1971

[Left] with actor Errol Flynn

               

HAL MOHR

Born: 2 August 1894, San Francisco, USA, as Harold Leon Mohr.

Died: 10 May 1974, Santa Monica, Calif., USA.

Career: As a teenager he built his own camera and shot some local events. The Motion Picture Patents Company, controlling the patent on the loop mechanism in cameras, confiscated his camera. In order to perfect his knowledge of photography, he became photo finisher in the lab of portrait ph Otto Boyer. Joined Sol Lesser's General Films as newsreel cameraman and ph items for the 'Golden Gate Weekly'. Formed Italia-America Films in Berkeley, Calif., and wrote, prod, dir, ph and ed 'Pan's Mountain'. Moved to Hollywood in 1915 and started working as film editor for Universal. Co-directed [and edited] some films with Ruth Stonehouse and George Bronson Howard. Served in the US Army [1917-18] and went to France as ph in the Signal Corps. After the war ended, he stayed in Paris for almost a year. Returned to the USA in 1919, working for the Earl Klasski Company in San Francisco, making doc's and commercials, eventually obtaining work with major Hollywood studios.

Was a member and president [1930-31, 1963-64, 1964-65 & 1969-70] of the ASC.

Was married [1934-74] to actress Evelyn Venable [1913-93]. Has a star on the Hollywood 'Walk of Fame'.

With Evelyn Venable

Interviewee [voice only] in the doc 'The Man You Loved To Hate' [1979, Patrick Montgomery].

Awards: 'Oscar' AA [1935] for 'A Midsummer Night's Dream'; 'Oscar' AA [1943; color; shared] for 'Phantom of the Opera'; 'Oscar' AA nom [1953; b&w] & Golden Globe nom [1953; b&w] for 'The Four Poster'; George Eastman Award [1957].



Hal Mohr was an expert at serving the director by creating whatever look or visual effect that director required for his film. He was one of Hollywood's outstanding innovators with regard to photographic technique.

In an era when most film people remained employed by one studio, Mohr jumped from backlot to backlot. A majority of the scores of films he shot during his 50-odd years as a director of photography were made during the sound era, beginning symbolically with 'The Jazz Singer'. Even though the movies had learned to talk, Mohr showed how they need not stop moving. Particularly in 'Broadway', there is startling use of the moving camera: Mohr pioneered the extensive usage of boom and dolly shots, resulting in complicated, dazzling visuals that are among the most stunning examples of early Hollywood expressionism. It also was around this time that he designed a camera crane that remained in use for years.

By the 1940s and 1950s, Mohr had become a master of creating just the right visuals to mirror a film's mood, whether that mood be eerie [in 'Phantom of the Opera'], solemn ['Watch on the Rhine'], or stark and cool ['The Wild One']. The 1930s, however, was the cinematographer's most innovative decade. In 'Captain Blood', miniatures are flawlessly combined with process shots, and there is effective integration between shots made on the backlot and on location. Even more significantly, Mohr experimented with deep-focus photography in 'Bullets or Ballots' and 'The Green Pastures', predating Gregg Toland's work on 'Citizen Kane'.

Whatever artistic success 'A Midsummer Night's Dream' achieved is due as much to Mohr's creativity as the direction of Max Reinhardt and William Dieterle. In the scenario, sprites and fairies mix in the same shots with human beings; sequences filmed in real settings are intertwined with those filmed on obviously painted sets. Mohr's cinematography perfectly mirrors this combination of reality and fantasy via his utilization of soft photography and lighting to create an effect that is shimmering - at once magical and romantic. In accepting his Oscar, the cinematographer observed that while working on 'A Midsummer Night's Dream', he had the opportunity to "explore a few of the possibilities of our marvelous art-science," adding that "we must constantly seek new ways of picturing old stories, or we cease to progress."

In addition to Mohr's willingness to let his imagination roam free as he experimented with then-unheard-of techniques, his career is a testimony to the fact that filmmaking is a collaborative art form. [From article by Rob Edelman.]



 FILMS [1 reel = c. 10m]

1912

The Last Night of the Barbary Coast [Hal Mohr] b&w; doc/1 reel

1912

Panama-Pacific International Exposition Ground-Breaking Ceremony [Hal Mohr] b&w; newsreel/?m

1914

Salomy Jane [Lucius Henderson or William Nigh] b&w; 5-6 reels; cph: Lew Hutt; + co-ed; or ph Arthur Cadwell & Arthur Pawelson; prod California Motion Picture Corp.

1914

Money[James Keane] b&w; 5-6 reels; + co-ed; prod United Keanograph Film Manufacturing Co.

1914

Pan's Mountain/The Daughter of the Gods/Pan's Daughter [Hal Mohr] b&w; unreleased

1917

The Big Idea [Gilbert Pratt & Hal Mohr] b&w; 1 reel; + scrpl;prod Rolin Films

1918

Restitution/The Conquering Christ [Howard Gaye] b&w; cph: Delbert Davis; prod Mena Film Co.

1920

The Golden Trail [Jean Hersholt & Lewis H. Moomaw] b&w; 6 reels; cph: Clyde Cook; prod The American Lifeograph Co.

1920

The Deceiver [Jean Hersholt & Lewis H. Moomaw] b&w; 5 reels; cph: Clyde Cook; prod The American Lifeograph Co.

1921

The Unfoldment [George Kern & Murdock MacQuarrie] b&w; 6 reels; cph: Edward Gheller (or Ernest Miller); prod Producers Pictures

1922

Watch Him Step [Jack Nelson] b&w; 5 reels; prod Phil Goldstone Prod.

1923

The Unsuspecting Stranger [Ford Beebe & Leo D. Maloney] b&w; 2 reels; prod Malobee Prod.

1923

Bag and Baggage [Finis Fox] b&w; 6 reels; prod Finis Fox Corp.

1923

The Adventures of Prince Courageous [Frederick G. Becker & Charles R. Seeling] b&w; serial

With actress Mae Busch - "A Woman Who Sinned"

1924

A Woman Who Sinned [Finis Fox] b&w; cph: Jean Smith; prod R-C Pictures

1924

Vanity's Price/This House of Vanity [Roy William Neill] b&w; 6 reels; prod Gothic Pictures

1924

He Who Laughs Last [Jack Nelson] b&w; 5 reels; prod Bud Barsky Corp.

1925

The Monster [Roland West] b&w + tinted; prod Metro-Goldwyn Pictures Corp.

1925

Playing With Souls [Ralph Ince] b&w; prod Thomas H. Ince Corp.

1925

Little Annie Rooney [William Beaudine] b&w; 9 reels; 2nd cameraman; ph: Charles Rosher; prod Mary Pickford Company

1925

Sparrows/Human Sparrows [William Beaudine & Tom McNamara (finished film)] b&w; 9 reels; cph: Charles Rosher; 2nd cameraman: Karl Struss; restored tinted version with music released in 1976; prod Pickford Corporation; 'Struss shot stuff on his own, and I shot stuff on my own. Sometimes we worked together, but most of the time we were working separately. It was a very good movie, and I had some very effective stuff in it, damned effective stuff. Karl was responsible for a lot of it - I don't want to take any of the glory away from him.'*

1926

The Marriage Clause [Lois Weber] b&w; prod Universal Pictures

1926

The High Hand [Leo Maloney] b&w; 6 reels; prod Leo Maloney Prod.

1926

The Third Degree [Michael Curtiz] b&w; prod Warner Bros. Pictures, Inc. (WB)

1927

Bitter Apples [Harry O. Hoyt] b&w; 6 reels; prod WB

1927

A Million Bid [Michael Curtiz] b&w; prod WB

1927

Old San Francisco [Alan Crosland] b&w & tinted; silent with music & sound efx (Vitaphone); prod WB

1927

The Heart of Maryland [Lloyd Bacon] b&w; 6 reels; prod WB

1927

Slightly Used [Archie L. Mayo] b&w; prod WB

1927

The Jazz Singer [Alan Crosland] b&w; silent with sound seq (a few passages of dialogue, music score/songs & sound efx); prod The Vitaphone Corporation & WB

1927

The Girl from Chicago [Ray Enright] b&w; 6 reels; prod WB

1928

Tenderloin [Michael Curtiz] b&w; silent & sound (4 talking seq) versions; prod WB

1928

Glorious Betsy [Alan Crosland] b&w; silent with talking seq; prod WB

[Right] with dir Erich von Stroheim - "The Wedding March"

1928

The Wedding March [Erich von Stroheim] b&w + color seq; Technicolor ph: Ray Rennahan; took over filming, but left after 14 weeks; doph Ben Reynolds & Buster Sorenson were also involved; doph Roy H. Klaffki finished the film as photographer associate; shooting was stopped after 9 months and 2 films, 'The Wedding March' & 'The Honeymoon', were ed from the material by Josef von Sternberg; silent & sound (music & sound efx) versions; prod Paramount Famous Lasky Corp.; 'I took that over, you know; they had been about six weeks on that thing. I don't know what the trouble was, but I went out and took that over from Harry [Harris] Thorpe and Bill [William C.] McGann, and I think we retook everything they had made. I was 8 or 10 weeks on the thing. I worked like a dog; we worked day and night, and there were days I never left the studio... That was a difficult picture to do. But it was a great opportunity to make a beautiful display of photography, I thought. [...] I finished 'The Wedding March', and I got about halfway through 'The Honeymoon' when the bomb burst, insofar as Von and I were concerned. I just picked up my camera, walked off the set and went home, and that was the end of it.'*

1928

The Honeymoon [Erich von Stroheim] b&w; unfinished sequel (filmed simultaneously) to 'The Wedding March'; was given a limited release in Europe; film is lost

[On dolly] looking at dir Michael Curtiz [with megaphone] - "Noah's Ark"

1928

Noah's Ark [Michael Curtiz] b&w; silent & sound (Vitaphone) versions; quit midway through filming and was replaced by Barney McGill; miniature ph: Fred Jackman; prod WB (film was restored in 1989 from an old work print, a cut-down dupe negative, and material held by La Cinémathèque française; the original length was 135m, the restored version runs 105m.)

1928

The Last Warning [Paul Leni] b&w; silent & sound versions; prod Universal Pictures

1928

The Last Performance/The Last Call/Erik the Great [Paul Fejos] b&w; silent & sound versions; prod Universal

1929

Broadway [Paul Fejos] b&w + color seq; sfx ph: Frank H. Booth; silent & sound versions; prod Universal

1929

Shanghai Lady/The Girl from China [John S. Robertson] b&w; silent & sound versions; prod Universal

1929

Captain of the Guard/La Marseillaise [John S. Robertson (replaced Paul Fejos)] b&w; cph: Gilbert Warrenton (replaced H. Mohr); silent & sound versions; prod Universal

1929

Czar of Broadway [William James Craft] b&w; silent & sound versions; prod Universal

1929

King of Jazz [John Murray Anderson & (uncred) Paul Fejos] c; cph: Ray Rennahan & Jerome Ash; filmed 1929-30

1930

Big Boy [Alan Crosland] b&w

1930

The Cat Creeps [Rupert Julian & John Willard] b&w; cph: Jerome Ash

1930

Outward Bound [Robert Milton] b&w

1930

The Cohens and Kellys in Africa [Vin Moore] b&w

1930

Free Love [Hobart Henley] b&w

1931

The Front Page [Lewis Milestone] b&w; uncred cph (replaced T. Gaudio); cph: Glen MacWilliams & (uncred) Tony Gaudio

1931

The Common Law [Paul L. Stein] b&w

1931

A Woman of Experience/Registered Woman [Harry Joe Brown] b&w

1931

The Big Gamble [Fred Niblo] b&w; 65m

1931

Devotion [Robert Milton] b&w

1931

A Woman Commands [Paul L. Stein; (add scenes) Harry Joe Brown, Horace Jackson & Val Paul] b&w; uncred ph (add scenes): Arthur Miller

1931

Lady with a Past/Reputation [Edward H. Griffith] b&w

1932

Week Ends Only [Alan Crosland] b&w; 65m

1932

The First Year [William K. Howard] b&w

1932

Tess of the Storm Country [Alfred Santell] b&w

1932

State Fair [Henry King] b&w; uncred ph (Des Moines, Iowa): Joseph Valentine & Ed Hammeras

1933

The Warrior's Husband [Walter Lang] b&w

1933

I Loved You Wednesday [Henry King & William Cameron Menzies] b&w

1933

The Devil's in Love [Wilhelm Dieterle] b&w

1933

The Worst Woman in Paris? [Monta Bell] b&w; uncred cph: Ernest Palmer

1933

As Husbands Go [Hamilton MacFadden] b&w

1933

Carolina/House of Connelly [Henry King] b&w

1933

David Harum [James Cruze] b&w; filmed 1933-34

1934

Change of Heart [John G. Blystone] b&w; aph: Elmer Dyer & Paul Mantz

1934

Charlie Chan's Courage [George Hadden & Eugene Forde] b&w; 6th film in 28-part 'Charlie Chan'-series (Fox/20thCF, 1929-42)

1934

Servants' Entrance [Frank Lloyd] b&w; anim seq by Walt Disney

1934

Under Pressure [Raoul Walsh & (uncred revisions) Irving Cummings] b&w; cph: L.W. O'Connell; miniature ph: John Smith; filmed September/October & December (revisions)

1934

The County Chairman [John G. Blystone] b&w

1934

A Midsummer Night's Dream [William Dieterle & Max Reinhardt] b&w; took over from E. Haller; cph: Ernest Haller; spec pfx: Byron Haskin, Fred Jackman & H.F. Koenekamp; 'The art director built a forest set that covered two full stages; it was so realistic you couldn't photograph it... there was no place to get any light through the damn [trees]. Fortunately, [the film] didn't lend itself to reality, so it didn't have to be photographed in that way. So this cameraman was a very good cameraman, but he didn't have the guts to say, 'You can't photograph it, you've got to do it this way.' He tried to conform to what the art director had created. So they'd been on this thing for about 8 weeks, and they were really in a lot of trouble. [...] I said, 'I'll take it over under one condition, that I have absolute control. I can do whatever I want to do as far as photography is concerned. [...] By the time I got done spraying this set with color, and cobwebs, and glitters, it looked almost like a Christmas Card.'*; filmed 1934-35

1935

Captain Blood [Michael Curtiz] b&w; addph: Ernest Haller; spec pfx: Fred Jackman

1935

The Walking Dead [Michael Curtiz] b&w; filmed 1935-36

1936

The Green Pastures [William Keighley (replaced M. Connelly) & Marc Connelly] b&w; spec pfx: Fred Jackman

[Left] with dir William Keighley and stars Joan Blondell & Edward G. Robinson

"Bullets or Ballots"

1936

Bullets or Ballots [William Keighley] b&w

1936

Ladies in Love [Edward H. Griffith] b&w

1936

Top of the Town [Ralph Murphy& (uncred) Walter Lang] b&w; uncred cph; ph: Joseph A. Valentine

1937

I Met My Love Again [Joshua Logan, Arthur Ripley & (uncred) George Cukor] b&w; + small part

1938

Back Door to Heaven [William K. Howard] b&w

1939

The Under-Pup [Richard Wallace] b&w

1939

Rio [John Brahm] b&w

[Right] with James Stewart and Marlene Dietrich

"Destry Rides Again"

1939

Destry Rides Again [George Marshall] b&w; 'I did use some diffusion, but the lighting was meticulous, and [Marlene] worked right to the lighting. [...] I was lighting the set and she was sitting there. She started saying, 'Don't you think you ought to so-and-so and so-and-so?' I said, 'Look, Marlene, if you want to light the set, you go ahead.' I took my blue glass of and handed it to her, and said, 'You go right ahead.' So I sat down, and she started trying to light lights, and she got so involved, she finally said, 'For Christ's sake, Hal, go and light the set.' So I cured her of that.'*

1940

When the Daltons Rode [George Marshall] b&w

1940

Cheers for Miss Bishop [Tay Garnett] b&w

1940

Pot o' Gold/The Golden Hour/Jimmy Steps Out [George Marshall] b&w; dance ph: Harry Jackson; filmed 1940-41

1941

International Lady [Tim Whelan] b&w; spec pfx: Howard Anderson

1941

Twin Beds [Tim Whelan] b&w

1942

Lady in a Jam [Gregory La Cava] b&w

1942

Watch on the Rhine [Herman Shumlin & (uncred) Hal Mohr] b&w; cph: Merritt B. Gerstad; sfx: Edwin DuPar

1942

Top Man/Man of the Family [Charles Lamont] b&w

1943

Phantom of the Opera [Arthur Lubin (replaced Henry Koster)] c; cph: W. Howard Greene; spph: John P. Fulton; 'That was three-strip. I had Duke Greene working with me, the Technicolor man. He'd watch and see if I was getting in trouble technically; he'd say 'Don't you think we ought to have a little more light here?' He was kind of a follow-up man; he'd go in and measure the light to see if it was up to the Technicolor requirements. He was really very helpful.'* 'Also contractual were the services of color consultant Natalie Kalmus, which led to conflicts with the studio staff. Mohr never disguised his loathing for Mrs. Kalmus, and when Arthur Lubin started color tests of Eddy and Foster on January 4th, he, too, found her presence 'a pain in the ass. We had to make tests of everything for her. She and Duke [Greene] made the final decisions. You would listen to Technicolor; they had the final say on the printing of the thing.' [From article by Scott MacQueen in 'American Cinematographer', September 1993.]

1943

This Is the Life [Felix Feist] b&w; spph: John P. Fulton

1943

Ladies Courageous/Fury in the Sky [John Rawlins] b&w; spph: John P. Fulton

1943

Follow the Boys/Three Cheers for the Boys [A. Edward Sutherland & (uncred add scenes) Jack Rawlins] b&w; uncred ph Delta Rhythm Boys seq; uncred add scenes ph: Charles Van Enger; ph: David Abel

1944

Prices Unlimited [Erle C. Kenton] b&w; doc/10m

1944

The Climax [George Waggner] c; cph: W. Howard Greene

1944

San Diego, I Love You [Reginald Le Borg] b&w

1944

My Gal Loves Music [Edward Lilley] b&w; 69m; spph: John P. Fulton

1944

Her Lucky Night [Edward Lilley] b&w; 62m

1944

Enter Arsene Lupin [Ford Beebe] b&w; spec pfx: John P. Fulton

1944

Salome, Where She Danced [Charles Lamont] c; cph: W. Howard Greene

1944

A Night in Paradise [Arthur Lubin] c; cph: W. Howard Greene; spec pfx: John P. Fulton; filmed 1944-45

1945

Shady Lady [George Waggner] b&w

1945

Because of Him [Richard Wallace] b&w

1946

Song of Scheherazade [Walter Reisch] c; cph: William V. Skall

1946

Pirates of Monterey [Alfred L. Werker] c; cph: W. Howard Greene & Harry Hallenberger

1946

I'll Be Yours [William A. Seiter] b&w; spph: David S. Horsley

1947

The Lost Moment [Martin Gabel] b&w

1947

The Exile [Max Ophüls] b&w; uncred cph (for 1 week); ph: Franz Planer

1947

Another Part of the Forest [Michael Gordon] b&w

1948

An Act of Murder/Live Today for Tomorrow/The Case Against Calvin Cooke [Michael Gordon] b&w

1949

Johnny Holiday/Boys' Prison [Willis Goldbeck] b&w

1949

The Second Woman/Ellen/Here Lies Love/Twelve Miles Out [James V. Kern] b&w

1950

Woman on the Run [Norman Foster] b&w; process ph: Loyal Griggs & Robert Hansard

1950

Of Men and Music [Irving Reis & (Dimitri Mitropoulos seg) Alexander Hammid ] b&w; doc/85m; ph Jan Peerce/Nadine Conner seg (filmed in July); other seg ph by Floyd Crosby & William O. Steiner

1951

Rancho Notorious [Fritz Lang] c; 'Fritz had the faculty of riding the camera dolly. He had to watch through the finder; he'd hold the operator to one side while he'd be looking through. Hell, an operator has to have complete control of the camera while a scene is being shot. In rehearsal it's all right, but when you're shooting the scene, you have to leave that man alone. I can get behind the camera and see what the operator is doing, I can see if he's getting the scene or not. But with a guy doing what Fritz did you can't do the job. He got very abusive to some of my camera crew. I wanted to quit and Lang wanted to fire me.'*

1951

The Big Night [Joseph Losey] b&w

1951

The Four Poster [Irving Reis] b&w; anim interscenes dir by John Hubley

[Right] with actress Julie Harris - "The Member of the Wedding"

1952

The Member of the Wedding [Fred Zinnemann] b&w

1953

The Wild One/Hot Blood [Laslo Benedek] b&w

1953

Jamboree [Willis Goldbeck, Paul Burnford & Ross Lederman] 16mm-35bu/b&w; doc/54m; cph: John Boyle & Guy Rose

1956

The Boss [Byron Haskin] b&w

1957

Baby Face Nelson [Don Siegel] b&w

1957

The Lineup [Don Siegel] b&w

1958

The Gun Runners [Don Siegel] b&w; remake of 'To Have and Have Not' (1944)

1958

Imagination in Motion [Richard Lyford] ?; comm doc/?m; for General Motors

1959

The Last Voyage [Andrew L. Stone] c; filmed May-December

1960

Underworld, U.S.A. [Samuel Fuller] b&w

1962

The Creation of the Humanoids/Revolt of the Humanoids [Wesley Barry] c

Danny Kaye - HM [center] - Frank Tashlin - "The Man from the Diners' Club"

1962

The Man from the Diners' Club [Frank Tashlin] b&w

1963

The Story of Dr. Lister [Arthur Pierson] c; comm short/28m; prod Hanna-Barbera Productions for Warner-Lambert Pharmaceutical Company

1964

Invisible Diplomats [LeRoy Prinz] c; comm short/22m; prod Jerry Fairbanks Productions for AT&T

1965

If An Elephant Answers [?] ?; comm doc/?m; prod Jerry Fairbanks Productions for AT&T

1968

The Bamboo Saucer/Collision Course! [Frank Telford] c; spec pfx: John P. Fulton

*From interview in 'Behind the Camera: The Cinematographer's Art' by Leonard Maltin, 1971.


 TELEVISION

1951

Meet the Masters [ep 'Andres Segovia, Jan Peerce & Nadine Conner' dir by Irving Reis (IR), 'Marion Anderson' dir by IR & 'Trio: Rubinstein, Heifetz & Piatigorsky' dir by Jules Dassin] classical mus series/b&w, 1952 (NBC-tv)

1953

Your Readers [e.g. 'About Cats', 'David and Solomon', 'Children', 'False Jewels', 'Night', 'Oscar Wilde', 'Dan Defoe' & 'The Dream' dir by James Mason] 29(?)-part series/b&w; cph: Joseph Biroc; each ep (20m) is a reading of excerpts from a literary work

1953

I Married Joan/The Joan Davis Show [e.g. ep #31 'The Artist Show' dir by John Rich] 98-part sitcom series/b&w, 1952-55 (NBC-tv); 1st season, 1952-53; other ph: Clyde De Vinna & Philip Tannura

1953

I Married Joan/The Joan Davis Show [possibly all 33 ep, e.g. #40 'Brad's Moustache', #42 'Furnature Quick Changes', #50 'The Musical', #52 'Superstition', #53 'Barbecue' & #55 'Mabel's Dress'; all dir by John Rich] 2nd season, 1953-54; see above

1954

That's My Boy [various] 37 (?)-part sitcom series/b&w, 1954-55 (CBS-tv)

1954

The Donald O'Connor Texaco Show/The Texaco Star Theater Starring Donald O'Connor [various] ?-part sitcom series/b&w, 1954-55 (NBC-tv)

1954

The Bob Cummings Show/Love That Bob [various] 173-part sitcom series/b&w, 1955-59 (NBC-tv & CBS-tv)

1954

Life with Father [e.g. ep #14 'Father Buys a Horse' dir by Peter Tewksbury] ?-part sitcom series/b&w-c, 1953-55 (CBS-tv); 2nd season/b&w, 1954-55 (1st season was live and in color)

1954

Professional Father [ep #4  dir by John Claar] 6-part sitcom series/b&w, 1955 (CBS-tv)

1955

Screen Directors Playhouse [ep #2 'Day Is Done' dir by Frank Borzage, #10 'Rookie of the Year' dir by John Ford & #14 'Hot Cargo' dir by Tay Garnett] 35 (?)-part anthology series/b&w, 1955-56 (NBC-tv); other ph: Ed DuPar, Joseph Biroc, Paul Ivano, James Wong Howe, a.o.

1956

Panic! [ep #3 'The Boy' dir by Sherman Marks] 18-part dramatic anthology series/b&w, 1957 (NBC-tv); other ph: Harry Wild & Arch R. Dalzell

1957

The George Sanders Mystery Theatre/Award Theatre [ep #11 'The Night I Died' dir by Fletcher Markle] 13-part dramatic anthology series/b&w (NBC-tv)

1957

Playhouse 90 [ep #62 'No Time at All' dir by David Swift] 134-part dramatic anthology series/b&w, 1956-60 (CBS-tv - started live); 2nd season, 1957-58

1959

[James Michener's] Adventures in Paradise [various] 91-part adventure series/b&w, 1959-62 (ABC-tv); other ph: Maury Gertsman, Lloyd Ahern, a.o.

1960

The Barbara Stanwyck Show [ep #29 'Frightened Doll' dir by Jacques Tourneur & #32 'The Assassin' dir by David Lowell Rich] 36-part dramatic anthology series/b&w, 1960-61 (NBC-tv)

1961

Father of the Bride [various] 34-part sitcom series/b&w, 1961-62 (CBS-tv)

1963

Breaking Point [ep #1 'Solo for B-flat Clarinet' dir by Sydney Pollack] 30-part medical drama series/b&w, 1963-64 (ABC-tv); other ph: Robert Hauser; this ep was in 2 parts - part 1, 'For This Relief, Much Thanks', was ep #64 of the 'Ben Casey'-series (ph by Ted Voigtlander)

1967

Jack and the Beanstalk [Gene Kelly] special (anim + live action); ph live action seq; for NBC-tv


 MISCELLANEOUS

1920

The Four Horsemen of the Apocalypse [Rex Ingram] co-c.asst; ph: John F. Seitz

1968

Topaz [Alfred Hitchcock] ph cons; ph: Jack Hildyard


 FILMS AS DIRECTOR

1912

The Last Night of the Barbary Coast [+ ph] see Films

1912

Panama-Pacific International Exposition Ground-Breaking Ceremony [+ ph] see Films

1914

Pan's Mountain/The Daughter of the Gods/Pan's Daughter [+ scrpl/prod/ph/ed] see Films

1917

Perils of the Secret Service [9-part serial; co-d: George Bronson Howard & Jack Wells] ph: ?

1917

The Big Idea [co-d: Gilbert Pratt; + scrpl/ph] see Films

1936

When Love Is Young [feature] ph: Jerome Ash

1942

Watch on the Rhine [uncred; co-d: Herman Shumlin] see Films