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Posts Tagged ‘The Pit and the Pendulum’

Floyd Crosby, ASC – The Great Cinematographers

Saturday, August 22nd, 2015

Director Fred Zinnemann (seated); DP Floyd Crosby standing (with glasses); and star Gary Cooper on the set of High Noon.

My new book, Black and White Cinema: A Short History, is coming out in a few weeks – I already have the advance proof copy – and Amazon has listed their official release date as September 17th; it goes to press on September 4th. I’m really happy with the finished project, but as with my entry on Nick Musuraca earlier in this blog, there were sections of my original text that had to be cut for reasons of space.

So here’s some additional material on the great cinematographer Floyd Crosby, and the long, often odd trajectory of his distinguished career.

As I wrote in the original draft of the book, “Floyd Crosby was another master of black and white cinematography, who early on in his career served as an assistant of sorts on W. S. Van Dyke’s and Robert Flaherty’s White Shadows in the South Seas (1928). But as Crosby told historian Mark Langer, ‘when Flaherty went down there [Tahiti], it was supposed to be a co-direction, but he didn’t direct any of it. Van Dyke directed it all. But I went down there and got a job, just as an assistant cameraman.

I was there, I think, three months, and then Flaherty left, and I came back when he did…Flaherty had no idea of how to direct a story film. All his work had been with documentaries, where he’d tell the natives to go fishing or do something he didn’t already know, and then he’d photograph it. He’d never done any story direction and this was a story picture and he was completely lost in it. Van Dyke did the whole thing.’

Van Dyke was known as a tough, no-nonsense director, commonly referred to as ‘One Take Woody’ for his speed and proficiency on the set, and as with many of the key directors of the 1930s, his career stretched back to the silent days, with The Land of Long Shadows (1917), and in the early sound era, by the astonishing accomplishment of Trader Horn (1931), shot on location in Uganda, Kenya, Sudan, Tanzania, and the Democratic Republic of Congo in synchronized sound, using an enormous crew, and the talents of Clyde De Vinna as cinematographer.

[De Vinna, who was the principal cameraman on White Shadows on the South Seas, took advantage of the opportunity to shoot literally miles of 'second unit' footage of native dancers, ceremonies, and everyday life for later use as stock footage in other productions, and indeed, the Trader Horn materials shot by De Vinna informed the spectatorial vision of Africa for more than thirty years, endlessly recycled in numerous 'jungle' films, and in the 1950s, such television series as Ramar of the Jungle (1952-1954)].

For his next project, Crosby worked on F. W. Murnau’s and Robert Flaherty’s Tabu (1931), but again, the collaboration was uneasy at best. As Crosby put it, when they arrived on location in Bora Bora, Flaherty rapidly demonstrated that he had no idea how to create a fiction film. As Crosby told Mark Langer, ‘the trouble was this. The idea that it was to be a co-production, and to be co-directed.

But when they got down [to the location], there was the same old story, that Flaherty couldn’t direct and Murnau was an expert, so Murnau was directing. In fact, he said to me one day, “My, I wish Flaherty could direct.” He said, “I’m sick. I don’t feel like working for a few days, but we can’t stop, and I wish Flaherty could take over.” But he knew he couldn’t. And Flaherty was upset because Murnau took over the picture.

Murnau was a great director, you know, and he was a very interesting workman, but personally had all kinds of problems. He was an arrogant person — and he and Flaherty hated each other. At least Flaherty hated him. Flaherty used to three times a day tell me how much he hated Murnau… At the end of the picture, Murnau had some titles made and asked me to shoot them.

One of the titles was “And at the camera — Crosby.” I said, “This is not the correct credit. The credit is Photographed by . . .” He said, “You won’t shoot it then?” And I said, “No. I won’t shoot it.” So we were hardly speaking after that. Then, of course, when Paramount made the titles, they gave me the correct credits.’

Floyd Crosby on the set of Tabu, behind the camera.

Despite all of this friction, the finished film is an evocative, deeply romantic and ineffably tragic work, which not only won Crosby the Academy Award for Best Cinematography, but also was selected by the National Board of Review as one of the Top Ten Films of 1931, and, in 1994, chosen by the National Film Preservation Board for the National Film Registry as being ‘culturally, historically [and] aesthetically significant.’

In Crosby’s laconic reckoning of Tabu’s success, he told Langer that ‘…it came out well enough to get the Academy Award. It was a little uneven, I must admit. And you know, this was before the days of exposure meters, and one day Flaherty was developing some film and we were talking outside and we forgot about it. The film was ten minutes in a three and a half minute developer. So we had to shoot that over again, you know.’

And for Flaherty, Crosby maintained a certain measure of respect, as opposed to his feelings on working with Murnau. As he told Langer, ‘I learned things. They weren’t things that I was particularly able to use, but the good thing about [Flaherty] was that he would make a good documentary without trying to louse it up by bringing in a lot of other things to make excitement, that had no business in the picture.

You know, so many people go out to make a documentary, who want to make something that’s going to sell, so they try to bring in some Hollywood elements of excitement, and it ceases to be a really true documentary. Well, he didn’t do that in his films. He was honest about them.’

Crosby went on to shoot a series of documentaries in the 1930s, such as Mato Grosso: The Great Brazilian Wilderness (1931), often cited as one of the first sync sound documentaries, shot in Mato Grosso, Brazil; Pare Lorentz’s The Plow That Broke The Plains (1936); Joris Iven’s The Power and the Land (1940), as well as working on Orson Welles’ aborted semi-documentary It’s All True (1942), with cinematographers Joe Noreigo, Joseph Biroc, William Howard Greene, Harry J. Wild, and George Fanto; the film was shelved, and the materials vaulted for fifty years, before the production emerged in a reconstructed version in 1993; Crosby photographed the ‘My Friend Benito’ sequence of the film, which was actually directed by Welles’s associate Norman Foster.

Crosby on location for Mato Grosso: The Great Brazilian Wilderness

In his later work, one of Crosby’s most impressive achievements was his parched, unadorned work on director Fred Zinnemann’s High Noon (1952), which, ironically, led back to Crosby’s work with Flaherty, as Zinnemann had a strong affinity for Flaherty’s work, along with a personal connection to the director. As Zinnemann told Brian Neve,

‘Flaherty wrote me a letter of introduction in 1931, and as a result I got a job at Goldwyn. He influenced me in every possible way, not only technically, but also in what I learnt from him by being his assistant, his whole spirit of being his own man, of being independent of the general spirit of Hollywood, to the point where he didn’t worry about working there.

That’s probably why he made only five or six pictures in his life. But he influenced me in his whole way of approaching the documentary, which he really initiated with films like Nanook of the North. I learned from Flaherty to be rather uncompromising an to defend what I wanted to say, and not let someone else mix it up. He had the true feeling of a documentary director — he took life as it was. This influenced me enormously because I found myself almost subconsciously following his style in films like High Noon …’

And so, when Zinnemann shot High Noon, he argued that, ‘if you want to make a picture like High Noon, and you want to make it feel like the world felt in the days of the Civil War in America, that kind of gritty, dusty feeling, you had to get a cameraman who knew how to handle that, like Floyd Crosby,’ with the result that the film had a cinematographic style very different from other films of the period.

As Zinnemann noted in another interview on High Noon with historian Alan Marcus, ‘I wanted to organize High Noon in the way a documentary would have been made at that time when the action happened. Except that in the 1880s there was no such thing as motion pictures. So that in using the style, the cameraman Floyd Crosby and I studied very carefully contemporary still photography, particularly the photographs of Mr. Lincoln’s [still] cameraman [Matthew Brady] who photographed parts of the Civil War in America.

That meant that we used a grainy kind of print, deliberately grainy and flat, with a very white sky, instead of a dark sky with pretty clouds on it. So, it reasonably looks a bit like photography of that period and gives it a feeling of being authentic, which was not the usual method at all at the time when this film was made.’

A superb setup by Crosby from High Noon ; Will Kane alone, deserted by the townspeople.

The completed film won four Academy Awards — Best Actor (Gary Cooper), Best Film Editing (Elmo Williams and Harry Gerstad — this is a whole story in itself, as Elmo Williams’ near ‘real time’ — actually slightly stretched out, rather than strictly accurate — editing of the final cut of the film considerably tightened up the flow of the narrative), and Best Music and Best Original Song for Dimitri Tiomkin.

For his part, Floyd Crosby won a Golden Globe for his work on High Noon, and though the film was generally well-received critically, it infuriated the more politically conservative members of the Hollywood community. With its script, by Carl Foreman, depicting the craven, cowardly members of a small Western town refusing to help the town’s marshal, Will Kane (Gary Cooper), when his arch nemesis Ben Miller (Sheb Wooley), whom Kane has sent to prison, comes back explicitly to kill Kane, High Noon painted a deeply unflattering picture of American society, and was widely seen as a political allegory, commenting on the Hollywood Blacklist of the era.

As a result of this, the film’s scenarist Carl Foreman was blacklisted himself, and Floyd Crosby, as a sort of ‘collateral damage’ to the entire affair, found himself “grey listed” — not officially on the blacklist, but definitely out of favor.Out of this, however, came the final, blazingly brilliant act of Crosby’s career, a long alliance with legendary director Roger Corman, starting with the six day Western Five Guns West in 1955.

Rather than looking down on Corman’s output, Crosby became Corman’s most prolific cinematographer, lensing everything from the stark, black and white imagery of Reform School Girl and Teenage Doll — with one ‘A’ assignment in between, John Sturges’ and Henry King’s production of The Old Man and the Sea, based on Hemingway’s novel, photographed by Crosby and James Wong Howe — before slickly moving into color work for Corman on House of Usher (1960) and Pit and the Pendulum (1961), along with many other films for the director.

For his part, Crosby observed that – much to his surprise -  he didn’t have to tell Corman as much about how to direct as with some of the other helmers he’d worked with in his career; and as Corman told historian Lawrence French of working with Crosby, and of Crosby’s unjust treatment at the hands of the House Un-American Activities Committee during the early 1950s, working with Crosby was both practical and delightful:

‘Floyd was certainly not a communist, but during the fifties, some studios did not like him. However, that meant nothing to me. I used him simply because he was a good cameraman. I remember Floyd talking about that, and saying it was somewhat ironic that his patriotism should come under questioning, after he had served in the Army Air Corps command during World War II as a Captain, working with [the pioneering documentary filmmaker] Pare Lorentz on combat documentaries and winning citations for bravery. Floyd was really a great gentleman and a brilliant cameraman.

Crosby lights Barbara Steele on the set of Corman’s The Pit and The Pendulum

I went on to use him for my first film as a director, Five Guns West, and he was probably the best cameraman I ever worked with. He was quick, efficient and gave me the kind of quality that you would normally associate with much bigger studio films. We got along very well, and although he was somewhat older than I was, we became very good friends and I had great respect for him and for his work.

It’s not that difficult to get a good cameraman if the cameraman has hours to set up each shot. It’s not difficult to get a cameraman who works quickly. He just sets up a few lights, and says he’s ready to shoot. But to get somebody to work quickly and does fine work is very unusual. [Crosby could do that].’”

Floyd Crosby, another master of the black and white cinema.

Roger Corman to Remake Eight Poe Movies in 3-D

Thursday, December 20th, 2012

As Alex Ben Block writes in The Hollywood Reporter, Roger Corman, at 86, is still cranking them out.

As he notes, “Roger Corman [. . .] is making new versions of eight low-budget horror films based on stories by 19th century American writer Edgar Allan Poe that he adapted and directed in the 1960s. House of Usher will be followed by The Pit and the Pendulum, Premature Burial, Tales of Terror, The Raven, The Haunted Palace [actually based on H.P. Lovecraft's novella The Case of Charles Dexter Ward], The Masque of the Red Death and The Tomb of Ligeia.

This time, Corman will produce but not direct the films, with the first to shoot in 2013, followed by two a year after that on budgets of $2 million to $2.5 million (the originals were shot for $250,000 to $350,000, not adjusting for inflation, on 15-day schedules). Like [the original versions, made for American International Pictures], his New Horizons Productions will not pay for rights because the source material is in the public domain.

The new productions will be self-financed by Corman’s New Horizons Productions, which will give the films at least a short domestic theatrical release and offer international rights at the American Film Market. “Now being able to do them in 3D and with a lot of computer graphics, we can do things we never dreamed of doing before,” he says. But that won’t include more violence. “Poe always worked with the unconscious mind, and there’s a lot of fantasy,” he explains. It may include more erotic material, in keeping with Poe’s approach, but Corman says there will probably still be no nudity.

Corman, honored at the first Governors Awards in 2009, says his biggest concern is replacing his legendary leading man Vincent Price, who died in 1993. Corman hopes to find a fiftysomething actor known from TV who, he says, can bring the same level of ’sensitivity and neuroticism that Vincent was able to bring.’ Corman has Mike McClain, who wrote his last movie – The Haunted, a Chinese co-production shot in in that country — working on the Usher script. Already a living legend [. . .] why does Corman continue to work at his age? He replies with one of his typically to-the-point comments: ‘I simply love making motion pictures.’”

Actually, Corman has already produced a low-budget remake of The Masque of the Red Death in 1989, directed by Larry Brand, toplined by Patrick Macnee and Adrian Paul. While nowhere nearly as effective as Corman’s 1964 version, starring Vincent Price and Hazel Court, and immaculately photographed by the great Nicolas Roeg, it was still an interesting piece of work. But as Corman says, he simply can’t stop making movies. At the very least, the films will prove an excellent training ground for perhaps the very last group of Corman’s protégés, who will then go on to bigger and better projects. It’s a return to the past, but I wish he was doing something new.

Then again, as a pre-sold franchise, the new Poe films should do well in the marketplace.

About the Author

Wheeler Winston Dixon

Wheeler Winston Dixon, Ryan Professor of Film Studies at the University of Nebraska-Lincoln, is an internationally recognized scholar and writer of film history, theory and criticism. He is the author of thirty books and more than 100 articles on film, and appears regularly in national media outlets discussing film and culture trends. Frame by Frame is a collection of his thoughts on a number of those topics. All comments by Dixon on this blog are his own opinions. To contact Prof. Dixon for an interview, reach him at wdixon1@unl.edu or wheelerwinstondixon.com

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