GREAT CINEMATOGRAPHERS


#1: 1966

#2: [Right] - 1949

 

   


Milton Krasner

 

Born: 17 February 1904, Brooklyn, New York City, New York, USA, as Milton R. Krasner.

Died: 16 July 1988, Woodland Hills, Los Angeles, Calif., USA.

Career: In 1919, he started working at the Vitagraph Studios, Brooklyn, putting film on a rack in the lab; later in the cutting room and as assistant to ph Charlie Davis loading and unloading magazines, working the slate, and carrying gear. Moving to San Francisco in the early 1920s, he worked as c.asst for various studios including the San Mateo Studios where 'Broncho Billy' Anderson was producing his westerns. Went to Hollywood in 1925 where he worked as c.asst on Johnny Hines comedies for First National, and with doph Sol Polito on Harry Carey westerns at Pathé. At Universal, beginning in 1927, he worked with the crack team of Polito and Ted McCord on Ken Maynard westerns for several years.

Was a member of the ASC.

Awards: 'Oscar' AA nom [1943; color; shared] for 'Arabian Nights'; Cannes FF 'Best Cinematography' [1949] for 'The Set-Up'; 'Oscar' AA nom [1951; b&w] for 'All About Eve'; 'Oscar' AA [1955; color] for 'Three Coins in the Fountain'; 'Oscar' AA nom [1958] for 'An Affair to Remember'; 'Oscar' AA nom [1964; color; shared] for 'How the West Was Won'; 'Oscar' AA nom [1965; b&w] for 'Fate Is the Hunter' & 'Love With the Proper Stranger'.



Milton Krasner's film career, spanning the years 1919 to 1975, illustrates two fundamental aspects of the life of a craftsman in Hollywood's Golden Age. First, the long and arduous apprenticeship of the young technician. Second, the extreme diversity possible even within a segregated crafts system. Krasner, as an example, worked in black-and-white and color, standard format and widescreen, in a variety of genres, for a multitude of directors, at all the major studios. Indeed, Krasner's career is of such breadth that his development as a cinematographer in many ways parallels the maturation of the art itself, as well as the manner in which the studio system of production appropriated that art.

By the time of Krasner's first credit as director of photography, he had worked at nearly every studio in Hollywood, major and minor, and had assisted such cinematographers as Ted McCord, Sol Polito, Billy Bitzer, Lee Garmes, Lucien Andriot, Hal Mohr, and Joseph Walker. If there is a difficulty in detecting a 'Krasner style' in his later work, perhaps this is due to the multiplicity of influences bearing on him during his long apprenticeship.

By late 1935, Krasner was located at Universal Studios, and between 1937 and 1944, made 54 films. The budgets were low, but his competence and craftsmanship gained a name in the industry.

The 1940s were the breakthrough period for Krasner. His long apprenticeship ended, he could finally work at a slower pace on the black-and-white horror and crime features he was increasingly specializing in, as well as begin work in other genres. His most important assignment in this respect was the Technicolor 'Arabian Nights', an Ali Baba-esque epic. But Krasner's best work in this period, and the work which gained him the greatest notoriety, were the two films done under director Fritz Lang, 'The Woman in the Window' and 'Scarlet Street'. The films remain two of Krasner's most dramatic creations, and feature some of the most characteristic imagery in the film noir canon. 'The Woman in the Window''s lush, modern apartment set, in which much of the film's action takes place, is imbued with a rich range of gray tones by Krasner, giving the set an air of complexity and suspense. Krasner's camera moves effortlessly from one set-up to another. The exterior of the apartment building, on the other hand, is a triumph, and the image of a rain-soaked street, its deserted brownstone fronts receding in geometric regularity into deep space, has become an icon of the genre. 'Scarlet Street' played to the cinematographer's strength. The backlot street scene of this film is expanded into an entire sequence. Krasner's work has a rare expressionist flavor. Lotte Eisner, writing about 'The Woman in the Window', noted the remarkable effect of noir stylistics combined with Krasner's subtle exploration of cinematic space in the film's most dramatic scene, the murder of an intruder: 'As a new taxi drives up outside the apartment building, rain is pouring down. It is the kind of rain that produces an unnerving insecurity and hints at potential catastrophe. Horror and brutality are about to invade the cool, civilized interior of the luxury apartment.'

[Krasner] was drawn more and more to storyboarding sequences early in the production process. This sophistication was responsible for the look of one of Krasner's great accomplishments, 'The Set-Up'. This brilliant, low-budget fight film is played in real time, on sets whose spatial relationship to one another is an integral part of the story. Krasner used three cameras for the fight sequences, including a hand-held camera used in the ring. The director, Robert Wise, an experienced editor, cut this sequence himself, and the combined efforts of Krasner and Wise make the extended sequence one of the best of its kind, in a genre noted for its remarkable camerawork. With this film, Krasner demonstrates facility with every major cinematographic device in one 72-minute, low-budget film.

In 1948, Krasner began a fruitful relationship with writer-director-producer Joseph Mankiewicz, and an even longer relationship with 20th Century-Fox. After working on two thrillers with Mankiewicz, Krasner was chosen to photograph 'All About Eve', an extremely theatrical and carefully blocked story of shifting allegiances and loyalties in the world of the theater. Krasner literalized this motif through his use of exclusionary framing, staging within the frame, and subtle manipulation of the film's basic shot scale, the medium shot. Krasner's camera gently narrates 'All About Eve', operating in parallel but muted fashion to Mankiewicz's shrill, talky screenplay.

The 1950s and 1960s saw Krasner, now among the upper ranks of Hollywood cinematographers, attain the role of full collaborator on major projects. As the industry changed, Krasner also changed with apparent ease. He adapted well to huge budgets, European locales, different color processes, and widescreen formats. [From an article by Kevin Jack Hagopian on the filmreference.com website.]


 

 FILMS

1933

Strictly Personal [Ralph Murphy] b&w

1933

I Love That Man [Harry Joe Brown] b&w

1933

Golden Harvest [Ralph Murphy] b&w

1933

Sitting Pretty [Harry Joe Brown] b&w

1933

She Made Her Bed [Ralph Murphy] b&w; filmed 1933-34

1934

Private Scandal [Ralph Murphy] b&w; 62m

1934

The Great Flirtation [Ralph Murphy] b&w

1934

Here Comes the Groom [Edward Sedgwick] b&w; uncred; ph: Henry Sharp

1934

Paris Interlude [Edwin L. Marin] b&w

1934

Death on the Diamond [Edward Sedgwick] b&w; 2uc (St. Louis): Ray Binger & Leonard Smith

1934

Women Must Dress [Reginald Barker] b&w

1934

Great God Gold [Arthur Lubin] b&w

1935

Hold 'Em Yale/Uniform Lovers [Sidney Lanfield] b&w; 61m; spec pfx: Dewey Wrigley

1935

Murder in the Fleet [Edward Sedgwick] b&w; 69m

1935

Honeymoon Limited [Arthur Lubin] b&w; uncred (?); ph: John W. Boyle; some reviews and material in the copyright descriptions list Milton Krasner as photographer, while the film's credits list John W. Boyle as photographer (from the TCM website)

1935

Cheers of the Crowd [Vin Moore] b&w; 60m; cph: Harry Neumann

1935

Forbidden Heaven [Reginald Barker] b&w; 68m

1935

The Virginia Judge [Edward Sedgwick] b&w; 62m; spec pfx: Dewey Wrigley

1935

The Great Impersonation [Alan Crosland] b&w; 68m; spph: John P. Fulton

1936

Laughing Irish Eyes [Joseph Santley] b&w; cph: Reggie Lanning

 

 

1936

Arbor Day [Fred Newmeyer] b&w; short/18m; process ph: Roy Seawright; ep #145 of 'Our Gang/The Little Rascals' series (1922-44)

1936

Crash Donovan [William Nigh (replaced E. Laemmle), Edward Laemmle & Jean Negulesco (racing seq + retakes)] b&w; uncred 2uc: Norbert Brodine; spph: John P. Fulton

1936

Mister Cinderella [Edward Sedgwick] b&w; pfx: Roy Seawright

1936

Yellowstone [Arthur Lubin] b&w; 63m; sfx: John P. Fulton

1936

The Girl on the Front Page [Harry Beaumont] b&w; sfx: John P. Fulton

1936

Love Letters of a Star [Lewis R. Foster & Milton Carruth] b&w; 66m; sfx: John P. Fulton

1936

Mysterious Crossing [Arthur Lubin] b&w; 57m; sfx: John P. Fulton

1936

She's Dangerous [Lewis R. Foster & Milton Carruth] b&w; 66m; sfx: John P. Fulton

1936

We Have Our Moments [Alfred L. Werker] b&w; 65m; sfx: John P. Fulton; filmed 1936-37

1937

Oh, Doctor [Ray McCarey (replaced Alfred L. Werker)] b&w; sfx: John P. Fulton

1937

Love in a Bungalow [Ray McCarey] b&w; 67m

1937

The Lady Fights Back [Milton Carruth] b&w; 61m; sfx: John P. Fulton

1937

There Goes the Groom [Joseph Santley] b&w; 65m; sfx: Vernon L. Walker

1937

A Girl with Ideas [S. Sylvan Simon] b&w

1937

Prescription for Romance [S. Sylvan Simon] b&w

1937

The Jury's Secret [Edward Sloman] b&w; 65m

1937

Midnight Intruder [Arthur Lubin] b&w; 68m

 

 

1938

The Crime of Doctor Hallet [S. Sylvan Simon] b&w; 68m

1938

[The] Nurse from Brooklyn [S. Sylvan Simon] b&w; 65m

1938

The Devil's Party [Ray McCarey] b&w; 65m

1938

The Missing Guest [John Rawlins] b&w; 68m

1938

The Storm [Harold Young] b&w

1938

Newsboys' Home [Harold Young & (uncred retakes) Arthur Lubin] b&w; cph: John W. Boyle (?); 2uc: Jerome Ash

1938

You Can't Cheat an Honest Man [George Marshall] b&w

1939

The Family Next Door [Joseph Santley] b&w; 64m

1939

The House of Fear [Joe May] b&w; 67m

1939

I Stole a Million [Frank Tuttle] b&w

1939

Missing Evidence [Philip Rosen] b&w; 64m

1939

Little Accident [Charles Lamont] b&w; 65m; ep of the 7-part 'Baby Sandy'-series (Universal, 1939-41)

1939

Man from Montreal [Christy Cabanne] b&w; 61m

1939

The Invisible Man Returns [Joe May] b&w (originally in sepia); spec pfx: John P. Fulton

1939

Oh, Johnny, How You Can Love! [Charles Lamont] b&w; 63m

1939

The House of the Seven Gables [Joe May] b&w; filmed 1939-40

1940

Zanzibar [Harold Schuster] b&w; sfx superv: John P. Fulton

1940

Ski Patrol [Lew Landers] b&w; 64m

1940

Sandy Is a Lady [Charles Lamont] b&w; 65m; ep of the 7-part 'Baby Sandy'-series (Universal, 1939-41)

1940

Private Affairs [Albert S. Rogell] b&w

1940

Hired Wife [William A. Seiter] b&w

1940

Diamond Frontier [Harold Schuster] b&w

1940

The Bank Dick/The Bank Detective [Edward Cline & (collab) Ralph Ceder] b&w

1940

Trail of the Vigilantes [Allan Dwan] b&w; cph: Joseph Valentine

1940

Beat Me, Daddy, Eight to the Bar! [Larry Ceballos] b&w; mus short/20m

 

 

1940

Buck Privates/Rookies [Arthur Lubin] b&w; cph: Jerry Ash; filmed 1940-41

1941

The Lady from Cheyenne [Frank Lloyd] b&w

1941

Bachelor Daddy/Sandy Steps Out [Harold Young] b&w; 61m; ep of the 7-part 'Baby Sandy'-series (Universal, 1939-41)

1941

Too Many Blondes [Thornton Freeland] b&w; 60m

1941

This Woman Is Mine/Fury at Sea [Frank Lloyd] b&w; spec pfx: John P. Fulton

1941

Paris Calling/Paris Bombshell [Edwin L. Marin & (road seq) Jean Negulesco] b&w

1941

The Ghost of Frankenstein/Frankenstein's New Brain/The Trial of Frankenstein [Erle C. Kenton] b&w; 67m; cph: Woody Bredell; sfx: John P. Fulton; filmed 1941-42

1942

The Spoilers [Ray Enright] b&w; spec pfx: John P. Fulton

1942

Swing Frolic [Larry Ceballos & Reginald Le Borg] b&w; mus short/20m

1942

A Gentleman After Dark/Heliotrope Harry [Edwin L. Marin] b&w; spec pfx: Howard A. Anderson

1942

Pardon My Sarong [Erle C. Kenton] b&w

1942

Men of Texas/Men of Destiny [Ray Enright] b&w

1942

Arabian Nights [John Rawlins] c; assoc ph: W. Howard Greene & William V. Skall

1942

We've Never Been Licked/Fighting Command/Texas to Tokyo [John Rawlins] b&w; ph flying scenes: Charles A. Marshall & William J. Kelly; spec pfx: John P. Fulton; filmed 1942-43

1943

Two Tickets to London [Edwin L. Marin (replaced Roy William Neill)] b&w

1943

The Mad Ghoul [James Hogan] b&w; 65m

1943

So's Your Uncle [Jean Yarbrough] b&w; 64m; cph: Woody Bredell

 

 

1943

Gung Ho! - The Story of Carlson's Makin Island Raiders [Ray Enright] b&w; spec pfx: John P. Fulton

1943

To the People of the United States [Arthur Lubin] b&w; doc/21m; prod for the United States Public Health Service (to warn American GI's against syphilis)

1943

Hat Check Honey [Edward F. Cline] b&w; 68m; spph: John P. Fulton

1944

The Invisible Man's Revenge [Ford Beebe] b&w; spph: John P. Fulton

1944

The Woman in the Window [Fritz Lang] b&w; process ph: Vernon L. Walker; sfx: Paul Lerpae

1944

Delightfully Dangerous [Arthur Lubin] b&w; spec pfx: Howard Anderson

1944

Along Came Jones [Stuart Heisler] b&w; sfx: Harry Redmond Sr. & Ray Binger; filmed 1944-45

 

[Top/left] with Fritz Lang [sitting] - "Scarlet Street"

 

1945

Scarlet Street [Fritz Lang] b&w; spph: John P. Fulton

1945

Without Reservations [Mervyn LeRoy] b&w; sfx: Russell A. Cully, Harold Stine & Vernon L. Walker; transparency shots: Linwood G. Dunn; filmed 1945-46

1946

The Dark Mirror [Robert Siodmak] b&w; spec pfx: J. Devereaux Jennings & Paul Lerpae; uncred vfx: Eugen Schüfftan

1946

The Farmer's Daughter [H.C. Potter] b&w; sfx: Russell A. Cully

 

With actress Louise Allbritton - "The Egg and I"

 

1946

The Egg and I [Chester Erskine] b&w; 1st film in 10-part 'Ma and Pa Kettle'-series (Universal, 1947-57); filmed 1946-47

1947

Something in the Wind [Irving Pichel] b&w; spph: David S. Horsley

1947

A Double Life [George Cukor] b&w; spph: David S. Horsley

1947

Up in Central Park [William A. Seiter] b&w; spph: David S. Horsley

1948

The Saxon Charm [Claude Binyon] b&w; spph: David S. Horsley; sfx: John P. Fulton

1948

The Accused/Strange Deception [William Dieterle] b&w; spec pfx: Gordon Jennings; process ph: Farciot Edouart

1948

The Set-Up [Robert Wise] b&w

1948

House of Strangers [Joseph L. Mankiewicz] b&w; spec pfx: Fred Sersen; filmed 1948-49

1949

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

1949

Holiday Affair [Don Hartman] b&w

1949

No Way Out [Joseph Mankiewicz] b&w; spec pfx: Fred Sersen

1950

Rawhide/Desperate Siege [Henry Hathaway] b&w; spec pfx: Fred Sersen

 

With Marilyn Monroe - "All About Eve"

 

1950

All About Eve [Joseph Mankiewicz] b&w; spec pfx: Fred Sersen

1950

Half Angel [Richard Sale] c; spec pfx: Fred Sersen

1950

I Can Get It for You Wholesale/Only the Best/This Is My Affair [Michael Gordon] b&w; spec pfx: Fred Sersen

1951

People Will Talk [Joseph Mankiewicz] b&w; spec pfx: Fred Sersen

1951

The Model and the Marriage Broker [George Cukor] b&w; spec pfx: Fred Sersen

 

 

1951

Phone Call from a Stranger [Jean Negulesco] b&w; spec pfx: Ray Kellogg

1951

Deadline - U.S.A./Deadline [Richard Brooks] b&w; spec pfx: Ray Kellogg

1951

Dreamboat [Claude Binyon] b&w; spec pfx: Ray Kellogg; filmed 1951-52

1952

Monkey Business [Howard Hawks] b&w; spec pfx: Ray Kellogg

1952

O. Henry's Full House/Full House [seg 'The Ransom of Red Chief' dir by Howard Hawks] b&w; 5 seg (also version with 4 seg); uncred; other ph (uncred): Lloyd Ahern Sr. (1 seg), Lucien Ballard (1 seg) & Joseph MacDonald (2 seg)

1952

Taxi [Gregory Ratoff] b&w; spec pfx: Ray Kellogg

1952

Dream Wife [Sidney Sheldon] b&w

1953

Vicki [Harry Horner] b&w; spec pfx: Ray Kellogg; originally scheduled to be shot in 3-D

1953

Demetrius and the Gladiators [Delmer Daves] cs/c; spec pfx: Ray Kellogg; uses some footage from 'The Robe'

1953

Three Coins in the Fountain [Jean Negulesco] cs/c; + add scenes in 1953-54

1953

A Star Is Born [George Cukor] cs/c; ph CinemaScope test seq (prod number 'The Man That Got Away'); ph: Sam Leavitt

1953

Garden of Evil [Henry Hathaway] cs/c; cph: Jorge Stahl Jr.; spec pfx: Ray Kellogg; filmed 1953-54

1954

Roger Wagner Chorale [Otto Lang] ?; mus short/?m

 

With Jean Simmons - "Désirée"

 

1954

Désirée [Henry Koster (replaced Anatole Litvak before prod started)] cs/c; uncred loc ph (France): Edward Cronjager; spec pfx: Ray Kellogg

 

 

1954

The Seven Year Itch [Billy Wilder] cs/c; spec pfx: Ray Kellogg; + add scenes in January 1955

1954

Violent Saturday [Richard Fleischer] cs/c; uncred fill-in ph (in late December when C.G. Clarke was ill); ph: Charles G. Clarke

1954

Daddy Long Legs [Jean Negulesco] cs/c; uncred fill-in ph (for 2 days when L. Shamroy was ill); ph: Leon Shamroy

1955

How to Be Very, Very Popular [Nunnally Johnson] cs/c; spec pfx: Ray Kellogg

1955

The Girl in the Red Velvet Swing [Richard Fleischer] cs/c; spec pfx: Ray Kellogg

1955

The Rains of Ranchipur [Jean Negulesco] cs/c; uncred loc ph: Charles G. Clarke; spec pfx: Ray Kellogg

1955

The Man in the Gray Flannel Suit [Nunnally Johnson] cs/c; uncred loc ph (New York & Westport); ph: Charles G. Clarke

1955

23 Paces to Baker Street [Henry Hathaway] cs/c; spec pfx: Ray Kellogg; filmed 1955-56

1956

Bus Stop [Joshua Logan] cs/c; spec pfx: Ray Kellogg

1956

Boy on a Dolphin [Jean Negulesco] cs/c; spec pfx: Ray Kellogg

1957

An Affair to Remember [Leo McCarey] cs/c; spec pfx: L.B. Abbott

1957

Kiss Them for Me [Stanley Donen] cs/c; spec pfx: L.B. Abbott

1957

The Gift of Love [Jean Negulesco] cs/c; spec pfx: L.B. Abbott & Emil Kosa Jr.

1958

A Certain Smile [Jean Negulesco] cs/c

1958

The Remarkable Mr. Pennypacker [Henry Levin] cs/c

1958

Count Your Blessings [Jean Negulesco] cs/c; cph: George Folsey

1959

The Man Who Understood Women [Nunnally Johnson] cs/c; spec pfx: L.B. Abbott

1959

Home from the Hill [Vincente Minnelli] cs (Panavision lenses)/c; sfx: Robert R. Hoag

1959

Bells Are Ringing [Vincente Minnelli] cs (Panavision lenses)/c; sfx: A. Arnold Gillespie & Lee LeBlanc

1960

Go Naked in the World [Ranald MacDougall & (uncred reshoots) Charles Walters] cs/c; sfx: Robert R. Hoag

 

 

1960

King of Kings [Nicholas Ray] str70 & scope/c; 168m; cph: Franz Planer & Manuel Berenguer; spec pfx: Lee LeBlanc; + add shoot in June 1961 

1960

The Four Horsemen of the Apocalypse [Vincente Minnelli] p/c; spec vfx: A. Arnold Gillespie, Lee LeBlanc & Robert R. Hoag; filmed 1960-61

1961

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

 

[Left] with Geraldine Page & Paul Newman

"Sweet Bird of Youth"

 

1961

Sweet Bird of Youth [Richard Brooks] cs (Panavision lenses)/c; spec vfx: Lee LeBlanc

1961

Two Weeks in Another Town [Vincente Minnelli] cs (Panavision lenses)/b&w-c; spec vfx: Robert R. Hoag 

1962

The Courtship of Eddie's Father [Vincente Minnelli] p/c; spec vfx: Robert R. Hoag

1963

A Ticklish Affair [George Sidney] p/c; spec vfx: J. McMillan Johnson, A. Arnold Gillespie & Robert R. Hoag

 

[Right] with Steve McQueen, Natalie Wood and Robert Mulligan

"Love with the Proper Stranger"

 

1963

Love with the Proper Stranger [Robert Mulligan] b&w; spec pfx: Paul K. Lerpae; process ph: Farciot Edouart

 

[Left] with Stella Stevens and George Marshall

"Advance to the Rear"

 

1963

Advance to the Rear/Company of Cowards [George Marshall] p/b&w; spec vfx: J. McMillan Johnson

1964

Looking for Love [Don Weis] p/c

1964

Fate Is the Hunter [Ralph Nelson] cs/b&w; addph: Leon Shamroy; spec pfx: L.B. Abbott & Emil Kosa Jr.

1964

Goodbye Charlie [Vincente Minnelli] cs/c; spec pfx: L.B. Abbott & Emil Kosa Jr.

1964

The Sandpiper [Vincente Minnelli] p/c; wildlife ph: Richard Borden

1965

The World of Abbott and Costello [various] b&w; comp/75m; uncred cph archive footage

1965

Red Line 7000 [Howard Hawks] c; uncred addph: Haskell Boggs (replaced Krasner during prod); racing seq ph: Larry Frank; spec pfx: Paul K. Lerpae; process ph: Farciot Edouart

 

 

1965

Made in Paris [Boris Sagal] p/c

1965

The Singing Nun [Henry Koster (replaced Henry King)] p/c

1966

The Venetian Affair [Jerry Thorpe] p/c; loc ph (Venice, Italy): Enzo Serafin; spec vfx: Carroll L. Shepphird

1966

Hurry Sundown [Otto Preminger] p/c; cph: Loyal Griggs (started the film, but was replaced during filming because of an injury)

 

[Left] - "The St. Valentine's Day Massacre"

 

1966

The St. Valentine's Day Massacre [Roger Corman] p/c; spec pfx: L.B. Abbott, Art Cruickshank & Emil Kosa Jr.

1967

The Ballad of Josie [Andrew V. McLaglen] ts/c; matte superv: Albert Whitlock

1967

Don't Just Stand There [Ron Winston] ts/c

1968

The Sterile Cuckoo/Pookie [Alan J. Pakula] c

1969

Beneath the Planet of the Apes [Ted Post] p/c; spec pfx: L.B. Abbott & Art Cruickshank

1970

Zachariah [George Englund] c; uncred cph (started the film, but left after the death of his mother); ph: Jorge Stahl Jr.

 

 TELEVISION

1952

The Jack Benny Program [ep #11 'Bob Crosby's Contract' dir by Ralph Levy] 260-part series, 1950-65; 3rd season, 1952-53 (8 ep; b&w)

1972

McMillan & Wife [7 ep dir by various] 40-part series, 1971-77; 2nd season, 1972-73 (7 ep)

1973

McMillan & Wife [3 ep dir by various] 3rd season, 1973-74 (6 ep); other ph: Robert Wyckoff; see 1972

 

 

1974

McMillan & Wife [6 ep (e.g. #24 'Buried Alive' dir by James Sheldon) dir by various] 4th season, 1974-75 (6 ep); see 1972

1975

McMillan & Wife [7 ep dir by various] 5th season, 1975-76 (7 ep); see 1972

1976

Columbo [ep #38 'Fade in to Murder' dir by Bernard L. Kowalski] 45-part series, 1968 & 1971-78; 6th season, 1976-77 (3 ep)

1976

McMillan & Wife/McMillan [6 ep dir by various] 6th season, 1976-77 (6 ep); see 1972

 

 MISCELLANEOUS

1931

Devotion/Alias Mrs. Halifax [Robert Milton] co-2nd cam; ph: Hal Mohr

1931

Bad Company [Tay Garnett] co-2nd cam; ph: Arthur Miller

1931

A Woman Commands/Maria Draga [Paul L. Stein; (add scenes) Harry Joe Brown, Horace Jackson & Val Paul] co-2nd cam; ph: Hal Mohr & (uncred add scenes) Arthur Miller

1931

Prestige [Tay Garnett] co-2nd cam; ph: Lucien Andriot

1932

Is My Face Red? [William A. Seiter] co-c.op; ph: Leo Tover

1932

Ride Him, Cowboy/The Hawk [Fred Allen] 2nd cam; ph: Ted McCord

1932

70,000 Witnesses [Ralph Murphy] c.op; ph: Henry Sharp

1932

Madison Sq. Garden [Harry Joe Brown] c.op; ph: Henry Sharp

1932

The Devil Is Driving [Ben Stoloff] c.op; ph: Henry Sharp

1932

The Billion Dollar Scandal [Harry Joe Brown] co-2nd cam; ph: Charles Stumar

1938

His Exciting Night [Gus Meins] co-cam; ph: Henry Sharp