Victor Milner
 |  |
Eberhard Schneider
A sign over the door gave me the information that Eberhard Schneider
made film machinery, did lens grinding, manufactured cameras,
projectors, perforators and printers, etc. The store was located a few
steps below the sidewalk. As I opened the door, the tinkling of a bell
overhead announced my entry into the shop and I was soon greeted by
Mr. Schneider with a smile of welcome.
With its profusion of instruments and mechanism, the store, to me,
carried the atmosphere of a museum. The severity of the mechanical
apparatus was relieved by the appearance of a young girl who was
coloring slides near the window.
A peculiar instrument was mounted on a tripod nearby, and when the
transaction of obtaining lugs for my projection arc was completed
shortly, I had Mr. Schneider explain the peculiar instrument to me.
A Moving Picture Camera
"That," said Mr. Schneider, "is a moving picture camera." It was an
aluminum box, 36 inches high. The objective was a projection lens. The
camera was designed with a Geneva movement for propelling the film,
having inside magazines mounted one over the other. The tripod was
attached solidly to the camera. When desiring to panoram, the
cameraman moved a lever which turned the camera to right or left. The
panoramic action was actuated by the camera crank when shooting. If
one wanted to "pan" rapidly, he simply cranked faster. My next trip to
the store was for the purpose of obtaining condensers. The aluminum
box was gone. Occupying its place was a Schneider camera using a
slip-pin movement. The slip-pin movement consisted of two pins which
folded down as the movement went up to engage in the perforations. As
the movement reached its limit, the two little pins engaged in the
perforations and pulled the film down. Reverse cranking was
impossible. For focusing, a little tube was mounted along the side of the
lens. The operator looked down in the tube, focusing on the surface of
the film, instead of from the back of the film or ground glass as we do
today.
As I absorbed the atmosphere of the Schneider shop, I gradually
resolved to become a cinematographer. I made known my aspirations
to him. For a long time he turned a deaf ear to my entreaties but I finally
convinced him.
"Nothing Per"
I began as an apprentice at nothing a week- no, salary at all. Financially,
there was a great deal of difference between that and the $15 per week
that I had been drawing as a first class operator. But my enthusiasm
and eagerness to learn my new calling, more than made up for the lack
of remuneration, no matter how severely I may have felt it. Every nook
and corner of the Schneider plant held some new interest for me and I
was not satisfied until I had learned the why and wherefore of every
piece of mechanism that the shop held. My job was my pastime. I lay
awake at nights thinking of what I wanted to find out on the morrow. I
could not get to work early enough and quitting time rolled around all
too soon. The many interests in the place did not give me the chance to
watch the clock, as I had so miserably done while I was in the projection
"coop." The hours flew instead of dragged.
I did not seem to be able to learn enough to satisfy my curiosity. I
reveled in the involved and technical explanations which Mr. Schneider
gave me of his various devices. At first, perhaps, some of his
explanations "went over my head" but it was not long until I had
digested the trade expressions and was entirely at ease when Mr.
Schneider turned loose his perplexing vocabulary on me.
Concerning Humor
Just as some of Mr. Schneider's technical expressions "went over my
head," his deep-rooted and quiet sense of humor did likewise. It was not
until I had been working for him for some time that I began to appreciate
that sense of humor- a sense of humor which might be well called a
serious sense of humor. And I rather suspect that his humor was
working full blast when he assigned me my first job as "cameraman."
"Victor," he said (as I recall it now, there must have been a twinkle in his
eye), "one of the first things, that a cameraman should learn is how to
paint. He must be a good painter before he can be a good cameraman."
Getting the Fire Escape Painted
Whereupon he informed me that he was going to allow me to use his
favorite green paint to paint the fire escape which stretched from the
roof to the ground of the three story house in which his shop was
located. So I daubed and smeared for four long weeks, wondering all
the time how this was going to help me to manipulate lenses, or to learn
the secrets of the camera, never daring, however, to question his
wisdom in giving me the task to which I had been assigned.
Dark Room
I was finally allowed to enter the sanctity of the dark room. It was
located in the cellar, so you see I began at the top of the building and
worked to the bottom, instead of beginning at the bottom and working
up. The film was developed on a 200-foot drum in a half-moon tray
holding a few gallons of developer. The drum was turned by hand, a
good method for developing muscles for a championship fight. The
negative was carried until the image showed clearly on the back of the
film. To inspect the density of the negative, the drum was stopped,
leaving one-quarter of the negative in the developer while the sides and
the upper part of the drum were high and dry.
No Dust-Proof Rooms
After development, the drum was lifted into the hypo tray. The film was
dried on a big drum which was not revolved as is done in the great
laboratories of today. Nor was the drying drum located in a dust-proof
room. A little more or less dust on the film while drying did not matter.
Rack flashes and developing fluctuations were unnoticed.
From the dark room I went to the perforating machine. The perforator
was a slow, two-punch machine which took an eternity to punch a
single roll. Here my patience was tried to the utmost. One day the
punches on the die broke so that instead of perforating a clean-cut hole,
a jagged opening was made with the result that I had to strip the ragged
ends off each of the perforations along a couple hundred feet of film.
But I liked my job in spite of it all.
The printing machine was of the step printer type. Two hundred feet
could be printed in about a half hour, and for printing quality it could nor
be equalled. Developing of negative film, and making a print was
charged at the rate of, including the positive stock, 12 cents a foot.
Among the Chemicals
Finally I was introduced to the mysteries of the chemical room. This
room was the pride of the establishment. It was filled with hundreds of
bottles lined on shelves against the walls. Bottles of chemicals were
placed so that the smallest were at one end of the shelf and graduated
until the largest bottles were reached at the opposite end of the shelf.
Never was there a bottle a fraction of an inch out of line. The labels
were all turned uniformly outward. If I went into the chemical room and
failed to replace a bottle in its exact mathematical position, Mr.
Schneider was sure to detect my blunder, even if the bottle were out of
line only the breadth of a hair it seemed, and I was sure to be
reprimanded for my carelessness.
Tinting and toning was done on pin racks holding 104 feet of film which
were immersed in small trays. The toning and tinting process greatly
appealed to me. I always admired Mr. Schneider's method of siphoning
the aniline dyes from the five gallon demijohns in which they were kept.
His method was to insert a rubber-tube, something more than a foot
long; into the demijohn and then to suck on the tube until the dye began
to flow. He would direct the stream of dye into the tray and when
enough had flowed out, he would pinch the tube, thereby arresting the
flow of dye.
One day when I had the duty assigned to me to tint some positive, I had
the misfortune to try to siphon some aniline red which was needed for
the process. But immediately after I had put my mouth to the tube I
found that the method of siphoning was not as simple as I had
imagined. Instead of "letting go" just at the time the aniline began to
flow out of the tube I allowed myself to drink a pint or so of the red and
when I finally regained presence of mind to withdraw the tube from my
mouth, what I hadn't drunk spilled on the floor or ran down the corners
of my mouth or spilled over my clothes. For a week later I appeared as it
I had murdered half the population of New York City, while the red
splotches on the floor would not yield to my most ardent efforts to
eradicate them. I scrubbed and I scoured but to no avail, while all the
time I was being reprimanded by Mr. Schneider for my carelessness. In
fact, I thought the time had come when I was to part my ways with the
Schneider establishment. Incidentally, I was recently informed that
when the Schneider building was sold some time ago, the purchaser
inquired whether anybody had been murdered on the spot where I
dropped the aniline red.
A sign over the door gave me the information that Eberhard Schneider
made film machinery, did lens grinding, manufactured cameras,
projectors, perforators and printers, etc. The store was located a few
steps below the sidewalk. As I opened the door, the tinkling of a bell
overhead announced my entry into the shop and I was soon greeted by
Mr. Schneider with a smile of welcome.
With its profusion of instruments and mechanism, the store, to me,
carried the atmosphere of a museum. The severity of the mechanical
apparatus was relieved by the appearance of a young girl who was
coloring slides near the window.
A peculiar instrument was mounted on a tripod nearby, and when the
transaction of obtaining lugs for my projection arc was completed
shortly, I had Mr. Schneider explain the peculiar instrument to me.
A Moving Picture Camera
"That," said Mr. Schneider, "is a moving picture camera." It was an
aluminum box, 36 inches high. The objective was a projection lens. The
camera was designed with a Geneva movement for propelling the film,
having inside magazines mounted one over the other. The tripod was
attached solidly to the camera. When desiring to panoram, the
cameraman moved a lever which turned the camera to right or left. The
panoramic action was actuated by the camera crank when shooting. If
one wanted to "pan" rapidly, he simply cranked faster. My next trip to
the store was for the purpose of obtaining condensers. The aluminum
box was gone. Occupying its place was a Schneider camera using a
slip-pin movement. The slip-pin movement consisted of two pins which
folded down as the movement went up to engage in the perforations. As
the movement reached its limit, the two little pins engaged in the
perforations and pulled the film down. Reverse cranking was
impossible. For focusing, a little tube was mounted along the side of the
lens. The operator looked down in the tube, focusing on the surface of
the film, instead of from the back of the film or ground glass as we do
today.
As I absorbed the atmosphere of the Schneider shop, I gradually
resolved to become a cinematographer. I made known my aspirations
to him. For a long time he turned a deaf ear to my entreaties but I finally
convinced him.
"Nothing Per"
I began as an apprentice at nothing a week- no, salary at all. Financially,
there was a great deal of difference between that and the $15 per week
that I had been drawing as a first class operator. But my enthusiasm
and eagerness to learn my new calling, more than made up for the lack
of remuneration, no matter how severely I may have felt it. Every nook
and corner of the Schneider plant held some new interest for me and I
was not satisfied until I had learned the why and wherefore of every
piece of mechanism that the shop held. My job was my pastime. I lay
awake at nights thinking of what I wanted to find out on the morrow. I
could not get to work early enough and quitting time rolled around all
too soon. The many interests in the place did not give me the chance to
watch the clock, as I had so miserably done while I was in the projection
"coop." The hours flew instead of dragged.
I did not seem to be able to learn enough to satisfy my curiosity. I
reveled in the involved and technical explanations which Mr. Schneider
gave me of his various devices. At first, perhaps, some of his
explanations "went over my head" but it was not long until I had
digested the trade expressions and was entirely at ease when Mr.
Schneider turned loose his perplexing vocabulary on me.
Concerning Humor
Just as some of Mr. Schneider's technical expressions "went over my
head," his deep-rooted and quiet sense of humor did likewise. It was not
until I had been working for him for some time that I began to appreciate
that sense of humor- a sense of humor which might be well called a
serious sense of humor. And I rather suspect that his humor was
working full blast when he assigned me my first job as "cameraman."
"Victor," he said (as I recall it now, there must have been a twinkle in his
eye), "one of the first things, that a cameraman should learn is how to
paint. He must be a good painter before he can be a good cameraman."
Getting the Fire Escape Painted
Whereupon he informed me that he was going to allow me to use his
favorite green paint to paint the fire escape which stretched from the
roof to the ground of the three story house in which his shop was
located. So I daubed and smeared for four long weeks, wondering all
the time how this was going to help me to manipulate lenses, or to learn
the secrets of the camera, never daring, however, to question his
wisdom in giving me the task to which I had been assigned.
Dark Room
I was finally allowed to enter the sanctity of the dark room. It was
located in the cellar, so you see I began at the top of the building and
worked to the bottom, instead of beginning at the bottom and working
up. The film was developed on a 200-foot drum in a half-moon tray
holding a few gallons of developer. The drum was turned by hand, a
good method for developing muscles for a championship fight. The
negative was carried until the image showed clearly on the back of the
film. To inspect the density of the negative, the drum was stopped,
leaving one-quarter of the negative in the developer while the sides and
the upper part of the drum were high and dry.
No Dust-Proof Rooms
After development, the drum was lifted into the hypo tray. The film was
dried on a big drum which was not revolved as is done in the great
laboratories of today. Nor was the drying drum located in a dust-proof
room. A little more or less dust on the film while drying did not matter.
Rack flashes and developing fluctuations were unnoticed.
From the dark room I went to the perforating machine. The perforator
was a slow, two-punch machine which took an eternity to punch a
single roll. Here my patience was tried to the utmost. One day the
punches on the die broke so that instead of perforating a clean-cut hole,
a jagged opening was made with the result that I had to strip the ragged
ends off each of the perforations along a couple hundred feet of film.
But I liked my job in spite of it all.
The printing machine was of the step printer type. Two hundred feet
could be printed in about a half hour, and for printing quality it could nor
be equalled. Developing of negative film, and making a print was
charged at the rate of, including the positive stock, 12 cents a foot.
Among the Chemicals
Finally I was introduced to the mysteries of the chemical room. This
room was the pride of the establishment. It was filled with hundreds of
bottles lined on shelves against the walls. Bottles of chemicals were
placed so that the smallest were at one end of the shelf and graduated
until the largest bottles were reached at the opposite end of the shelf.
Never was there a bottle a fraction of an inch out of line. The labels
were all turned uniformly outward. If I went into the chemical room and
failed to replace a bottle in its exact mathematical position, Mr.
Schneider was sure to detect my blunder, even if the bottle were out of
line only the breadth of a hair it seemed, and I was sure to be
reprimanded for my carelessness.
Tinting and toning was done on pin racks holding 104 feet of film which
were immersed in small trays. The toning and tinting process greatly
appealed to me. I always admired Mr. Schneider's method of siphoning
the aniline dyes from the five gallon demijohns in which they were kept.
His method was to insert a rubber-tube, something more than a foot
long; into the demijohn and then to suck on the tube until the dye began
to flow. He would direct the stream of dye into the tray and when
enough had flowed out, he would pinch the tube, thereby arresting the
flow of dye.
One day when I had the duty assigned to me to tint some positive, I had
the misfortune to try to siphon some aniline red which was needed for
the process. But immediately after I had put my mouth to the tube I
found that the method of siphoning was not as simple as I had
imagined. Instead of "letting go" just at the time the aniline began to
flow out of the tube I allowed myself to drink a pint or so of the red and
when I finally regained presence of mind to withdraw the tube from my
mouth, what I hadn't drunk spilled on the floor or ran down the corners
of my mouth or spilled over my clothes. For a week later I appeared as it
I had murdered half the population of New York City, while the red
splotches on the floor would not yield to my most ardent efforts to
eradicate them. I scrubbed and I scoured but to no avail, while all the
time I was being reprimanded by Mr. Schneider for my carelessness. In
fact, I thought the time had come when I was to part my ways with the
Schneider establishment. Incidentally, I was recently informed that
when the Schneider building was sold some time ago, the purchaser
inquired whether anybody had been murdered on the spot where I
dropped the aniline red.
"Fade Out and Slowly Fade In"
Coolidge
Much is said these days of the "recalcitrance" and the "silence" of
Calvin Coolidge's make-up. "Photographically" the writer did not find
him so, although Coolidge became President several years after the
writer left the news weekly field. However, my photographic experience
with him may have revealed the man as he really is- before there was
any thought of the weight of the presidential office resting upon his
shoulders.
Taught Coolidge Camera Operation
More than a decade ago Coolidge came into the famed establishment of
Eberhard Schneider and bought a motion picture camera for his own
use. Mr. Schneider assigned me to teach Coolidge how to operate the
instrument, and in so doing I found him to be quite congenial and
communicative, and not at all "stiff" or retreating as he is sometimes
described.
In fact, during the course of his learning how to operate the camera he
himself became a "performer," throwing snowballs with the zest of a
boy while I turned the crank on his capers. It did not shock his sense of
propriety when I conducted myself as a staggering and limber "drunk" in
the first scenes that he ground on after he had mastered the operating
principles of the camera.
Much is said these days of the "recalcitrance" and the "silence" of
Calvin Coolidge's make-up. "Photographically" the writer did not find
him so, although Coolidge became President several years after the
writer left the news weekly field. However, my photographic experience
with him may have revealed the man as he really is- before there was
any thought of the weight of the presidential office resting upon his
shoulders.
Taught Coolidge Camera Operation
More than a decade ago Coolidge came into the famed establishment of
Eberhard Schneider and bought a motion picture camera for his own
use. Mr. Schneider assigned me to teach Coolidge how to operate the
instrument, and in so doing I found him to be quite congenial and
communicative, and not at all "stiff" or retreating as he is sometimes
described.
In fact, during the course of his learning how to operate the camera he
himself became a "performer," throwing snowballs with the zest of a
boy while I turned the crank on his capers. It did not shock his sense of
propriety when I conducted myself as a staggering and limber "drunk" in
the first scenes that he ground on after he had mastered the operating
principles of the camera.
Victor Milner, A.S.C., at Port Said
in 1913 with his pioneer camera
and African assistant.
in 1913 with his pioneer camera
and African assistant.
Victor Milner the late great
Cinematographer began his career
in the film industry as a lab
assistant at age 15. He worked for
Eberhard Schneider, who
manufactured motion-picture
cameras and other film equipment.
He was also married to Eberhard's
daughter Margarethe Schneider.
Cinematographer began his career
in the film industry as a lab
assistant at age 15. He worked for
Eberhard Schneider, who
manufactured motion-picture
cameras and other film equipment.
He was also married to Eberhard's
daughter Margarethe Schneider.
Calvin Coolidge, the thirtieth
President of the United States
(1923-1929).
President of the United States
(1923-1929).
Cecil B. DeMille and Victor
Milner. He was nominated for
ten cinematography Academy
Awards, winning once for 1934's
Cleopatra. Milner worked in
various films, more then 130.
Milner. He was nominated for
ten cinematography Academy
Awards, winning once for 1934's
Cleopatra. Milner worked in
various films, more then 130.
Links:
Victor Milner had the
exceedingly rare opportunity to
film the Hopi Indian snake
dance, and it was all he could do
to crank the shot successfully:
"All the Indians on the
reservation were in attendance
at the dance, but only fourteen
took an active part in the
ceremony. The fourteen, led by
a chief, began a chant so wild
and wonderful that Mr. Milner
declared it almost hypnotized
him, and he had to look away
into the landscape frequently to
keep steady."
exceedingly rare opportunity to
film the Hopi Indian snake
dance, and it was all he could do
to crank the shot successfully:
"All the Indians on the
reservation were in attendance
at the dance, but only fourteen
took an active part in the
ceremony. The fourteen, led by
a chief, began a chant so wild
and wonderful that Mr. Milner
declared it almost hypnotized
him, and he had to look away
into the landscape frequently to
keep steady."
Hiawatha (1913)
Also known as Hiawatha: The
Indian Passion Play this was the
first film to star only Native
Americans. The black and white
silent short starred Joe Biller,
Hilde Hadges and Soon-goot.
Also known as Hiawatha: The
Indian Passion Play this was the
first film to star only Native
Americans. The black and white
silent short starred Joe Biller,
Hilde Hadges and Soon-goot.
Fort Defiance Film Co., Gaumont,
Producer: Frank E. Moore;
Camera: Victor Milner; Based
on the poem "The Song of
Hiawatha" by Henry Wadsworth
Longfellow. The film features a
cast of 150 Indians from New
York, Canada and the Dakotas,
and it was filmed in New York
State and near Lake Superior.
Producer: Frank E. Moore;
Camera: Victor Milner; Based
on the poem "The Song of
Hiawatha" by Henry Wadsworth
Longfellow. The film features a
cast of 150 Indians from New
York, Canada and the Dakotas,
and it was filmed in New York
State and near Lake Superior.
Cinematographer - filmography
1950's
Jeopardy (1953)
Carrie (1952)
My Favorite Spy (1951)
Dark City (1950)
September Affair (1950)
(European scenes)
The Furies (1950)
1940's
Unfaithfully Yours (1948)
You Were Meant for Me (1948)
The Other Love (1947)
It's a Wonderful Life (1946)
(uncredited)
... aka Frank Capra's It's a
Wonderful Life (USA: complete
title)
The Strange Love of Martha
Ivers (1946)
Wonder Man (1945)
The Princess and the Pirate
(1944) (director of photography)
The Great Moment (1944)
The Story of Dr. Wassell (1944)
Hostages (1943)
The Palm Beach Story (1942)
Reap the Wild Wind (1942)
(director of photography)
... aka Cecil B. DeMille's Reap the
Wild Wind (USA: complete title)
My Life with Caroline (1941)
The Man Who Lost Himself
(1941)
The Monster and the Girl (1941)
... aka D.O.A.
... aka The Avenging Brain
The Lady Eve (1941)
North West Mounted Police
(1940)
... aka Northwest Mounted Police
... aka The Scarlet Riders
Christmas in July (1940)
Those Were the Days! (1940)
... aka At Good Old Siwash
... aka Good Old Schooldays (UK)
Seventeen (1940)
1930's
The Great Victor Herbert (1939)
What a Life (1939)
Our Leading Citizen (1939)
Union Pacific (1939)
Say It in French (1938)
Touchdown, Army (1938)
... aka Generals of Tomorrow
(UK)
Give Me a Sailor (1938)
Hunted Men (1938)
... aka Crime Gives Orders
College Swing (1938)
... aka Swing, Teacher, Swing
(UK)
The Buccaneer (1938)
Artists & Models (1937)
High, Wide, and Handsome
(1937)
Bulldog Drummond Escapes
(1937) (uncredited)
... aka Bulldog Drummond's
Escape (USA: review title)
The Plainsman (1936)
The General Died at Dawn (1936)
Desire (1936) (uncredited)
... aka The Pearl Necklace
Till We Meet Again (1936)
... aka Forgotten Faces (USA)
Give Us This Night (1936)
So Red the Rose (1935)
The Crusades (1935)
(photographed by)
The Gilded Lily (1935)
Cleopatra (1934)
Wharf Angel (1934)
All of Me (1934)
Design for Living (1933)
One Sunday Afternoon (1933)
The Song of Songs (1933)
Luxury Liner (1933)
Under-Cover Man (1932)
Trouble in Paradise (1932)
Love Me Tonight (1932)
Une heure près de toi (1932)
This Is the Night (1932)
One Hour with You (1932)
Broken Lullaby (1932)
... aka The Man I Killed (UK)
Daughter of the Dragon (1931)
I Take This Woman (1931)
Kick In (1931)
Ladies' Man (1931)
Man of the World (1931)
No Limit (1931)
Monte Carlo (1930)
Let's Go Native (1930)
True to the Navy (1930)
The Texan (1930)
Paramount on Parade (1930)
1920's
The Marriage Playground (1929)
The Love Parade (1929)
Charming Sinners (1929)
... aka The Constant Wife (UK)
River of Romance (1929)
The Studio Murder Mystery
(1929)
The Wild Party (1929)
The Wolf of Wall Street (1929)
Sins of the Fathers (1928)
The Woman from Moscow (1928)
Loves of an Actress (1928)
Three Sinners (1928)
The Showdown (1928)
Half a Bride (1928)
The Spotlight (1927)
The Way of All Flesh (1927)
Rolled Stockings (1927)
Children of Divorce (1927)
Blonde or Brunette (1927)
The Lady of the Harem (1926)
Kid Boots (1926)
The Cat's Pajamas (1926)
You Never Know Women (1926)
The Lucky Lady (1926)
The Wanderer (1925)
The Spaniard (1925)
... aka Spanish Love (UK)
Learning to Love (1925)
East of Suez (1925)
On the Stroke of Three (1924)
Her Night of Romance (1924)
The Red Lily (1924)
Thy Name Is Woman (1924)
Cause for Divorce (1923)
What Love Will Do (1923)
The Town Scandal (1923)
Gossip (1923)
The Love Letter (1923)
A Dangerous Game (1922)
The Lavender Bath Lady (1922)
The Kentucky Derby (1922)
The Gypsy Trail (1922)
Tracked Down (1922)
Human Hearts (1922)
Dead Game (1922)
Unmasked (1922)
Go Get 'em Gates (1922)
Her Night of Nights (1922)
The Cave Girl (1921)
Shadows of Conscience (1921)
What Love Will Do (1921)
Play Square (1921)
Live Wires (1921)
When We Were 21 (1921)
... aka When We Were
Twenty-One
Dice of Destiny (1920)
Her Unwilling Husband (1920)
Half a Chance (1920)
Felix O'Day (1920)
One Hour Before Dawn (1920)
Haunting Shadows (1920)
Out of the Dust (1920)
1910's
The Sealed Envelope (1919)
The Cabaret Girl (1918)
The Velvet Hand (1918)
The Inspirations of Harry
Larrabee (1917)
Hiawatha (1913)
1950's
Jeopardy (1953)
Carrie (1952)
My Favorite Spy (1951)
Dark City (1950)
September Affair (1950)
(European scenes)
The Furies (1950)
1940's
Unfaithfully Yours (1948)
You Were Meant for Me (1948)
The Other Love (1947)
It's a Wonderful Life (1946)
(uncredited)
... aka Frank Capra's It's a
Wonderful Life (USA: complete
title)
The Strange Love of Martha
Ivers (1946)
Wonder Man (1945)
The Princess and the Pirate
(1944) (director of photography)
The Great Moment (1944)
The Story of Dr. Wassell (1944)
Hostages (1943)
The Palm Beach Story (1942)
Reap the Wild Wind (1942)
(director of photography)
... aka Cecil B. DeMille's Reap the
Wild Wind (USA: complete title)
My Life with Caroline (1941)
The Man Who Lost Himself
(1941)
The Monster and the Girl (1941)
... aka D.O.A.
... aka The Avenging Brain
The Lady Eve (1941)
North West Mounted Police
(1940)
... aka Northwest Mounted Police
... aka The Scarlet Riders
Christmas in July (1940)
Those Were the Days! (1940)
... aka At Good Old Siwash
... aka Good Old Schooldays (UK)
Seventeen (1940)
1930's
The Great Victor Herbert (1939)
What a Life (1939)
Our Leading Citizen (1939)
Union Pacific (1939)
Say It in French (1938)
Touchdown, Army (1938)
... aka Generals of Tomorrow
(UK)
Give Me a Sailor (1938)
Hunted Men (1938)
... aka Crime Gives Orders
College Swing (1938)
... aka Swing, Teacher, Swing
(UK)
The Buccaneer (1938)
Artists & Models (1937)
High, Wide, and Handsome
(1937)
Bulldog Drummond Escapes
(1937) (uncredited)
... aka Bulldog Drummond's
Escape (USA: review title)
The Plainsman (1936)
The General Died at Dawn (1936)
Desire (1936) (uncredited)
... aka The Pearl Necklace
Till We Meet Again (1936)
... aka Forgotten Faces (USA)
Give Us This Night (1936)
So Red the Rose (1935)
The Crusades (1935)
(photographed by)
The Gilded Lily (1935)
Cleopatra (1934)
Wharf Angel (1934)
All of Me (1934)
Design for Living (1933)
One Sunday Afternoon (1933)
The Song of Songs (1933)
Luxury Liner (1933)
Under-Cover Man (1932)
Trouble in Paradise (1932)
Love Me Tonight (1932)
Une heure près de toi (1932)
This Is the Night (1932)
One Hour with You (1932)
Broken Lullaby (1932)
... aka The Man I Killed (UK)
Daughter of the Dragon (1931)
I Take This Woman (1931)
Kick In (1931)
Ladies' Man (1931)
Man of the World (1931)
No Limit (1931)
Monte Carlo (1930)
Let's Go Native (1930)
True to the Navy (1930)
The Texan (1930)
Paramount on Parade (1930)
1920's
The Marriage Playground (1929)
The Love Parade (1929)
Charming Sinners (1929)
... aka The Constant Wife (UK)
River of Romance (1929)
The Studio Murder Mystery
(1929)
The Wild Party (1929)
The Wolf of Wall Street (1929)
Sins of the Fathers (1928)
The Woman from Moscow (1928)
Loves of an Actress (1928)
Three Sinners (1928)
The Showdown (1928)
Half a Bride (1928)
The Spotlight (1927)
The Way of All Flesh (1927)
Rolled Stockings (1927)
Children of Divorce (1927)
Blonde or Brunette (1927)
The Lady of the Harem (1926)
Kid Boots (1926)
The Cat's Pajamas (1926)
You Never Know Women (1926)
The Lucky Lady (1926)
The Wanderer (1925)
The Spaniard (1925)
... aka Spanish Love (UK)
Learning to Love (1925)
East of Suez (1925)
On the Stroke of Three (1924)
Her Night of Romance (1924)
The Red Lily (1924)
Thy Name Is Woman (1924)
Cause for Divorce (1923)
What Love Will Do (1923)
The Town Scandal (1923)
Gossip (1923)
The Love Letter (1923)
A Dangerous Game (1922)
The Lavender Bath Lady (1922)
The Kentucky Derby (1922)
The Gypsy Trail (1922)
Tracked Down (1922)
Human Hearts (1922)
Dead Game (1922)
Unmasked (1922)
Go Get 'em Gates (1922)
Her Night of Nights (1922)
The Cave Girl (1921)
Shadows of Conscience (1921)
What Love Will Do (1921)
Play Square (1921)
Live Wires (1921)
When We Were 21 (1921)
... aka When We Were
Twenty-One
Dice of Destiny (1920)
Her Unwilling Husband (1920)
Half a Chance (1920)
Felix O'Day (1920)
One Hour Before Dawn (1920)
Haunting Shadows (1920)
Out of the Dust (1920)
1910's
The Sealed Envelope (1919)
The Cabaret Girl (1918)
The Velvet Hand (1918)
The Inspirations of Harry
Larrabee (1917)
Hiawatha (1913)