GREAT CINEMATOGRAPHERS


#2: [Right] with dir John Brahm - "The Locket" [1946]

#3: [Right] with crew member [1937]

 

   


NICHOLAS MUSURACA

 

Born: 25 October 1892, Riace, Reggio Calabria, Italy. Went to the USA as a child.

Died: 3 September 1975, Los Angeles, Calif., USA.

Career: Started as chauffeur for silent film producer J. Stuart Blackton. Became projectionist, editor and asst dir with the Vitagraph Company of America in Brooklyn, New York. Went to California in the early 1920s and joined the Robertson-Cole Company at their studio [built in 1921] on Gower Street and Melrose Avenue in Hollywood. Stayed with the company as it evolved into Film Booking Offices of America [FBO] in 1922 and RKO Radio Pictures in 1928. He became one of RKO's' prime directors of photography in the 1930s. After working briefly at Warner Bros. in the late 1950s, Musuraca returned to RKO, then renamed Desilu, where he spent his last active years in TV work.

Was a member of the ASC.

Awards: 'Oscar' AA nom [1948] for 'I Remember Mama'.



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'A cameraman at RKO since the founding of the studio, Nicholas Musuraca was confined for most of his career to B movies. Nevertheless, he made his mark in the '40s with some of the finest low-key photography produced in Hollywood. In particular, he photographed a number of films in the Val Lewton horror series and, above all, some of the key films noir. Indeed, as cameraman on 'Stranger on the Third Floor', he was one of the founder members of the noir visual style: although very much a B production, the film finds a visual correlative for the hero's paranoia in harsh chiaroscuro lighting effects and, most famously, an extraordinary expressionist nightmare sequence.

As early as February 1941 [in an interview in 'American Cinematographer'] Musuraca said that he would always try and 'simplify' his lighting setups, by which he meant use the minimum number of lights.

For 'Cat People', Musuraca was teamed with Jacques Tourneur, a collaboration which enabled him to refine his style and which produced a number of superbly conceived and executed little scenes, in which what we don't see [in the shadows] is more effective than what we do.

The claustrophobic feel of the little-known film noir 'The Fallen Sparrow' is again aided immensely by Musuraca's skill with shadows, which seem to hem in and enclose John Garfield. But it was his teaming with Siodmak for 'The Spiral Staircase' that produced the finest example of his work to date. Siodmak undoubtedly had a talent for bringing out the best in his cameramen [compare Woody Bredell's work before and after 'Phantom Lady'] and 'The Spiral Staircase', a Gothic thriller, is full of stunning images, combining deep focus [in particular, with silhouettes in the foreground] with a range of dramatic low-key effects.

With John Brahms brilliant 'The Locket' and Tourneur's masterful 'Out of the Past', Musuraca must, surely, have established his pre-eminence in RKO's roster of cameramen. His next assignment was the prestigious 'I Remember Mama', for which he was nominated for an 'Oscar'. But something seems to have happened. After the memorable noir western 'Blood on the Moon' [the noir elements largely the consequence of Musuraca's photography], he was reassigned to low grade B westerns. And, although there were some fine films to come - notably the underrated 'Where Danger Lives' and, of course, the two Fritz Lang movies - the final years of his career scarcely do justice to a man who was one of the supreme exponents of low-key photography.' [From article by Michael Walker in 'Film Dope' #46, March 1991.]


Nicholas Musuraca's name remains unjustly obscure among the ranks of cinematographers from Hollywood's golden age. In his prime years at RKO during the 1940s, Musuraca shuttled back and forth between A- and B-films, prestige pictures, and genre potboilers. For this reason, and because many of the motion pictures photographed by Musuraca have attained a classic or landmark status only recently, he remains a neglected master.

Along with Gregg Toland's work on 'Citizen Kane', Musuraca's cinematography for 'Stranger on the Third Floor' defined the visual conventions for film noir and codified the RKO look for the 1940s. Musuraca's photography begins and ends with shadows, owing a major debt to German Expressionism, and can be seen as the leading factor in the resurrection of the style in Hollywood in the 1940s. The dominant tone in his work is black, a stylistic bias that lent itself to film noir and the moody horror films of Val Lewton. But even within the confines of the studio system Musuraca succeeded in transposing his style to other genres. Through the conventions of varying genres and the differing requirements of numerous directors, Musuraca maintained a uniform personal aesthetic.

The whole of Musuraca's readily identifiable style can be broken down into five consistent fragments: the use of the complete tonal range of black and white; the low placement of lighting sources; narrow beams of high-key light within a dark frame; a silhouetting technique with an emphasis on lighting for contour; and a penchant for abstraction. The first of these stylistic signatures is the use of the full tonal range of black and white. Best exemplified by the outdoor sequences in 'Out of the Past', Musuraca created the moving equivalent of Ansel Adams's 'Zone System' of photography in which deep blacks, smooth grays, and sharp whites coexist within the frame. The motion pictures which Musuraca photographed possess a richness and variety of tone that give even the low-budget films an opulent texture. His second rule provided a naturalistic means to achieve an expressionistic result. The low placement of light sources - often in the guise of table lamps, but also fireplaces and campfires - netted a highly expressionistic look as the illuminated subject was trapped by his or her own shadow looming on the walls and ceiling above. The third Musuraca trait called for tightly defined high-key light focused on objects, most often faces, in the black void. The technique simultaneously directs the eye to the primary point of interest within the frame while emphasizing the surrounding darkness leading to a tension as the conflicting tones attempt to dominate. Musuraca's fourth and most readily identifiable trademark is a skimming-silhouetting technique. Figures or faces in the foreground are lit from the side or rear, emphasizing contour while leaving the front largely dark. The resulting highlighted contour of the silhouetted object separates it from the background adding depth to the frame. It is this individual trait that accounts for much of the 'archetypal' noir look of 'The Locket' and 'Out of the Past'.

A strong reliance on tonal tension featuring large areas of black led Musuraca to the verge of abstraction in many cases. This fifth trait is evident in a number of the films he photographed as the frame is shattered into geometric patterns of light and shadow. In 'The Seventh Victim' a cosmetics factory at night becomes little more than a collection of rectangular shapes of varying tone. Similarly, many shots of nocturnal San Francisco in 'Out of the Past' suggest that the city is constructed of black quadrangles and white squares of light rather than brick and mortar. In 'Cat People' threat is conveyed by the changing density of the reflected patterns of rippling water on the walls and ceiling surrounding an indoor pool. Musuraca formulated a personal style in a more pronounced way than many other cinematographers working within the studio system, a style that dictated that any place could be threatening at any time. With darkness and light as his instruments, Musuraca charted the topography of menace with unparalleled consistency and artistry. [From article by Eric Schaefer on the filmreference.com website.]


 

 FILMS [1 reel = c. 10m]

1922

The Glorious Adventure [J. Stuart Blackton] c; 7 reels; uncred cph (+ uncred title des); ph: William Crespinel; prod J. Stuart Blackton Photoplays

1922

The Virgin Queen [J. Stuart Blackton] b&w-c; 7 reels; prod J. Stuart Blackton Feature Pictures Inc.

1922

A Gypsy Cavalier/A Gipsy Cavalier [J. Stuart Blackton] b&w; 7 reels; prod International Artists

1923

On the Banks of the Wabash [J. Stuart Blackton] b&w; 7 reels; prod Vitagraph Company of America

1925

The Happy Warrior [J. Stuart Blackton] b&w; 8 reels; ?; ph: Paul Allen; prod Vitagraph Company of America

1926

Bride of the Storm [J. Stuart Blackton] b&w; 7 reels; addph: William Adams; prod Vitagraph Company of America

1926

The Gilded Highway [J. Stuart Blackton] b&w; 7 reels; prod Warner Brothers Pictures (WB)

1926

Hell-Bent for Heaven/The Hypocrite [J. Stuart Blackton] b&w; 7 reels; prod WB

1926

The Passionate Quest [J. Stuart Blackton] b&w; 7 reels; prod WB

1926

Shameful Behavior? [Albert Kelley] b&w; 6 reels; prod Preferred Pictures

1926

His New York Wife/The Secret Wedding [Albert Kelley] b&w; 6 reels; prod Preferred Pictures

1926

Lightning Lariats/A Throne for a Saddle [Robert De Lacey] b&w; 5 reels; prod R-C Pictures Corporation

1927

The Sonora Kid [Robert De Lacey] b&w; 5 reels; prod R-C Pictures Corporation

1927

Cyclone of the Range [Robert De Lacey] b&w; 5 reels; prod FBO Pictures (FBO)

1927

Splitting the Breeze [Robert De Lacey] b&w; 5 reels; prod R-C Pictures Corporation

1927

Tom's Gang [Robert De Lacey] b&w; 5 reels; prod R-C Pictures Corporation

1927

The Cherokee Kid/The Stranger [Robert De Lacey] b&w; 5 reels; prod FBO

1927

The Bandit's Son [Wallace W. Fox] b&w; 5 reels; prod FBO

1927

South Sea Love [Ralph Ince] b&w; 7 reels; prod R-C Pictures Corporation

1928

When the Law Rides [Robert De Lacey] b&w; 5 reels; prod FBO

1928

Red Riders of Canada [Robert De Lacey] b&w; 7 reels; prod FBO

1928

Phantom of the Range [James Dugan] b&w; 5 reels; prod FBO

1928

Last Lap [Bruce Mitchell] b&w; 7 reels; prod Dailey Productions

1928

Dog Justice [Jerome Storm] b&w; 6 reels; prod FBO

1928

Terror/Tom's Vacation [Louis King] b&w; 5 reels; prod FBO

1928

The Charge of the Gauchos/The Beautiful Spy [Albert Kelley] b&w; 6 reels; cph: George Benoit; prod Ajuria Productions

1928

The Avenging Rider [Wallace Fox] b&w; 6 reels; prod FBO

1928

Rough Ridin' Red [Louis King] b&w; 5 reels; prod FBO

1928

Tyrant of Red Gulch/The Sorcerer [Robert De Lacey] b&w; 5 reels; prod FBO

 

[Behind camera] with dir Robert Vignola [seated] and actors

"Tropic Madness"

 

1928

Tropic Madness/The Price of Pleasure [Robert G. Vignola] b&w; 7 reels; prod FBO

1928

Orphan of the Sage [Louis King] b&w; 6 reels; prod FBO

1928

The Trail of the Horse Thieves/Double Lives [Robert De Lacey] b&w; 5 reels; prod FBO

1929

The Red Sword/Three Days to Live [Robert G. Vignola] b&w; 7 reels; prod FBO

1929

Gun Law/A Swift Lover [Robert De Lacey & John Burch] b&w; 6 reels; prod FBO

1929

The Freckled Rascal [Louis King] b&w; 5 reels; prod FBO

1929

Idaho Red [Robert De Lacey] b&w; 6 reels; prod FBO

1929

The Pride of Pawnee [Robert De Lacey] b&w; 6 reels; prod FBO

1929

Side Street/Three Brothers [Malcolm St. Clair] b&w; 7 reels; cph: William Marshall; silent & sound versions; prod RKO Productions, Inc.

1929

Love Comes Along [Rupert Julian] b&w; 8 reels; ?; ph: J. Roy Hunt; silent & sound versions; prod RKO Productions, Inc.

1930

Conspiracy [Christy Cabanne] b&w; 67m

1930 

The Cuckoos [Paul Sloane] b&w-c

1930

Inside the Lines [Roy J. Pomeroy] b&w

1930

Half Shot at Sunrise [Paul Sloane] b&w

1930

Hook, Line and Sinker [Eddie Cline] b&w

1930

The Sin Ship [Louis Wolheim] b&w; 65m; pfx: Lloyd Knechtel

1930

Cimarron [Wesley Ruggles] b&w; cph Land Rush seq; ph: Edward Cronjager

1931

Cracked Nuts [Eddie Cline] b&w; 65m

1931

Everything's Rosie [Clyde Bruckman] b&w

1931

Three Who Loved [George Archainbaud] b&w; pfx: Lloyd Knechtel

1931

Too Many Cooks [William A. Seiter (replaced Wesley Ruggles)] b&w

1931

Smart Woman [Gregory La Cava] b&w; 68m

1931

Men of Chance [George Archainbaud] b&w; 67m

1932

The Most Dangerous Game/The Hounds of Zaroff [Ernest B. Schoedsack & Irving Pichel] b&w; 63m; loc ph (+ some glass shots/process plates); studio ph: Henry Gerrard; process ph: Kenneth Peach; optical efx: Linwood Dunn

1932

Come on Danger! [Robert F. Hill] b&w; 60m

1932

The Bride's Bereavement; or, The Snake in the Grass [Robert F. Hill] b&w; short/20m; ep series 'Masquer Club Burlesque'

1932

Haunted Gold [Mack V. Wright] b&w; 58m

1932

The Cheyenne Kid/The Fighting Test [Robert F. Hill] b&w; 55m

1932

Scarlet River [Otto Brower] b&w; 57m

1933

Lost in Limehouse or Lady Esmeralda's Predicament [Otto Brower] b&w; short/21m; ep series 'Masquer Club Burlesque'

1933

Son of the Border [Lloyd Nosler] b&w; 55m

1933

The Gay Nighties [Mark Sandrich] b&w; short/20m

1933

Cross Fire [Otto Brower] b&w; 57m

1933

Flying Devils/The Flying Circus [Russell Birdwell] b&w; 62m; uncred aph: Harry Perry

1933

Headline Shooter/Evidence in Camera [Otto Brower] b&w; 65m

1933

Midshipman Jack [Christy Cabanne & (assoc dir) Thomas Atkins] b&w; cph: Alfred Gilks

1933

Chance at Heaven [William A. Seiter] b&w

1933

Snug in the Jug [Ben Holmes] b&w; short/19m

1933

What Fur [George Stevens] b&w; short/21m

1933

Long Lost Father [Ernest B. Schoedsack] b&w; 64m

1933

In the Devildog House [Ben Holmes] b&w; short/21m

1933

Bedlam of Beards [Ben Holmes] b&w; short/18m

1933

Love and Hisses [Sam White] b&w; short/18m

1933

Sing and Like It [William A. Seiter] b&w

1934

Love on a Ladder [Sam White] b&w; short/20m

1934

Where Sinners Meet/The Dover Road [J. Walter Ruben] b&w; uncred cph: David Abel

1934

Murder on the Blackboard [George Archainbaud] b&w

1934

We're Rich Again [William A. Seiter] b&w

1934

Contented Calves [Sam White] b&w; short/21m

1934

The Richest Girl in the World [William A. Seiter] b&w

1934

By Your Leave [Lloyd Corrigan] b&w; pfx: Vernon Walker

1934

Romance in Manhattan [Stephen Roberts] b&w; pfx: Vernon Walker

1934

Bandits and Ballads [Friedrich Hollaender] b&w; short/20m

1934

Murder on a Honeymoon [Lloyd Corrigan] b&w; pfx: Vernon Walker; filmed 1934-35

1935

Village Tale [John Cromwell] b&w

1935

A Night at the Biltmore Bowl [Alf Goulding] b&w; short/17m; see 1946

1935

Old Man Rhythm [Edward Ludwig] b&w

1935

To Beat the Band [Ben Stoloff] b&w; 67m

1935

Two in the Dark [Ben Stoloff] b&w

1936

Alladin from Manhattan [Ben Holmes] b&w; mus short/17m

1936

The Farmer in the Dell [Ben Holmes] b&w; 67m

1936

Silly Billies [Fred Guiol] b&w; 65m; cph: J. Roy Hunt; pfx: Vernon Walker

1936

Murder on a Bridle Path [Edward Killy & William Hamilton] b&w; 66m

1936

Melody in May [Ben Holmes] b&w; mus short/20m

1936

Second Wife [Edward Killy] b&w; 60m

1936

Who's Looney Now [Leslie Goodwins] b&w; short/19m

1936

So and Sew [Jean W. Yarbrough] b&w; short/15m

1936

The Plot Thickens/The Swinging Pearl Mystery [Ben Holmes] b&w; 69m

1936

The Hillbilly Goat [Leslie Goodwins] b&w; short/18m

1936

We're on the Jury [Ben Holmes] b&w

1936

China Passage [Edward Killy] b&w; 65m; filmed 1936-37

1937

Too Many Wives [Ben Holmes] b&w; 61m

1937

There Goes My Girl [Ben Holmes (replaced Edward Killy)] b&w; uncred cph; ph: Joseph H. August

1937

Border Cafe [Lew Landers] b&w; 67m

1937

The Big Shot [Edward Killy] b&w; 60m

1937

Flight from Glory [Lew Landers] b&w; 60m

1937

Saturday's Heroes [Edward Killy] b&w; 60m

1937

Living on Love [Lew Landers] b&w; 61m

1937

Trailing Along [Jean W. Yarbrough] b&w; mus short/16m; cph: Harry J. Wild; ep series 'RKO Headliner Comedies'

1937

Danger Patrol [Lew Landers] b&w; 60m

1937

Quick Money/Taking the Town [Edward Killy] b&w; 60m

1937

Everybody's Doing It [Christy Cabanne] b&w; 67m; cph: Paul Vogel

1937

Crashing Hollywood [Lew Landers] b&w; 61m; cph: Frank Redman

1937

Harris in the Spring [Leslie Goodwins] b&w; mus short/20m

1937

The Stupor-Visor [Charles Roberts] b&w; short/18m

1937

Night Spot [Christy Cabanne] b&w; 60m

1938

False Roomers [Leslie Goodwins] b&w; short/17m

1938

His Pest Friend [Leslie Goodwins] b&w; short/18m; a Leon Errol Comedy

1938

Condemned Women [Lew Landers] b&w

1938

Law of the Underworld [Lew Landers] b&w; 61m

1938

Blind Alibi [Lew Landers] b&w; 65m

1938

Sky Giant [Lew Landers] b&w

1938

Smashing the Rackets [Lew Landers] b&w; 69m

1938

The Mad Miss Manton [Leigh Jason] b&w

1938

Tarnished Angel [Leslie Goodwins] b&w; 68m

1938

Pacific Liner [Lew Landers] b&w

1938

Twelve Crowded Hours [Lew Landers] b&w; 64m

1939

They Made Her a Spy [Jack Hively] b&w; 69m; vfx: Vernon L. Walker

1939

Sorority House/That Girl from College [John Farrow] b&w; 63m

 

[Left/standing] with dir John Farrow [seated/glasses] and c.op Joe Biroc

"Five Came Back"

 

1939

Five Came Back [John Farrow] b&w

1939

Golden Boy [Rouben Mamoulian] b&w; cph: Karl Freund

1939

Allegheny Uprising/The First Rebel [William A. Seiter] b&w

1939

Swiss Family Robinson [Edward Ludwig] b&w

1939

A Bill of Divorcement/Never to Love [John Farrow] b&w

1940

Tom Brown's School Days/Adventures at Rugby [Robert Stevenson] b&w

 

 

1940

Stranger on the Third Floor [Boris Ingster] b&w; 67m; sfx: Vernon L. Walker

1940

Little Men [Norman Z. McLeod] b&w

1940

Play Girl [Frank Woodruff] b&w

1941

Repent at Leisure [Frank Woodruff] b&w; 67m

1941

Hurry, Charlie, Hurry [Charles E. Roberts] b&w; 65m

1941

Lady Scarface [Frank Woodruff] b&w; 69m

1941

The Gay Falcon [Irving Reis] b&w; 67m; 1st film in 13-part 'The Falcon'-series (RKO, 1941-46)

1941

Westward Ho-Hum [Clem Beauchamp] b&w; short/16m

1941

Obliging Young Lady [Richard Wallace] b&w

1941

Call Out the Marines [Frank Ryan & William Hamilton] b&w; 66m; cph: J. Roy Hunt

1941

The Tuttles of Tahiti [Charles Vidor] b&w; filmed 1941-42

1942

The Magnificent Ambersons [Orson Welles; (uncred add scenes) Robert Wise, Jack Moss & Freddie Fleck] b&w; addph (with dir J. Moss + final seq with dir F. Fleck); ph: Stanley Cortez (1941-42)

1942

Hold 'Em Jail [Lloyd French] b&w; short/18m

1942

Cooks and Crooks [Henry James (= Harry Edwards)] b&w; short/18m

1942

Bandit Ranger [Lesley Selander] b&w; 56m

1942

Pirates of the Prairie [Howard Bretherton] b&w; 57m

1942

The Navy Comes Through [A. Edward Sutherland] b&w

 

 

1942

Cat People [Jacques Tourneur] b&w; pfx: Linwood Dunn

1942

Forever and a Day/The Changing World [Frank Lloyd (London blitz seq), Robert Stevenson, René Clair ('1897' seq; replaced Alfred Hitchcock), Victor Saville, Cedric Hardwicke, Herbert Wilcox & Edmund Goulding] b&w; uncred ph; other (uncred) ph: Robert De Grasse, Lee Garmes & Russell Metty; spec pfx: Vernon L. Walker; filmed May 1941-January 1943

1942

Bombardier [Richard Wallace & (uncred aerial action seq) Lambert Hillyer] b&w; Musuraca started the picture, but Joseph Biroc was his (uncred) replacement

1943

The Fallen Sparrow [Richard Wallace] b&w; + uncred Italian language cons

1943

The Seventh Victim [Mark Robson] b&w

1943

Cutie on Duty [Ben Holmes] b&w; short/18m

1943

Gangway for Tomorrow [John H. Auer] b&w; 69m

1943

The Ghost Ship [Mark Robson] b&w; 69m

1943

The Curse of the Cat People [Robert Wise & Gunther V. Fritsch (started film, but began to fall behind schedule and was replaced by R. Wise)] b&w

1943

Unlucky Dog [Ben Holmes] b&w; short/15m

1943

Wedtime Stories [Ben Holmes] b&w; short/17m

1943

Marine Raiders [Harold Schuster & (uncred add scenes) Robert Wise] b&w; filmed 1943-44

1944

Bride by Mistake [Richard Wallace] b&w

1944

Girl Rush [Gordon Douglas] b&w; 65m; spec pfx: Linwood Dunn & Paul Eagler

1944

The Falcon in Hollywood [Gordon Douglas] b&w; 67m; 8th film in 13-part 'The Falcon'-series (RKO, 1941-46)

1944

[Pearl Buck's] China Sky [Ray Enright] b&w

1944

Back to Bataan/The Invisible Army [Edward Dmytryk] b&w; filmed 1944-45

1945

It's Your Move [Hal Yates] b&w; short/17m

1945

Deadline at Dawn [Harold Clurman] b&w; sfx: Vernon L. Walker; transparency ph: Harold Stine

1945

Bedlam [Mark Robson] b&w; transparency ph: Harold Stine

 

 

1945

The Spiral Staircase [Robert Siodmak] b&w; sfx: Vernon L. Walker

1946

The Locket [John Brahm] b&w

1946

The Bachelor and the Bobby-Soxer/Bachelor Knight [Irving Reis & (uncred) Dore Schary] b&w; cph: Robert De Grasse

 

#1: Rhonda Fleming - Robert Mitchum - Jacques Tourneur - NM - "Out of the Past"

#2: With Robert Mitchum & Jane Greer

 

1946

Out of the Past/Build My Gallows High [Jacques Tourneur] b&w; fill-in ph: Robert De Grasse

1946

Hollywood Bound [Sam White, Alf Goulding & Leigh Jason] b&w; comp of 3 shorts/61m; ph 'A Night at the Biltmore Bowl' seg; other ph: Harold Wenstrom & J. Roy Hunt; see 1935

1947

I Remember Mama [George Stevens] b&w; filmed May-October

1948

Blood on the Moon [Robert Wise] b&w

1948

Stagecoach Kid [Lew Landers] b&w; 60m

1949

The Mysterious Desperado [Lesley Selander] b&w; 61m

1949

The Woman on Pier 13/I Married a Communist [Robert Stevenson] b&w

1949

Born to Be Bad [Nicholas Ray] b&w

1949

Dynamite Pass [Lew Landers] b&w; 61m

1949

Rider from Tucson [Lesley Selander] b&w; 60m

1949

Groan and Grunt [Hal Yates] b&w; short/17m

 

 

1950

Where Danger Lives [John Farrow] b&w

1950

The Company She Keeps [John Cromwell] b&w

1950

Hunt the Man Down/Seven Witnesses [George Archainbaud] b&w; 68m

1950

The Whip Hand [William Cameron Menzies & (uncred fill-in) Stuart Gilmore] b&w; add scenes filmed in November/December 1950 & May 1951

1950

Roadblock [Harold Daniels] b&w

1951

Hot Lead/A Taste of Hot Lead [Stuart Gilmore] b&w; 60m

1951

A Girl in Every Port [Chester Erskine] b&w

1951

Trail Guide [Lesley Selander] b&w; 60m

1951

Clash by Night [Fritz Lang] b&w

1952

The Hitch-Hiker [Ida Lupino] b&w; pfx: Harold E. Wellman

1952

Three Chairs for Betty [Hal Yates] b&w; short/16m; ep of RKO's 'The Newlyweds'- series (1953)

1952

The Fresh Painter [Hal Yates] b&w; short/16m; filmed in October and released in 1953

1952

Lost in a Turkish Bath [Hal Yates] b&w; short/16m (1953)

1952

Half-Dressed for Dinner [Hal Yates] b&w; short/?m; ep of RKO's 'The Newlyweds'-series (1953)

 

With dir Dick Powell [left] - "Split Second"

 

1952

Split Second [Dick Powell] b&w; pfx: Harold E. Wellman

1952

The Blue Gardenia [Fritz Lang] b&w

1953

Devil's Canyon [Alfred Werker] Natural Vision 3-D/c; Natural Vision cons: Lothrop Worth; visual cons: Julian Gunzburg

1953

Susan Slept Here [Frank Tashlin] c; filmed 1953-54

1956

Man on the Prowl [Art Napoleon] b&w

1956

The Story of Mankind [Irwin Allen] c

1957

Too Much, Too Soon [: The Daring Story of Diana Barrymore] [Art Napoleon] b&w; cph: Carl Guthrie

1960

The Lawbreakers [Joseph M. Newman] b&w; ed from ep #2 of the tv-series 'The Asphalt Jungle' + an additional 30m extra footage

 

 TELEVISION

1952

Four Star Playhouse/Star Performance (syndication) [ep #10 'Trail's End' dir by Robert Florey] 129-part dramatic anthology series/b&w, 1952-56 (CBS-tv); 1st season, 1952-53

1954

The Lineup/San Francisco Beat (syndication) [ep #1 'The Paisley Gang' dir by Thomas Carr] 201-part police series/b&w, 1954-60 (CBS-tv); 1st season, 1954-55

1954

The Lone Wolf/Streets of Danger [15 ep dir by various] 39-part detective series/b&w, 1954-55 (syndication); other ph: Frederick Gately, Joseph Biroc & Charles Van Enger

1954

Stage 7/Your Favorite Playhouse (1954) [ep #1 'The Deceiving Eye' dir by Alvin Ganzer, #2 'Appointment in Highbridge' dir by Reginald Le Borg, #3 'The Legacy' dir by Christian Nyby, #7 'The Greatest Man in the World' dir by Roy Kellino, #18 'The Time of Day' dir by Arnold Laven & #19 'Yesterday's Pawnshop' dir by Harry Keller] 25-part dramatic anthology series/b&w, 1954-55 (CBS-tv); other ph: Harry J. Wild & George E. Diskant

1955

The Star and the Story/The Henry Fonda Show [ep #13 'A Matter of Courage' dir by Roy Kellino] 46-part dramatic anthology series/b&w, 1955-56 (syndication); 1st season, 1955 (23 ep)

1955

The Lineup/San Francisco Beat (syndication) [ep #40 'The T.V. Case' dir by Hollingsworth Morse & Harold Schuster (HS) & #73 'The Wharton Case' dir by HS] 2nd season, 1955-56; see 1954

1955

It's a Great Life/The Bachelors [ep #40 'Call Michigan 4099' dir by Christian Nyby] 78-part sitcom series/b&w, 1954-56 (NBC-tv); 2nd season, 1955-56 (39 ep)

1955

The Life of Riley [ep #108 'Love Comes to Waldo Binney' dir by Abby Berlin] 217-part sitcom series/b&w, 1953-58 (NBC-tv); 4th season, 1955-56

1955

Four Star Playhouse/Star Performance (syndication) [ep #103 'High Stakes' dir by William A. Seiter, #108 'Once to Every Woman' dir by Anton Leader, #110 'To Die at Midnight' dir by Don Weis & #122 'Watch the Sunset' dir by Richard Kinon] 4th season, 1955-56; see 1952

1956

DuPont Presents the Cavalcade Theatre/Cavalcade of America/DuPont Theater [ep #94 'A Life to Live By' dir by William A. Seiter] 132-part dramatic anthology series/b&w, 1952-53 (NBC-tv) & 1953-57 (ABC-tv); 4th season, 1955-56; or ph George E. Diskant

1956

Chevron Hall of Stars [ep #? 'The Secret Weapon of 117' dir by William A. Seiter] 41 (?)-part dramatic anthology series/b&w, 1956 (syndication) 

1956

The Silver Frame [Hollingsworth Morse] unsold pilot/b&w/30m

1956

The Lineup/San Francisco Beat (syndication) [ep #79 'The Adams Case' dir by Hollingsworth Morse (HM) & #107 'The Robert Avery Case' dir by HM] 3rd season, 1956-57; see 1954

1956

Hey, Jeannie! [ep #5 'Jeannie's Here' dir by John Rich] 32-part sitcom series/b&w, 1956-57 (CBS-tv) & 1960 (in reruns as 'The Jeannie Carson Show' on ABC-tv)

1956

Wire Service/Deadline for Action (reruns) [ep #4 'The Johnny Rath Story' dir by Robert Florey] 37-part newspaper series/b&w, 1956-57 (ABC-tv)

1956

The Adventures of Jim Bowie [ep #13 'Jim Bowie and His Slave/The Tempered Blade' dir by Lewis R. Foster] 76-part western series/b&w, 1956-58 (ABC-tv); 1st season, 1956-57; ep was originally the pilot; other ph: Charles Straumer

1956

Whirlybirds/Copter Patrol [ep #1 'The Big U' dir by Lew Landers & #3 'Boy on the Roof' dir by Allen H. Miner] 111-part adventure series/b&w, 1957-60 (syndicated; originally made for CBS-tv); 1st season, 1957

1957

Date with the Angels [ep #2 'Mother by Proxy', #4 'The Wheel', #5 'The Tree in the Parkway', #6 'The Feud', #7 'Shall We Dance?', #9 'The Blue Tie', #11 'The Surprise' & #12 'Pike's Pique', all dir by James V. Kern] 33-part sitcom series/b&w, 1957-58 (ABC-tv); 1st season, 1957 (12 ep)

1957

Those Whiting Girls [7 ep dir by various] 26-part sitcom series/b&w, 1955 & 1957 (CBS-tv); 2nd season, 1957 (13 ep)

1957

The Lineup/San Francisco Beat (syndication) [ep #114 'The Fleet Queen Case' dir by Andrew V. McLaglen] 4th season, 1957-58; see 1954

1957

The Walter Winchell File [ep #1 'Country Boy' dir by Jerry Thorpe] 41-part crime anthology series/b&w, 1957-58 (ABC-tv); 1st season, 1957; other ph: Maury Gertsman

1957

Maverick [ep #8 'Hostage!' dir by Richard L. Bare] 124-part western series/b&w, 1957-62 (ABC-tv); 1st season, 1957-58

1957

December Bride [ep #112 'Contour Chair' dir by Frederick De Cordova (FDC) & #120 'Aunt Emily' dir by FDC] 157-part sitcom series/b&w, 1954-59 (CBS-tv); 4th season, 1957-58

1958

Westinghouse Desilu Playhouse [ep #6 'The Time Element' dir by Allen Reisner, #7 'Silent Thunder' dir by Ted Post, #9 'The Crazy Hunter' dir by Jerry Thorpe (JT), #15 'Martin's Folly' dir by Robert Ellis Miller & #18 'Chain of Command' dir by JT] 47-part dramatic anthology series/b&w, 1958-60 (CBS-tv); 1st season, 1958-59; ep #6 was also the 'unofficial' pilot for the series 'The Twilight Zone'

1959

The Lucy-Desi Comedy Hour/The Lucille Ball-Desi Arnaz Show/We Love Lucy [ep #10 'Lucy's Summer Vacation' dir by Jerry Thorpe] 13-part series of full-hour sitcom specials/b&w, 1957-60 (CBS-tv)

1959

The Lineup/San Francisco Beat (syndication) [ep #184 'Wake Up to Terror' dir by Jesse Hibbs] 6th season, 1959-60 (ep are now 60m); see 1954

1959

Westinghouse Desilu Playhouse [ep #26 'A Diamond for Carla' dir by Claudio Guzmán & #28 'Six Guns for Donegan' dir by Douglas Heyes] 2nd season, 1959-60; see 1958

1959

Alcoa Theatre/Turn of Fate (umbrella title first 4 months)/Award Theatre (syndication) [ep #3.13 '333 Montgomery Street' dir by Paul Wendkos] ?-part dramatic anthology series/b&w, 1957-60 (NBC-tv); 3rd season, 1959-60

1960

The Barbara Stanwyck Show [ep #1 'The Mink Coat' dir by Jacques Tourneur, #5 'The Key to the Killer' dir by Richard Whorf, #11 'Out of the Shadows' dir by Robert Florey & #31 'Little Big Mouth' dir by James Neilson] 36-part dramatic anthology series/b&w, 1960-61 (NBC-tv)

1960

The Islanders [various] 24-part adventure series/b&w, 1960-61 (ABC-tv)

1960

The Asphalt Jungle [ep #2 'The Lady and the Lawyer' dir by Joseph M. Newman] 13-part police series/b&w, 1961 (ABC-tv); ep #2 was originally the pilot

 

 

1961

The Jack Benny Program/The Jack Benny Show/The Lucky Strike Program [9 ep dir by Frederick De Cordova] 258-part comedy series, 1950-64 (CBS-tv) & 1964-65 (NBC-tv)/b&w; 12th season, 1961-62

1962

The Lucille Ball Show/The Lucy Show [ep #1 'Lucy Waits Up for Chris' dir by Jack Donohue (JD), #2 'Lucy Digs Up a Date' dir by JD & #5 'Lucy Buys a Sheep' dir by JD] 156-part sitcom series, 1962-68 (CBS-tv); 1st season/b&w, 1962-63; show returned in September 1968 as 'Here's Lucy' (1968-74)

1962

The Jack Benny Program/The Jack Benny Show/The Lucky Strike Program [21 ep dir by Frederick De Cordova] 13th season, 1962-63; see 1961

1963

The Jack Benny Program/The Jack Benny Show/The Lucky Strike Program [15 ep dir by Frederick De Cordova & 10 ep dir by Norman Abbott] 14th season, 1963-64; see 1961

1964

The Jack Benny Program/The Jack Benny Show/The Lucky Strike Program [26 ep dir by Norman Abbott] 15th season, 1964-65; see 1961

1964

McHale's Navy [ep #97 'Send This Ensign to Camp' dir by Hollingsworth Morse] 138-part sitcom series/b&w, 1962-66 (ABC-tv); 3rd season, 1964-65

1965

McHale's Navy [ep #136 'An Ensign's Best Friend' dir by Hollingsworth Morse (HM) & #138 'Wally for Congress' dir by HM] 4th season, 1965-66; see 1964

1965

Run for Your Life [ep #13 'Make the Angels Weep' dir by Leslie H. Martinson] 85-part adventure series, 1965-68 (NBC-tv); 1st season, 1965-66

1966

Tammy [ep #25 'Uncle Lucius Returns' dir by ?] 26-part sitcom series, 1965-66 (ABC-tv)

1966

F Troop [ep #42 'The Ballot of Corporal Agarn' dir by Seymour Robbie, #43 'Did Your Father Come from Ireland?' dir by David Alexander (DA) & #44 'For Who the Bugle Tolls' dir by DA] 65-part military sitcom series/b&w-c, 1965-67 (ABC-tv); 2nd season/c, 1966-67; other ph: Louis Jennings