Leon Shamroy
Leon Shamroy (born July 16, 1901 in New York , † July 7, 1974 in Los Angeles ; actually Leonard Shamroy ) was an American cameraman . Shamroy, nominated for an Oscar for Best Cinematography 18 times in the course of his career , has received an Oscar four times . He was one of the most frequently honored cameramen alongside Joseph Ruttenberg and one of the most frequently nominated cameramen alongside Charles Lang .
Shamroy was a member of the American Society of Cinematographers since 1932 , and was president of the organization from 1947 to 1948. While cameraman Lee Garmes was often compared to Rembrandt van Rijn , Rodney Farnsworth saw Leon Shamroy as the cinematographic equivalent of Peter Paul Rubens .
Shamroy, who is one of the few cinematographers to be honored with a star on the Hollywood Walk of Fame , was thoroughly convinced of what his opinion of the film business in general and his colleague Lee Garmes in particular expressed:
"Lee Garmes will never see the day that he's as good as I am, and that goes for anybody in the motion picture business."
Shamroy, who was under contract with 20th Century Fox for almost 30 years, made test recordings with Marilyn Monroe in 1947 and was chief cameraman in the production of the first and, in 1966, the last Cinemascope film.
Life
The son of Russian immigrants attended New York City College and studied mechanical engineering at Columbia University . Shamroy also worked as an assistant to the draftsman for his uncles, all engineers who developed a new type of air-cooled radio motor, the so-called Lawrence motor. After graduating, Shamroy took a job as a laboratory technician at Fox Film Corporation. After a short time, Shamroy became a camera assistant and began making short experimental films in the mid-1920s . As a cameraman Shamroy turned in 1926 with Charles Hutchinson, who directed and also played the lead role, an action series consisting of ten short films under the title Lightning Hutch . Shamroy directed the camera for Pál Fejös in 1928 in the production of the experimental film The Last Moment . In the same year he shot the documentary Acoma, the sky city for Robert Flaherty , with Floyd Crosby as second cameraman . The film was never shown because the film reels were destroyed in a fire.
In the early 1930s, Shamroy joined the Huntington Ethnological Expedition as a cameraman . For two years Shamroy shot in China, Japan, the Philippines and Indonesia. The resulting film material was used during the 1940s for US war films and by the War Department for study purposes in enemy territory. After his return to the USA, Shamroy initially shot mediocre films for various production companies until he was nominated for an Oscar for the first time in 1939 for the comedy Gauner mit Herz , made the year before . Shortly thereafter, Shamroy moved to 20th Century Fox . Until he retired due to illness in 1969, Shamroy was Fox's chief cinematographer for 30 years. In 1953 Shamroy married the actress Mary Anderson , whom he had met in 1944 while filming Wilson . The marriage with Anderson, who was almost 20 years his junior, lasted until Shamroy's death in 1974.
Leon Shamroy was buried in Forest Lawn Cemetery in Hollywood Hills.
plant
Shamroy worked as a cameraman for almost 45 years and photographed around 120 films. During his career, Shamroy experienced the transition from silent to sound film , from black and white to color film, to widescreen film in response to the increasing spread of television .
In the 1920s, Shamroy mainly made short action films, mostly with Charles Hutchinson in the leading role, westerns, dramas and experimental films. During this period was The Telltale Heart , a short film about the history of The Tell-Tale Heart by Edgar Allan Poe . The Telltale Heart and the 1931 documentary Man's Paradise were the two productions for which Shamroy was responsible as cameraman and director.
Pál Fejö's The Last Moment is one of Shamroy's outstanding works during the 1920s. The film shows how shortly before the death of a suicide, his life once again passes him by. The film, which was highly praised by Charles Chaplin , among others , is considered to be one of the first to be shown without subtitles and which consists almost entirely of subjective camera positions, so-called point-of-view shots .
After a few more films for Hutchinson, Shamroy, whose reputation as a cameraman had risen enormously with the success of The Last Moment , decided in the early 1930s to join the Huntington Ethnological Expedition to Asia to film real things around them what was his own best interest.
Before Shamroy left the United States for almost two years, he made his first talkie with Alma de Gaucho , directed by Henry Otto.
The 1930s
After his return to the USA, Shamroy shot one last time for Charles Hutchinson in 1931. Without a permanent contract from a studio, Shamroy worked for production companies such as Universal Pictures , IE Chadwick Productions , or BP Schulberg Productions and Paramount Pictures . In 1932, for example, the Whodunit film The Wayne Murder Case with Jason Robards and Dwight Frye or, in 1934, Princess for 30 Days , directed by Marion Gering . As the precursor to the screwball comedies , the film featured a mix of Cinderella and The Prisoner of Zenda, starring Cary Grant and Sylvia Sidney .
Shamroy was considered innovative and eager to experiment. So he used in 1935, in the production of senior physician Dr. Monet , the first cameraman in Hollywood to use a zoom lens . The film, a drama based on Phyllis Bottome's 1934 bestseller Private Worlds , was directed by Gregory La Cava and starring Claudette Colbert and Charles Boyer . For her performance, Colbert was nominated for an Oscar for Best Actress .
After Blinde Wut , Gehetzt was Fritz Lang's second directorial work in Hollywood. The film, shot entirely in the studio in 1936, with Henry Fonda and Sylvia Sidney in the lead roles, was based on a story by Gene Towne. Shamroy used strong contrasts, backlighting, and point-of-view settings on this melodrama, which heightened the film's claustrophobic atmosphere. Lang's film received consistently positive reviews and had an impact on the style of Black Series films that should not be underestimated . By the end of the decade, Shamroy was mostly behind the camera for comedies and musicals , such as Blossoms on Broadway in 1937. A year later, Gauner mit Herz (The Young in Heart) appeared in theaters. The mix of drama and comedy was created under the direction of Richard Wallace . In addition to the star cast, including Douglas Fairbanks Jr. , Paulette Goddard , Roland Young, Billie Burke and Janet Gaynor , producer David O. Selznick hired Charles Bennett as scriptwriter, William Cameron Menzies as art director and Franz Waxman as composer, and Shamroy as cameraman . The film was a hit with audiences and critics, culminating in three Academy Award nominations. Leon Shamroy was first for the best camera work nominated and Franz Waxman twice for Best Original Score and Best scoring . Shamroy missed out on the 1939 Oscars, but the year marked a turning point in the cameraman's career. Shamroy was signed to 20th Century Fox and shortly thereafter became the studio's chief cameraman. Shamroy also worked with director Henry King for the first time on the production of Little Old New York , a biography about Robert Fulton .
1940s
In December 1939, filming began on the crime film I Was an Adventuress , a remake of the 1938 French film J'étais une Aventurière . Since the cast was made up of actors from different European nationalities made director Gregory Ratoff that the set has been discussed neither the broken war in Europe, yet have national or international policy. Shamroy worked with cameraman Edward Cronjager to produce the film, which contains one of the longest ballet scenes ever .
For Galopp ins Glück , a mixture of musical and comedy set in Argentina, Leon Shamroy, together with Ray Rennahan , was nominated for an Oscar for best camera work in a color film . Gallop Into Luck , directed by Irving Cummings, was Shamroy's first Technicolor film . Leading actress Betty Grable finally became a star in Hollywood with her role, while Carmen Miranda was seen on the big screen for the first time in Down Argentine Way , the original title.
Filming for A Yank in the RAF began in late April 1941. The war film, starring Tyrone Power and Betty Grable, was Shamroy's second collaboration with director Henry King. The black and white film was one of the first major war film productions in Hollywood and was well received by audiences and critics. Power played a pilot who transported fighter planes from Canada to England. In England he meets his ex-girlfriend Grable, who has since joined the WREN (Women's Royal Naval Service) . The pilot then joins the RAF to fight the Germans. Although the film served a lot of clichés, the focus was on entertainment and was largely free of propaganda. For the aerial combat scenes, special effects and original recordings, filmed by a second recording team in England, were mixed. Fred Sersen and Edmund H. Hansen were nominated for an Oscar in 1942 for Best Visual Effects .
Between December 1941 and March 1942 Shamroy worked as a cameraman in the production of the black and white film 10 Lieutenants from West Point . George Montgomery and Maureen O'Hara play the leading roles in this drama about the first graduating class from the Westpoint Military Academy , while Blake Edwards made his first appearance as an actor in a minor supporting role . Some of the recordings of the film directed by Henry Hathaway were supposed to be shot in Monterey , which was prevented by the entry of the USA into the Second World War and the resulting military activities on site. The production company had a replica of the military academy built in Sherwood Forrest, where the scenes set in Westpoint were filmed.
After the re-shooting of Ten Gentlemen from West Point was finished in mid-April , the shooting of The Pirate began on April 20, 1942 . Based on Rafael Sabatini's 1932 novel The Black Swan , Ben Hecht and Seton I. Miller wrote the screenplay for this pirate film. Initially, Rouben Mamoulian was scheduled to direct the color film, but the 20th Century Fox decided on Henry King as director. Maureen O'Hara, who with her "trademark", her auburn hair, became the "Queen of Technicolor", played one of the leading roles alongside Tyrone Power.
Shamroy and a second camera team Ray Renahan that used for the filming of Joseph A. Ball and George A. Mitchell developed 3-Stripes beam splitter camera . With this camera, three film strips, which were arranged as a bipack and a single film at right angles to one another, were exposed simultaneously via a double prism. Transferred to three matrix films, the finished color film was created using the Technicolor printing process.
In 1943 Shamroy was nominated for an Oscar for both Ten Gentlemen from Westpoint and The Pirate . While receiving the Oscar for best cinematography in a color film for The Pirate , Joseph Ruttenberg was awarded an Oscar for best cinematography in a black and white film for Mrs. Miniver .
In late November 1943, filming began on one of 20th Century Fox's most expensive films, Wilson .
The first treatments for the biography of the 28th President of the United States of America , Woodrow Wilson , had already been created in 1942 by Norman Reilly Raine, but became obsolete with the appearance of the script by Lamar Trotti entitled Woodrow Wilson. Walter Huston , Frank Conroy and Ronald Colman were initially in discussion for the title role, while producer Zanuck chose Alexander Knox as the lead actor. For the individual sets of the film, not only were rooms of the White House recreated exactly as they looked in Wilson's time, including the Oval Office , even Lincoln's bed, and Wilson's desk. Zanuck hired the artist Hector Serbaroli to copy the paintings in the White House. In addition to many stars in front of the camera, including Charles Coburn , Vincent Price and Geraldine Fitzgerald , the film crew was also made up of some of the greats from Fox. Above all, director Henry King, composer Alfred Newman , film editor Barbara Mclean, art director James Basevi, as well as Fred Sersen, responsible for the special effects, and set designer Thomas Little. Since cameraman Ernest Palmer fell ill, he was replaced in December 1943 by Leon Shamroy, who had been the camera operator for the musical production in Greenwich Village . Wilson premiered in New York City on August 1, 1944. Although the $ 4 million film received some benevolent reviews, it did not receive the audience attention that producer Zanuck had hoped for and was a financial flop. At the Academy Awards in 1945, Wilson was nominated for ten of the trophies, including Best Picture and Best Director. An Oscar was awarded to Leon Shamroy for the best camera work in a color film, Barbara McLean for the best editing , Wiard dich and Thomas Little for the best equipment , Edmund H. Hansen for the best sound and Lamar Trotti for the best original screenplay .
In 1945 Shamroy worked with director John M. Stahl on Mortal Sin , a film noir starring Gene Tierney , Cornel Wilde , Jeanne Crain and Vincent Price . Atypical for a film noir, it was shot in the rich technicolor colors of the 1940s. Shamroy worked with deep focus , i.e. with the greatest possible depth of field , as well as wide-angle lenses and shot in rooms only lit by lamps in conjunction with low-angle shots to create a noir-typical atmosphere. Since color film did not offer the cameraman the opportunity to work with strong contrasts like in black and white film, Shamroy made use of symbolic color contrasts by using “cold” and “hot” colors. In the scene in which she throws herself down the stairs to lose her unborn child, Tierney wears a blue nightgown. Months later, a fade shows Tierney getting out of the water on a beach wearing a blood-red bathing suit. Shamroy, nominated for the sixth time for an Oscar, received his third trophy for best cinematography in a color film in 1946 . In addition to Shamroy, Lyle R. Wheeler was nominated for Best Equipment , Gene Tierney for Best Actress and Thomas T. Moulton for Best Sound .
By the end of the decade, Shamroy had worked with Henry King twice more. On the one hand in the production of the war film Der Kommandeur , in which Gregory Peck plays the role of the commander of a bomber squadron in World War II, which almost breaks up because of his task, and on the other hand in the production of In den Klauen des Borgia . Shamroy received another Oscar nomination for this black and white adventure film.
Previously Shamroy had in three films for director Otto Preminger turned in 1947 was Amber, the great courtesan , based on the bestseller Forever Amber by Kathleen Winsor . In the same year Preminger and Shamroy directed the melodrama Daisy Kenyon , with Joan Crawford , Dana Andrews and Henry Fonda in the leading roles. Shamroy's third collaboration with Preminger was the 1948 musical Die Frau im Ermelin . Initially directed by Ernst Lubitsch , Betty Grable and Douglas Fairbanks jr. the main roles. Lubitsch died before the film was finished and Otto Preminger took over the direction. Preminger's name was not mentioned in the credits , as he insisted that, “as a mark of respect and admiration for the departed master”, only Lubitsch should be named as a director (“as a mark of respect and admiration for the departed master . ")
The 1950s
During the 1950s, Shamroy was involved in about 30 productions as a cameraman and was nominated for an Oscar for best cinematography in a color film every year except for 1950 and 1957 .
The film adaptation of the Bible, David and Bathsheba , made between November 1950 and January 1951, was nominated for five Academy Awards. Gregory Peck and Susan Hayward played the lead roles in this loosely-inspired biography of King David. As part of the advertising campaign for the two and a half hour epic, Hayward left her hand and footprints in the concrete in front of Grauman's Chinese Theater on August 10, 1951 . In the fall of that year, Christian fundamentalists protested against the film in a cinema in Los Angeles. Gregory Peck and screenwriter Philip Dunne were insulted as "well-known communists" and the film reels were destroyed. David and Bathsheba was the last major film adaptation of a biblical subject prior to widescreen film.
After the Second World War, the financial situation of the large film studios in Hollywood had deteriorated increasingly. A changed leisure culture and competition from television had ensured, among other things, that the cinema was no longer the leisure attraction for the public, as it was in the pre-war and war years. Between 1947 and 1955, the number of viewers fell by about half. In order to attract more viewers to the cinemas again, movies had to be something special again. For the first time, 3-D movies were released , there were first attempts by Paramount with a widescreen format called Cinerama , as well as a procedure called Cinemiracle , which ultimately turned out to be too complex and too expensive because three cameras were used for the recording and three film projectors were used to show the Films were needed. Spyros P. Skouras, head of Fox, had learned of an invention by the French Henri Chrétien . After a demonstration of the anamorphoscope in France at the end of 1952, Skouras acquired the rights to this process, and shortly afterwards from Don Ferderson the rights to the Cinemascope brand name. The main advantage of the Cinemascope process is that it can be shot with a camera and 35 mm standard film, which initially made the recordings technically less complex and cheaper. When recording with a suitable Scopel lens, the image is laterally compressed and when projected by means of a film projector equipped with a suitable lens it appears rectified on the screen.
At the end of February 1953, the production of Das Gewand , a monumental film in Cinemascope in the colors of Technicolor and stereo sound, began . Richard Burton , Jean Simmons and Victor Mature and Michael Rennie starred and directed by Henry Koster . Cinematographer Leon Shamroy, assisted by camera assistants Harvey Slocum and Lee Crawford , broke new ground like the rest of the film crew. Although it was now possible to shoot individual action-heavy scenes in a single take, as Shamroy described in Filming The Robe , the longer takes meant that the actors had to memorize more dialogue and action, as the editing of such scenes was more difficult. In addition, there were problems with image sharpness, since the Scopel lens and the rest of the camera optics had to be focused separately and the assistants who made these settings rarely worked synchronously. It often happened that scenes had to be filmed again due to this circumstance. Since Fox was not sure whether the cinemas could be converted to the new technology quickly enough, each scene was shot twice, once in Scope and once more with a normal camera. On September 16, 1953, The Robe was premiered in the New York Roxy Theater in the Cinemascope process. Overall, the film became a huge financial success for 20th Century Fox, and all other film studios began making films on widescreen. At the Academy Awards the following year, Das Gewand was nominated for five Academy Awards, including Leon Shamroy for camera work and Richard Burton for Best Actor , only Charles Le Maire and Emile Santiago were honored for Best Costume Design .
Shamroy was involved in other monumental Fox films through the end of the decade, including Michael Curtiz 's first film for 20th Century Fox, Sinuhe the Egyptians . In 1958 Shamroy worked as a cinematographer for director Joshua Logan in the film adaptation of the same name by Pulitzer Prize winning musical South Pacific by Rodgers and Hammerstein . Logan asked Shamroy to use color filters for various key scenes in order to emphasize the emotions of the actors. Shamroy did not agree and used the filters against his better judgment. The film was well received by critics and audiences and became a financial success. Logan's idea of alienating colors was less well received than Shamroy's natural Hawaiian backdrop , which was rotated in brilliant colors .
Shamroy shot twice with Henry King and Gregory Peck in the late 1950s. The Western Bravados , with Peck as an avenger beyond law, came into being in the same year as South Pacific , and a year later King and Shamroy filmed The Crown of Life . In between, Shamroy worked once more with Otto Preminger on the film adaptation of Porgy and Bess , an opera by George Gershwin . Porgy and Bess is the only production Shamroy made for another studio, Columbia Pictures , while at Fox . Samuel Goldwyn, who replaced cameraman Ellsworth Fredericks with Shamroy, had previously fired Rouben Mamoulian and replaced him with Preminger. Shamroy received his fifteenth Academy Award nomination for camerawork on the production of Porgy and Bess . The Oscar for best camera work in a color film was Robert Surtees for Ben Hur .
The 1960s
In the early 1960s, Shamroy shot one last time with Henry King. The drama Tender is the Night was based on a novel by F. Scott Fitzgerald . King, well over sixty years old, retired after this production. Shamroy, who had also turned sixty, made almost 20 films as a cameraman in the last decade of his career. His outstanding work of the decade included camera work in the production of the monumental film Cleopatra and in Otto Preminger's adaptation of the 1950 novel The Cardinal by Henry Morton Robinson .
Cleopatra , Fox Studios' prestige project in the 1960s, was filmed in Todd-AO . This widescreen format was shot with wide-angle lenses on 65 mm film and then copied onto 70 mm film. The special camera required for this was built by Mitchell Camera Corporation, a US company, while the projector was supplied by Philips .
In contrast to his camerawork in South Pacific , Shamroy used lenses with short focal lengths in many shots , which on the one hand led to the viewer having the feeling of standing next to the actors during point-of-view shots, on the other hand even in crowd scenes individual details and facial features of the extras were visible.
At the Academy Awards in 1964, Shamroy was nominated for both his work on Cleopatra and The Cardinal , Shamroy received the trophy for Cleopatra .
Two years later, in 1966, Shamroy was nominated for the eighteenth time for an Oscar for Carol Reed's Michelangelo - Inferno and Ecstasy . The Michelangelo biography, with Charlton Heston in the lead role, was partly panned by contemporary critics, but Shamroy's colorful and brilliant photography and the furnishings were thoroughly praised. This fact was also reflected in the Oscar nominations for Michelangelo . The film was not nominated for either an actor or a director.
From the mid-1960s, Shamroy only stood behind the camera for one film each year. After spy in lace panties , the comedy Caprice followed in 1966 , also with Doris Day in the lead role. The 20th Century Fox sat in their widescreen productions on the Scope of process Panavision so that Caprice was the last produced by Fox movie in Cinemascope.
Shamroy shot Planet of the Apes with director Franklin J. Schaffner in 1967 , and one year later Shamroy worked one last time for with Otto Preminger. The comedy Skidoo - A Happening in Love was Groucho Marx 's last appearance in a film.
Shamroy's last film work before his troubled health forced him to retire was George Cukor's 1968 drama Alexandria - The Greenhouse of Sin .
Oscars
- 1942: Best camera (color film) for Der Seeräuber
- 1944: Best camera (color film) for Wilson
- 1945: Best camera (color film) for mortal sin
- 1963: Best camera (color film) for Cleopatra
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nominated:
- 1938: Best camera for crooks with a heart
- 1940: Best camera (color film) for Gallop into Glück
- 1942: Best Cinematography (black and white film) for Ten Gentlemen from West Point
- 1949: Best camera (black and white film) for In den Klauen des Borgia
- 1951: Best camera (color film) for David and Bathsheba
- 1952: Best camera (color film) for snow on Kilimanjaro
- 1953: Best camera (color film) for Das Gewand
- 1954: Best camera (color film) for Sinuhe, the Egyptian
- 1955: Best camera (color film) for All Glory on Earth
- 1956: Best camera (color film) for Der König und ich
- 1958: Best camera (color film) for South Pacific
- 1959: Best camera (color film) for Porgy and Bess
- 1963: Best camera (color film) for Der Kardinal
- 1966: Best camera (color film) for Michelangelo - Inferno and Ecstasy
Filmography
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literature
- Helga Bach, Wolfgang Jacobsen (ed.): Cinemascope. On the history of wide screen films , Spiess Verlag, Berlin 1993, ISBN 3-89166-646-2
- Joseph V. Mascelli: The Five C's of Cinematography: Motion Picture Filming Techniques , Silman-James Press, Los Angeles 1998, ISBN 978-1-879505-41-4
- Gert Koshofer: Color - The colors of the film , Spiess Verlag, Berlin 1988, ISBN 978-3-89166-054-6
Web links
- Leon Shamroy in the Internet Movie Database (English)
- The Future of Cinematography a Shamroys article first published in 1947 in American Cinematographers Magazine
Individual evidence
- ↑ List of the presidents of the ASC ( Memento of the original of August 9, 2007 in the Internet Archive ) Info: The archive link has been inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ a b c d Rodney Farnsworth in International Dictionary of Film and Filmmakers Volume 4 - Writers and Production Artists p. 785 ff
- ↑ The Oscar site, quoted by Ephraim Katz, The Film Encyclopedia
- ↑ Translated in parts into German in: Kay Less , Das große Personenlexikon des Films , Seventh Volume, RT
- ↑ Kay Less : The film's great personal dictionary . The actors, directors, cameramen, producers, composers, screenwriters, film architects, outfitters, costume designers, editors, sound engineers, make-up artists and special effects designers of the 20th century. Volume 7: R - T. Robert Ryan - Lily Tomlin. Schwarzkopf & Schwarzkopf, Berlin 2001, ISBN 3-89602-340-3 .
- ^ Leon Shamroy in the Internet Encyclopedia of Cinematographers
- ↑ Leon Shamroy's final resting place
- ↑ The Last Moment in All Movie Guide ( page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.
- ↑ Dave Kehr, Chicago Reader
- ^ Frank S. Nugent, New York Times
- ↑ I What about Adventuress in the TCMDB ( Memento of the original from September 30, 2007 in the Internet Archive ) Info: The archive link was inserted automatically and not yet checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ Down Argentine Way in the TCMDB ( Memento of the original from September 30, 2007 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice.
- ↑ Bosley Crowther in NY Times on Down Argentine Way
- ↑ William K. Ewerson Program notes
- ↑ Ten Gentlemen from Westpoint in the TCMDB ( page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.
- ↑ Koshofer Color - The colors of film, p. 70
- ↑ Koshofer Color - Die Farben des Films, p. 60, p. 157.
- ↑ Wilson in the TCMDB ( page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.
- ↑ Bosley Crowther's review of Wilson in the New York Times, August 2, 1944
- ↑ Excerpt from the review in Variety from January 1, 1944 ( page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.
- ^ New York Times Review
- ↑ James Naremore, More Than Night - Film Noir In Its Contexts, pp. 186, 187
- ↑ The woman in an ermine in the TCMDB ( page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.
- ↑ David and Bathsheba in the TCMDB ( page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.
- ↑ David and Bathsheba in the New York Times
- ↑ Fischer Filmgeschichte, Volume 3: 1945–1960, pp. 318 ff.
- ↑ Koshofer Color - The colors of film, p. 12
- ↑ Leon Shamroy, ASC.Filming The Robe in New Screen Techniques, 1953, et seq S. 178th
- ↑ Koshofer Color - The colors of film, p. 45 ff.
- ^ South Pacific in the New York Times
- ↑ Porgy and Bess in the TCMDB ( page no longer available , search in web archives ) Info: The link was automatically marked as defective. Please check the link according to the instructions and then remove this notice.
- ↑ Koshofer Color - Die Farben des Films, p. 234
- ↑ Cleopatra in 70mm
- ^ Bosley Crowthers in New York Times, October 9, 1965
- ^ Widescreen Museum, The End of an Era
| personal data | |
|---|---|
| SURNAME | Shamroy, Leon |
| ALTERNATIVE NAMES | Shamroy, Leonard (real name) |
| BRIEF DESCRIPTION | American cameraman |
| DATE OF BIRTH | July 16, 1901 |
| PLACE OF BIRTH | New York City , New York, United States |
| DATE OF DEATH | July 7th 1974 |
| Place of death | Los Angeles , California, United States |