but but
at at
atmosphere atmosphere
takes takes saint saint
ately ately
ing ing
craftsmanship craftsmanship
Cinematographer Cinematographer F
Richard Richard story story
time time
fat fat
was was
This This
fury fury
58 58 as as
the the
from from
the the him him in in
all all
ish ish
it it
art art
"Rachel" "Rachel"
The The
rings rings
The The
work work
JOSEPH JOSEPH
matographers, matographers,
19-44
OR OR
all all
re-created re-created
produced produced
that that
of of
of of
directors directors
in in
castle, castle,
violent, violent,
interiors interiors
a a
an an
brooding brooding
of of
Oscar-winner Oscar-winner
atmosphere atmosphere
superior superior
do
of of
and and
place place
. .
of of
Stage Stage visually visually
SHEER SHEER
smooth smooth
• •
passion, passion,
since since
force force
angel angel
authentic authentic
true true
. .
it it
unrequited unrequited
a a
Burton)
the the
LASHELLE, LASHELLE,
half
young young
was was
as as
"Laura," "Laura,"
of of
on on
is is
brooding brooding
in in
14 14
AMERICAN AMERICAN
or or
Lyle Lyle
filmed filmed
"back "back
of of
by by
well. well.
by by
PHOTOGRAPHIC PHOTOGRAPHIC
displays displays
at at
-dev
by by
direction direction
harmony, harmony,
primarily primarily
forceful forceful
every every
time time
completely completely
the the
Evil Evil
on on
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La La
the the
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pervades pervades
20th 20th
il il
Wheeler Wheeler
seduced seduced
ASC, ASC,
The The tful tful
the the
Olivia Olivia
for for
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best. best.
lov
rugged rugged
lot
within within
incarnate. incarnate.
and and
Shelle Shelle
frame in in
(both (both
sea, sea,
off-heat off-heat
atmosphere atmosphere
CINEMATOGRAPHER CINEMATOGRAPHER
e, e,
," ,"
which which
(played (played
Century Century
"My "My
lighting lighting
Fox Fox
one one
portrayal portrayal
visual visual
and and
Century-Fox, Century-Fox,
have have
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place place
l
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Cousin Cousin
halves halves and and
film film
not not
lot. lot.
coast coast
top-notch top-notch
he he
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Haviland). Haviland).
20th 20th
wondering wondering
dramatic dramatic
ar
a a
his his
treatment treatment
created created
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walls walls
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pictorially pictorially
John John
Director Director
and and
only only
many many
Cornwall Cornwall
It It
tistry tistry
beautiful beautiful
of of
mere mere
Rachel" Rachel"
of of
of of
entire entire
of of
played played
dynamic dynamic
Century-Fox's Century-Fox's
was was
an an
mood mood
to to
outstanding outstanding
de de
of of
a a
the the
the the
Cornwall Cornwall
and and
performances, performances,
so so Academy Academy
glossy glossy
her her
period period
"My "My
represents represents
dramatic dramatic
unique unique
the the
his his story story
Cuir, Cuir,
is is
Henry Henry
whether whether
strikingly strikingly
fortune-then, fortune-then,
wild wild
exterior exterior
Frying Frying
to to
widow widow
and and
castle, castle,
that that
continuous continuous
death. death.
finest finest
all all
• •
British British
studio-built studio-built
Cousin Cousin
bit bit
the the
occupied occupied
films films
stems stems
ace ace
of of
Award Award
Cornwall Cornwall
character-the character-the
for for
it it
around around
Koster, Koster,
camera camera
of of
camerawork. camerawork.
hilt hilt
story story
designed designed
a a
who who
FEBRUARY, FEBRUARY,
in in
We We
she she
cine
smacks smacks
scenes, scenes,
Hollywood Hollywood
Hollywood Hollywood
technique
piece, piece,
newcomer newcomer
honest honest
unfortun
in in
Rachel," Rachel," but but
the the
not not
by by
actually actually
last last
is is
instead instead
which which
nearly nearly
work
1840
Corn
coast coast
from from
half
deep deep
in in
two
only only
and and
not not
but but
see see
an an
by by
1953 1953
a a
, ,
. .
roof, roof,
knights' knights' textures textures
of of
tion, tion, mostly mostly
however, however, labra labra
front front
could could be be
filmed filmed gardens gardens
ing ing
Establishing Establishing
on on
as as
PARTICULARLY PARTICULARLY
being being
photographed photographed
man man
Artful Artful
and and
'MY 'MY
players players
it it
only only
it it
door, door,
and and
pick pick
in in
in in
featured featured
in in
contained contained
that that
shields shields
roofless roofless
Burton Burton
source source
were were
Cornwall Cornwall
authentic authentic
front front
character character
up up
and and
one one
take take
By By
are are
photography photography
people people
walls walls
long long
of of
continuous continuous
filmed filmed
realistic realistic
interesting interesting
and and
of of
was was
them them
COUSIN COUSIN
and and
a a
HERB HERB
illumination. illumination.
in in
as as
leaded leaded
by by
the the
cameraman's cameraman's
shots shots
antique antique
they they
in in
arriving arriving weapons, weapons,
disjointed disjointed
these these
inside, inside,
in in
is is
a a
process process
England England
of of
the the
moved moved
second-unit second-unit
of of
the the
windows, windows,
action. action.
nooks nooks
......
A. A.
scenes. scenes.
the the
lighting lighting
furniture furniture
LaShelle LaShelle
downstairs downstairs
by by
studio studio
through through
huge huge
enhances enhances
as as
exterior exterior
screen
at at
horse-drawn horse-drawn
delight. delight.
LIGHTMAN LIGHTMAN
and and
l\iade l\iade
most most
of of
the the
had had
The The
rare rare
crew
stone stone
the the
scenes scenes
quite quite
of of
. .
RACHEL' RACHEL'
crannies, crannies,
time time
assistants assistants
La La
sets sets
scene. scene.
of of
locales locales
the the
and and
closer closer
. .
Flemish Flemish
in in
Fortunately, Fortunately,
stone stone
fireplaces, fireplaces,
Shelle Shelle
some some
are. are.
and and
period. period.
the the
which which
out out
carriage carriage
were were
play play
surfaces surfaces
tie-in tie-in
The The
with with
available available
to to
time time
candles candles
had had
tapestries, tapestries,
mood mood
small small
In In
the the
actually actually
camera camera
a a
cande
at at
shots, shots,
noted noted
addi later, later,
lead
slate slate
rear rear
are are
and and
spotlights spotlights
the the
to to
shown shown
· ·
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:~t~:u:a~:~~!c::::tif.!mp~~n:s :~t~:u:a~:~~!c::::tif.!mp~~n:s
World" World"
mood mood
ducing ducing
armed armed
their their
trained trained
are are
One One
which which
carrying carrying
machines. machines.
a a
that that
thing thing
this this
that that
In In
of of
strong strong
seen seen
the the
man man
the the
in in
effect effect
the the
spotlights spotlights
and and
is is
three three
a a
them them all all
story story
candle candle
usually usually
lighted lighted
film film
walking walking
wind wind
cast cast
the the
glow glow
of of
The The
in in
as as
to to
studio studio
assistants assistants
the the
there there
light light Miss Miss
his his
pl~~e~~eat pl~~e~~eat
was was
was was
on on
as as
result result
move move
candles. candles.
not not
establishing establishing
DeHavilland DeHavilland
down down
process process
uniform uniform
the the
are are
on on
product
the the
very very
in in
precisely precisely
is is
the the
several several
walls walls
a~~t~t::::a~i!~
evidence-so evidence-so
only only
with with
It It
the the
convincing convincing
a a
actor, actor,
had had
scenes scenes
. .
pours pours
perfect perfect
as as
source source
somber somber
next next
small small
shots shots
sequences sequences
to to
that that
with with
tea tea
while while
be be
to to
through through
sent sent
for for
9
of of
portable portable
match match
':!
given given
on on
apparent apparent the the
he he
corridors corridors
and and
1
her her
J;~\~i:~g J;~\~i:~g
illumination, illumination,
the the
the the
back back
carefully carefully actor actor
in in
guests
behind behind
other other
off off
between between
the the
screen. screen.
which which
spotlights, spotlights,
from from
t~he t~he
in in
. .
as as
by by
of of
use use
these these
two two
s~,':jd s~,':jd
he he
him-pro
characters characters
duplicated duplicated
an an
the the
La La
Cornwall, Cornwall,
an an
of of
the the
walked. walked.
trained trained
scenes scenes actual actual
Shelle Shelle
castle castle
effect effect
wind wind
and and
real real
provide provide
AGAJ AGAJ
dying dying
FEBRUARY, FEBRUARY,
matic matic ant ant
mere mere
limp limp
in in
subtlety subtlety
been been
technical technical
it it
synchronize synchronize
candle while while
N, N,
(especially (especially
on on
In In
was was
background background
this this
in in
rocks rocks
turning turning
with with
portrayed portrayed
another another
celluloid celluloid
the the
. .
doing doing
milestone milestone
also also
film film
1953 1953
It It
following following
that that
closing closing
ingenuity ingenuity
vicarious vicarious
took took
when when
not not
point point
for for
the the
their their
so--but so--but
actually actually
sequence
osculation osculation
her her
this this
with with
a a
sequence, sequence,
• •
easy easy
first first
he he
which which
bit bit
fall fall
movements movements
in in
(Continued (Continued
indoor indoor
ecstacy
was was
to to
less less
kiss kiss
the the
from from
for for
their their
of of
, ,
AMERICAN AMERICAN
might might
the director director the
put put
background background
ascending ascending
completely completely
practice practice
exterior exterior
skill skill
final final
them them
a a
of of
calculated calculated
. .
rickety rickety
man-woman man-woman
Rather, Rather,
across across
have have
the the
on on
exactly exactly
and and
result result
to to
CINEMATOGRAPHER CINEMATOGRAPHER
scene, scene,
Page Page
bridge. bridge.
two two
before before
stay stay
plates plates
proved proved
a a
good good
it it
of of
an an
alters alters
winding winding
showing showing
is is 86) 86)
to to
main main
represents represents
to to
photography photography
out out
perfect
are are
important important relationship, relationship,
the the
leave leave
taste. taste.
those those
censorable censorable
their their
of of
skillfully skillfully
characters characters
Miss Miss
assistants assistants
stairway), stairway),
camera camera
. .
It It
the the
of of
DeHavilland DeHavilland
the the
seems seems
previously previously
the the
used used
audience audience dramatic dramatic
• •
used used
import
a a
had had
range range
is is
could could
actor actor
dra
to to
that that
and and
his his
no no
59 59 it it "When the control button (46) is 61), which are connected electrically to low camera range) rises into the scene Nor does he lack the courage to let raised upward, a movement is started a galvanometer. to join her, and the camera does a 18Q 0 . actors walk into partial or complete toward the bottom of inclined planes "Window (62) limits the movement pan with them as the two start down shadow from time to time, for dramatic Model M52 the aisle toward a more-or-less realistic (54) which draws swivel (55) toward of arm (47) in such a way that cell effect. the right of the figure; an extorsum ro ( 45) cannot normally go beyond the wedding ceremony-but here again use His lighting of leading man Burton s E NSITESTER tation is produced in rod ( 52) and arm limits of the image formed on the trans of the diffused optical flat lends just gives this character great strength and ( 53) draws the photoelectric cell (45) lucent glass (44) ; this window however enough unreality to tie the scene into virility, plus a pure animal force that IMMEDIATE DELIVERY in the direction of arrow F3 which has a notch (63), in which arm (47) the montage of delerium. practically leaps off the screen. It can * oorresponds to the upper part of the may be engaged when there is no wish The final sequence of the film takes also be said that Miss de Havilland ro the lab owner interested in- image. to use cell ( 45) ; this same cell is then place in a rock-filled gorge near the never looked better, or more "ravish QUALITY "The desired result is thereby obtain engaged in a corresponding notch ( 64), seashore, which is spanned by an ing," as the press agents like to say. ed: the upward movement of button outside of the field of vision. ancient stone bridge and a makeshift She radiates sheer, undiluted sex-a EFFICIENCY ( 46) produces a movement of the pho "The system of automatic sensitome wooden bridge from which Rachel falls quality which must be evident if the ECONOMY toelectric cell ( 45) toward the top of try described above has recently been to her death. A search of the California audience is to accept some of the seem the image and inversely. This cell is, tried with success and is on the way to • DUAL MACHINE coast was made for just such a location. ingly illogical behavior of her leading 1-Sensitometer Jf course, connected by conducting being applied as a regular procedure in A suitable site was found, but it was man. 2-Scene Tester wires (58) and (59) to switches (60, movie and television studios in Europe." decided that the fog, the varying light, For several years now, Joseph La • HIGHLY ACCURATE and effect of the uneven pounding of Shelle, ASC, has been known as Holly Electronic timer unaffected waves on the sound track would have wood's foremost exponent of the moving by climatic changes. MY COUSIN RACHEL made shooting rather difficult there. In camera. He shoots with the camera al • NEW TYPE LONG-LIFE stead, the scene was reconstructed on an ways mounted on a small, highly man Cold Light Exposure Unit (Continued from Page 59) exterior set at the studio, a long trough euverable crane, lacing together a dozen • WITHOUT ADDITIONAL or tank known as "the moat," which or more compositions into one continu EXPENSE will match any olatonic behavior toward each other. It the male lead as he writhes about in the has been the setting for a great many ous "take" by means of fluid camera printer ~ad to be implied (but could not, of throes of a serious illness. The effect water scenes in earlier Fox productions. movement. This technique was evident • $1675.00 35mm Model course, be shown) that from this point had to vary back and forth between This was filled with rocks and bridged, in "Laura" (which won him an Acad on they were engaging in intimacies seeming realism and pure fantasy. and completely canvassed over to ex emy award), in the magnificently pho • $1875,00 35mm-16mm which (in that day and age, at least) Throughout the montage the character clude outside light. Two giant process tographed "Hangover Square," and in Combination Model were not bantered about in polite con lies on his bed in the foreground of the screens were set up in the background, most of his other outstanding jobs of F.O.B. Hollywood, Calif. versation. frame, profile to camera. During the and upon these were projected scenes of cinematography in recent years. The To put across this important story flashes of realism, the background of his huge waves crashing against the shore. fact that camera movement .is somewhat point so that no one could be shocked, bedroom was projected on a process The set was lighted to duplicate a bleak less extensively used in "My Cousin A~T mrn MOTION PICTU~~ WUIP. La Shelle rigged a photographic gim screen behind him, and other characters exterior; wind machines were started; Rachel" is explained by him in a gen 7512 Santa Monica Blvd. mick. He utilized an optical flat several played their action toward him. For the slight fog effects were added-and the eral discussion of his own approach to Hollywood 46 California inches long, left one end clear, ·and cov flashes of fantasy, the main character result is a perfectly controlled visual at filming. ered the rest of it with progressively retained his static foreground position, mosphere that looks more real than the "The function of the motion picture heavier swirls of vaseline. As the camera but the sound stage behind him was real thing. camera is to help tell a dramatic story," morned into close-up of a kiss realistic filled with cross-lighted smoke, creating It is not to be implied, however, that he points out. "Because of this, the •lly feverish enough to leave bruises ·on a white haze out of which ghostly fig tricks and gimmicks are the elements camera does not exist for its own sake, Miss de Havilland, a camera assistant ures seemed to materialize. The two that make the photography of "My but is part of the teamwork of produc ;lid the optical flat before the camera effects were made to blend smoothly in Cousin Rachel" an outstanding example tion set up to tell that story in the most lens from its clear position to its most to each other by means of optical dis of creative lensing. It is rather the over forceful and effective way. The moment 1eavily diffused extreme. The resultant solves. all quality, approach and sure technical that photography calls attention to itself ,holographic effect puts over the idea As part of the same sequence the skill of La Shelle's visualization that as a separate craft, it fails in its overall in no uncertain terms. In fact, its im hero imagines himself being married to rates honors (Academy or otherwise) purpose." >ort could be missed perhaps only by the heroine. Clad in her wedding gown, for his work on this film. It is not He goes on to say: "The director of i:he most naive. she appears out of seeming nothingness enough to say that his light sources are photography approaches each sequence Perhaps the most striking sequence (swirling smoke against a plain gray authentically motivated, because he uses as a new and ·separate problem, and he :n the film, from the visual standpoint, flat). As she comes up into close-up, shadow as well as light to create mood adapts his technique to suit that par .s that which portrays the delerium of the hero ( until tben crouched down be- and . to model his characters strongly. ticular problem. The cinematographer who always uses low angles, or always uses high angles, or always moves the camera no matter what the demands of PRECISION BUILT COMBINATION the sequence, makes the mistake of let 16mm AND 35mm ting a set style overide an individual OPTICAL approach to the problem. He restricts himself to a set pattern of mechanics that may not suit the dramatic situation SOUN·D READER at all." FEATURES: Simple threading •.• polished stabil "I like to use camera movement when izer drum with needle bearings, with a surfllCe it is called for to follow ilie action of which cannot damage film ... film rollers ma chined to conform with SMPTE standards, and players, and to tie situations together," equipped with oilless bearings .•• precision ground shafts ... dimension 6x6x7 ½. he continues, "and this technique is AMPLIFIER: 117 volt - 60 cycle - AC ... power especially effective in a modern action output - 4 watts , •. heavy duty Alnico V speaker story where the camera adapts its pace ... safety fused .• , prefocused socket ... pilot light . . . 6 ft. heavy duty line cord. to the pace of the dramatic action and NET PRICE $185.00 F.O.B., FACTORY, NEW YORK thereby helps to keep things moving. However, in my last two pictures, "Les PRECISION LABORATORIES Miserables" and "My Cousin Rachel," 244 W. 65th ST. HEW YORK 23, N. Y. I used camera movement more spar- (Continued on Page 89) :6 • AMERICAN CINEMATOGRAPHER • FEBRUARY, 1953 FEBRUARY, 1953 • AMERICAN CINEMATOGRAPHER • 87 •
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director.
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(Technicolor) (Technicolor)
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studios.
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JOSEPH CHARLES
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VICTOR
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20th
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MILNER,
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film
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the
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foreign
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PHILLIP JAMES
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CHARLES
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