should have been in his native country and was often teamed with another cameraman.
He extended his experience in Germany, and in the Berlin Film Lexicon of 1931 he is said to be esteemed for his technical knowledge and refined taste, and capable of producing striking effects for any subject. His exile to England in 1935 gave him the opportunity of filming a wide range of subjects by many different directors, but perhaps his greatest achievement was the exquisite work he did on Thorold Dickinson's 'The Queen of Spades', where Oliver Messel's superb sets were seen at their best through Heller's creative lens. His technical knowledge and expertise in color extended his previous success in black-and-white photography. [Liam O'Leary]
*****
Otto Heller and 'The Queen of Spades': 'He used to come to me and ask if I'd like to rearrange his lights, was anything dissatisfying? He's the only cameraman I've known who would change his lighting at someone else's suggestion, he had no inferiority complexes at all like so many of them do, and he didn't mind how we juggled our lenses. He'd say, "Use any lens you like, if you think it'll cut together, use them." And it was often necessary because Oliver Messel, who designed the sets, is a great theatrical designer but he couldn't understand what scales you can use in film.' [From interview with Thorold Dickinson in 'Film Dope' #11, January 1977.]
Click title for Image Gallery [Coming Soon]
|
FILMS |
|
1918 |
Ceskoslovenský Jezísek/The Czechoslovak Baby Jesus [Richard F. Branald] b&w; cph: Svatopluk Innemann |
|
1918 |
Alois vyhrál los/Aloisuv los/Alois Won a Prize [Richard F. Branald] b&w; cph: Svatopluk Innemann |
|
1919 |
O Adrienu/For Adrien [Max Urban] b&w |
|
1919 |
Probuzené svedomí/Román lásky a pomsty/The Awakened Conscience/A Novel of Love and Revenge [Robert Zdráhal] b&w; cph: Svatopluk Innemann |
|
1919 |
Vzteklý zenich/The Mad Bridegroom [Karel Lamac] b&w; cph: Svatopluk Innemann |
|
1919 |
Záhadný prípad/The Strange Case [Leo Marten] b&w |
|
1919 |
Palimpsest [Joe Jencík] b&w |
|
1919 |
Krasavice Káta/Beautiful Katya [Václav Binovec] b&w; cph: Svatopluk Innemann |
|
1920 |
Drátenícek/The Little Tinker [Bohumír Simek] b&w |
|
1920 |
Komediantka/The Comedienne [Josef Rovenský] b&w |
|
1920 |
Za svobodu národa/For the Freedom of the People [Václav Binovec] b&w; cph: Jindrich Brichta, Svatopluk Innemann, a.o. |
|
1920 |
Zpev zlata/Vetrelec/Song of Gold [Jan Stanislav Kolár] b&w |
|
1920 |
Setrelé písmo/Tajemství staré knihy/The Rubbed-Off Writing/Secret of an Ancient Book [Josef Rovenský] b&w; augmented, partly reshot version of 'Palimpsest' (1919) |
|
1920 |
Odplata/Historie obrazu/Madonna od sv. Pavla/Retaliation [Paul L. Winter] b&w |
|
1921 |
Plameny zivota/Ráj a peklo bohémy/The Flames of Life/Heaven and Hell of the Bohčme [Václav Binovec] b&w; cph: Jindrich Brichta |
|
1921 |
Príchozí z temnot/Arrival from the Dark/Redivivus [Jan Stanislav Kolár] b&w; cph: Otto Hoffmann |
|
1921 |
Otrávené svetlo/Poisoned Light [Jan Stanislav Kolár & Karel Lamac] b&w |
|
1921 |
Trny a kvety/Zabec/Thorns and Flowers/Lass [Theodor Pistek] b&w |
|
1921 |
Cesty k výsinám/Ways to the Heights [Stanislav Sotek] b&w |
|
1921 |
Moderní Magdaléna/Modern Magdalene [Boris Orlický] b&w |
|
1921 |
Kríz u potoka/The Cross by the Brook [Jan Stanislav Kolár] b&w |
|
1921 |
Roztrzené foto/The Torn-up Photo [Jan Stanislav Kolár] b&w |
|
1921 |
Stíny/Záhada noci/Shadows/Mystery of the Night [Premysl Prazský] b&w |
|
1921 |
Nad propastí/Above the Abyss [Vladimír Majer] b&w |
|
1922 |
Manzelé paní Mileny/Návrat mrtvého/Pyrrhovo vítezství/Madame Milena's Husbands/Dead Man's Return/Pyrrhic Victory [Vladimír Majer] b&w |
|
1922 |
Harémy kouzla zbavené/Maharadzovo potesení/Harems Without Magic/The Maharajah's Pleasures [Karel Anton] b&w; + small part |
|
1922 |
Jejich svatební noc/Jarka a Vera/Their Bridal Night [Frantisek Josef Leopold] b&w |
|
1922 |
Mrtví zijí/Tajemný prazský doktor/The Dead Live [Jan Stanislav Kolár] b&w |
|
1922 |
Poslední polibek/The Last Kiss [Karel Anton] b&w |
|
1922 |
Venousek a Stázicka [Svatopluk Innemann] b&w; cph: Evzen Capita; originally shown integrally, but subsequently released in 2 parts |
|
1922 |
Proudy/Proudem strzena/Vorari/Streams/Carried Away by the Current [Theodor Pistek] b&w |
|
1922 |
Koryatovic/Zacarovaný klícek karpatský/A Spell on the Carpathian Key [Jan Just-Rozvoda] b&w |
|
1922 |
Proc se nesmejes?/Why Don't You Laugh? [Eman Fiala] b&w |
|
1922 |
Drvostep/Zázracná lécba Dra. Jenkinse/Dr. Jenkins Miracle Cure/The Wood-cutter [Karel Lamac] b&w |
|
1923 |
Tu ten kámen/Kterak láskou mozno v mziku vzplanout treba k neboztíku/Tutankhamen/How to Have Love Flame on the Spot, Even for the Deceased [Karel Anton] b&w; cph: Frantisek Pones |
|
1923 |
Muz bez srdce/Man Without a Heart/Der Mann ohne Herz [Josef Hornák & Franz W. Koebner] b&w; cph: Hans Aufhauser |
|
1923 |
Únos bankére Fuxe/The Kidnapping of Banker Fux [Karel Anton] b&w; cph: Václav Vích |
|
1923 |
Za oponou smrti/Zázracný lékar/Byl to jen sen/Beyond the Curtain of Death/The Miraculous Physician/It Was Only a Dream [Ferenc Futurista] b&w |
|
1924 |
Bílý ráj/The White Paradise [Karel Lamac] b&w |
|
1924 |
Písen zivota/Poslední písen/Song of Life [Miroslav J. Krnanský] b&w |
|
1924 |
Chytte ho!/Lupic nesika/Catch Him!/The Clumsy Robber [Karel Lamac] b&w |
|
1925 |
Vdavky Nanynky Kulichovy/The Marriage of Nanynky Kulicková [Miroslav J. Krnanský] b&w |
|
1925 |
Karel Havlícek Borovský/Dve lásky Karla Havlícka Borovského/The Two loves of Karel Havlicek Borovsky [Karel Lamac & Theodor Pistek] b&w |
|
1925 |
Syn hor/Son of the Mountains [Vladimír Slavínský] b&w; + small part |
|
1925 |
Lucerna/The Lantern [Karel Lamac] b&w; cph: Svatopluk Innemann |
|
1925 |
Josef Kajetán Tyl [Svatopluk Innemann] b&w |
|
1926 |
Dobrý voják Svejk/Good Soldier Svejk [Karel Lamac] b&w |
|
1926 |
Hrabenka z Podskalí/The Countess from Podskali [Karel Lamac] b&w |
|
1926 |
Príbeh jednoho dne/The Story of One Day [Miroslav J. Krnanský] b&w |
|
1926 |
Falesná kocicka/Kdyz si zena umíní/The False Kitten [Svatopluk Innemann] b&w |
|
1926 |
Svejk na fronte/Svejk at the Front [Karel Lamac] b&w |
|
1926 |
Lásky Kacenky Strnadové/The Loves of Kacenka Strnadova [Svatopluk Innemann] b&w |
|
1926 |
Pantáta Bezousek/Old Man Bezouska [Karel Lamac] b&w |
|
1926 |
Anicko, vrat se!/Tulák/Anicka, Come Back!/Vagabond [Theodor Pistek] b&w |
|
1927 |
Loupezníci na Chlumu/Robbers on the Hill [Milos Hajský] b&w; cph: Josef Bulánek |
|
1927 |
Kreutzerova sonáta/The Kreutzer Sonata [Gustav Machatý] b&w |
|
1927 |
Werther/Utrpení mladé lásky/Sorrows of Young Love [Milos Hajský] b&w |
|
1927 |
Kvet ze Sumavy/Flowers from the Sumava Mountains [Karel Lamac] b&w |
|
1927 |
Milenky starého kriminálníka/Loves of an Old Criminal [Svatopluk Innemann] b&w |
|
1927 |
Sladká Josefínka/Sweet Little Josefina [Karel Lamac] b&w |
|
1927 |
Evas Töchter [- Das Paradies von heute]/Dcery Eviny/Eve's Daughters [Karl Lamac] b&w; cph: Arthur Porchet |
|
1928 |
Saxophon-Susi [Carl Lamac] b&w (11) |
|
1928 |
Straßenbekanntschaften/Známosti z ulice/Acquaintances of the Street [Josef Medeotti-Bohác & Alwin Neuß] b&w |
|
1928 |
Der erste Kuß [Karl Lamac] b&w |
|
1928 |
Kedlubnový kavalír v ráji/A Gentleman in Paradise [Jan Bondy] b&w; cph: Josef Brabec |
|
1928 |
Hrích/Sündenfall/The Sin [Karel Lamac] b&w |
|
1928 |
Páter Vojtech/Father Vojtech [Martin Fric] b&w |
|
1929 |
Sündig und süß [Carl Lamac] b&w |
|
1929 |
Hríchy lásky/Sins of Love [Karel Lamac] b&w |
|
1929 |
Das Mädel mit der Peitsche [Carl Lamac] b&w |
|
1929 |
Prazské svadlenky/Young Dressmakers of Prague [Premysl Prazský] b&w; cph: Josef Bulánek |
|
1929 |
Die Kaviarprinzessin [Carl Lamac] b&w |
|
1929 |
Adjunkt Vrba [Miroslav J. Krnanský] b&w |
|
1929 |
Starý hrích/The Old Sin [Miroslav J. Krnanský] b&w |
|
1929 |
Das Mädel aus U.S.A. [Carl Lamac] b&w |
|
1930 |
Svatý Václav/St. Wenceslas/Holy Václav [Jan Stanislav Kolár] b&w; cph; Jindrich Brichta, Karel Kopriva, Jan Stallich & Václav Vích |
|
1930 |
Wiener Herzen/Erzherzog Otto und das Wäschermädel/Pradlenka jeho jasnosti [Fred Sauer] b&w |
|
1930 |
Das Kabinett des Dr. Larifari [Robert Wohlmuth] b&w; cph: Eduard Hoesch |
|
1930 |
Die vom Rummelplatz [Carl Lamac] b&w; cph: Erich Giese |
|
1930 |
C.a.k. polní marsálek/Imperial and Royal Field Marshall [Karel Lamac] b&w; cph: Václav Vích; + small part (1) |
|
1930 |
Der falsche Feldmarschall/Der K.u.K. Feldmarschall [Carl Lamac] b&w; German language version (1) |
|
1930 |
Monsieur le maréchal [Carl Lamac] b&w; French language version (1) |
|
1930 |
Eine Freundin so goldig wie Du/Anny rádí [Carl Lamac] b&w |
|
1930 |
Die Privatsekretärin/Privátní sekretárka [Wilhelm Thiele] b&w; cph: Reimar Kuntze & Adolf Schlasy (2) |
|
1930 |
Dactylo [Wilhelm Thiele] b&w; cph: Reimar Kuntze & Adolf Schlasy; French language version (2) |
|
With dir Karel Lamac [right] "On a jeho sestra" |
[Left] with dir Karel Lamac and actress Anny Ondra - "On a jeho sestra" |
|
1931 |
On a jeho sestra/Him and His Sister [Karel Lamac & Martin Fric] b&w; cph: Václav Vích (3) |
|
1931 |
Er und seine Schwester/Meet the Sister [Carl Lamac] b&w; German language version (3) |
|
1931 |
Der Zinker/The Informer [Carl Lamac & Martin Fric] b&w |
|
1931 |
To neznáte Hadimrsku/So Nobody Knows Hadimrsku/Business in Distress [Karel Lamac & Martin Fric] b&w; + small part (4) |
|
1931 |
Wehe, wenn er losgelassen/Unter Geschäftsaufsicht [Carl Lamac & Martin Fric] b&w; German language version (4) |
|
1931 |
Mamsell Nitouche [Carl Lamac] b&w; German language version of 'Mam'zelle Nitouche' (d: Marc Allégret; ph: Roger Hubert) |
|
1931 |
Une nuit au paradis [Carl Lamac & Pierre Billon] b&w (5) |
|
1931 |
Eine Nacht im Paradies/Jedinou noc v ráji/A Night in Paradise [Carl Lamac] b&w; German language version (5) |
|
1931 |
Die Fledermaus/Netopýr [Karl Lamac] b&w (6) |
|
1931 |
La chauve-souris [Carl Lamac & Pierre Billon] b&w; French language version (6) |
|
1932 |
Funebrák/The Undertaker/What a Funeral [Karel Lamac] b&w; cph: Jan Stallich |
|
1932 |
Kantor ideál/The Ideal Schoolmaster [Martin Fric] b&w (7) |
|
1932 |
Betragen ungenügend [Martin Fric] b&w; German language version (7) |
|
1932 |
Simone est comme ça [Karl Anton] b&w |
|
1932 |
Der Hexer/Maska/The Sorcerer [Carl Lamac & Martin Fric] b&w |
|
1932 |
Die grausame Freundin/Anny, ukrutná prítelkyne/The Cruel Girl Friend [Carl Lamac] b&w (8) |
|
1932 |
Faut-il les marier?/Should We Wed Them? [Carl Lamac & Pierre Billon] b&w; French language version (8) |
|
1932 |
Criez-le sur les toits/Shout It from the Rooftops [Karl Anton] b&w |
|
1932 |
Lelícek ve sluzbách Sherlocka Holmese/Lelicek in the Services of Sherlock Holmes [Karel Lamac] b&w; cph: Jan Stallich (9) |
|
1932 |
Le roi bis [Robert Beaudoin] b&w; French language version (9) |
|
1932 |
Pred maturitou/Before the Finals [Vladislav Vancura & Svatopluk Innemann] b&w; int ph; ext ph: Václav Vích |
|
1932 |
Kiki - Der Lebensweg einer kleinen Choristin [Carl Lamac] b&w (10) |
|
1932 |
Kiki [Carl Lamac & Pierre Billon] b&w; French language version (10) |
|
1932 |
Zapadlí vlastenci/Forgotten Patriots [Miroslav J. Krnanský] b&w |
|
1932 |
Maquillage [Charles (Karel) Anton] b&w; French language version of 'Behind the Make-Up' (1929, Robert Milton & Dorothy Arzner; ph: Charles Lang) |
|
1932 |
Anton Spelec, ostrostrelec/Anton Spelec, Sharp-Shooter [Martin Fric] b&w |
|
1932 |
Baby [Carl Lamac] b&w; German language version of 'Saxophon-Susi' (1927) (11) |
|
1932 |
Baby [Carl Lamac & Pierre Billon] b&w; French language version of 'Saxophon-Susi' (1927) (11) |
|
1933 |
Pobocník jeho výsosti/His Highness' Adjutant [Martin Fric] b&w; cph: Jan Stallich (12) |
|
1933 |
Der Adjutant Seiner Hoheit [Martin Fric] b&w; German language version (12) |
|
1933 |
Die Regimentstochter/Die Tochter des Regiments/Dcera pluku [Carl Lamac] b&w; cph: Kurt Neubert & Ernst Mühlrad (13) |
|
1933 |
La fille du régiment [Carl Lamac & Pierre Billon] b&w; cph: Kurt Neubert & Ernst Mühlrad; French language version (13) |
|
1933 |
Jsem devce s certem v tele/The Girl with the Devil in Her [Karel Anton] b&w; cph: Jan Stallich |
|
1933 |
Fräulein Hoffmanns Erzählungen/Povídky slecny Hoffmannové [Carl Lamac] b&w; ph superv + c.op (with Otto Martini); 3 seg: 'Die tolle Anita', 'Die tolle Lu' & 'Hotel Atlantik' |
|
1933 |
S vyloucením verejnosti/Behind Closed Doors/Public Not Admitted [Martin Fric] b&w; cph: Karl Degl; + small part |
|
1933 |
Prodaná nevesta/The Bartered Bride [Jaroslav Kvapil, Svatopluk Innemann & Emil Pollert] b&w; cph: Karl Degl & Václav Vích |
|
1933 |
Dobrý tramp Bernásek/Good Tramp Bernasek [Karel Lamac] b&w |
|
1933 |
Das verliebte Hotel/Zamilovaný hotel [Carl Lamac] b&w; cph: Josef Wirsching & Ernst Zahn |
|
1933 |
Jindra, hrabenka Ostrovínová/Jindra, the Countess Ostrovin [Karel Lamac] b&w |
|
1934 |
Anita v ráji/Anita in Paradise [Jan Sviták] b&w (14) |
|
1934 |
Annette im Paradies/Ein Kuß nach Ladenschluß [Max Obal] b&w; German language version (14) |
|
1934 |
Die vertauschte Braut/Anny und Anny/Falesná dvojcata [Carl Lamac] b&w; cph: Otto Martini (15) |
|
1934 |
L'amour en cage [Carl Lamac & Jean de Limur] b&w; cph: Otto Martini; French language version (15) |
|
1934 |
Karneval und Liebe/Karneval a láska/Carnival of Love [Carl Lamac] b&w; cph: Karl Kurzmayer |
|
1934 |
Klein Dorrit/Malá Dorritka/Little Dorrit [Carl Lamac] b&w; cph: Ludwig Zahn |
|
1934 |
Tri kroky od tela/Three Steps from the Body [Svatopluk Innemann] b&w |
|
1934 |
Zena, která ví co chce/A Woman Who Knows What She Wants [Václav Binovec] b&w; cph: Jan Stallich |
|
1934 |
Hej-Rup!/Heave Ho!/Workers, Let's Go [Martin Fric] b&w |
|
1934 |
Polská krev/Polish Blood [Karel Lamac] b&w (16) |
|
1934 |
Polenblut [Carl Lamac] b&w; cph: Otto Martini; German language version (16) |
|
? - Otto Heller - dir Karel Lamac - actor Vlasta Burian "Nezlobte dedecka" |
|
Otto Heller -actress Phyllis Calvert - Charles Chaplin [visitor] - actress Mandy Miller - dir Cy Endfield - "Child in the House" |
|
1956 |
Child in the House [Cy Endfield & (assoc dir) Charles de Lautour] b&w |
|
1956 |
Circus Friends [Gerald Thomas] b&w; 63m; for Children's Film Foundation |
|
1956 |
The Passionate Stranger/A Novel Affair [Muriel Box] b&w (actuality)-c (dream world) |
|
1956 |
Kings and Queens [Paul Czinner] c; doc/28m |
|
1957 |
Manuela/Stowaway Girl [Guy Hamilton] b&w |
|
1957 |
The Vicious Circle/The Circle [Gerald Thomas] b&w |
|
1957 |
The Truth About Women [Muriel Box] c |
|
1957 |
The Silent Enemy [William Fairchild] b&w; uwph: Egil S. Woxholt |
|
1957 |
The Duke Wore Jeans [Gerald Thomas] b&w |
|
1958 |
The Sheriff of Fractured Jaw [Raoul Walsh] cs/c; 2uc: Lionel Banes |
|
1958 |
Hello London/London Calling [Sidney Smith] cs/c; 32m & 78m |
|
1959 |
Ferry to Hong Kong [Lewis Gilbert] cs/c |
|
1959 |
The Rough and the Smooth/Portrait of a Sinner [Robert Siodmak] b&w; replaced ph Freddie Francis, who started the film |
|
1959 |
A Dog of Flanders [James B. Clark] cs/c |
|
1959 |
Too Hot to Handle/Playgirl After Dark [Terence Young] c |
|
[Glasses] with dir Michael Powell and Powell's secretary Judy Coxhead - "Peeping Tom" |
With actress Pamela Green - "Peeping Tom" |
|
1959 |
Peeping Tom/Face of Fear [Michael Powell] c |
|
1960 |
An heiligen Wassern [Alfred Weidenmann] c |
|
1960 |
The Singer Not the Song [Roy Baker] cs/c |
|
1960 |
The Big Show [James B. Clark] cs/c |
|
1961 |
Victim [Basil Dearden] b&w |
|
1961 |
Light in the Piazza [Guy Green] cs/c |
|
1962 |
Tiara Tahiti [William T. (Ted) Kotcheff] c |
|
1962 |
Life for Ruth/Walk in the Shadow [Basil Dearden] b&w |
|
1962 |
We Joined the Navy/We Are in the Navy Now [Wendy Toye] cs/c |
|
1963 |
What a Crazy World [Michael Carreras] cs/b&w |
|
1963 |
A Gift for Love [Charles de Lautour] c; short/19m; for the Spastics Society |
|
1963 |
West 11 [Michael Winner] b&w |
|
1963 |
Woman of Straw [Basil Dearden] c |
|
1964 |
The Curse of the Mummy's Tomb [Michael Carreras] ts/c |
|
1964 |
The Ipcress File [Sidney J. Furie] ts/c |
|
1964 |
Masquerade/A Shabby Tiger [Basil Dearden] c; process ph: Charles Staffell |
|
1965 |
Alfie [Lewis Gilbert] ts/c; + small part |
|
1965 |
That Riviera Touch [Cliff Owen] c; 2uc: Michel Rocca |
|
1966 |
Funeral in Berlin [Guy Hamilton] p/c; addph: Godfrey Godar |
|
1967 |
The Naked Runner [Sidney J. Furie] ts/c |
|
1967 |
I'll Never Forget What's 'isname [Michael Winner] c |
|
1967 |
Don't Raise the Bridge, Lower the River [Jerry Paris] c |
|
1968 |
Duffy [Robert Parrish] c; 2uc: Egil S. Woxholt |
|
1968 |
Can Heironymus Merkin Ever Forget Mercy Humppe and Find True Happiness? [Anthony Newley] c |
|
1968 |
In Search of Gregory [Peter Wood] c; cph: Giorgio Tonti |
|
1969 |
Bloomfield/The Hero [Richard Harris (replaced Uri Zohar)] c; film was started by dir Uri Zohar and ph David Gurfinkel |
