Difference between revisions of "Ernest G. Palmer"
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(b. Kansas City, Missouri, 06/12/1885 – d. Pacific Palisades, California, 22/02/1978). Prolific American cinematographer who worked with many Hollywood filmmakers and shot a number of the early films of directors such as John M. Stahl, Frank Borzage and Frank Lloyd. He also was active in Great Britain, working with the likes of Michael Powell and Thorold Dickinson. In 1942 he and Ray Rennahan shared an Academy Award for the cinematography of Rouben Mamoulian’s ''Blood and Sand'' and he was nominated for three other films, including Anthony Mann’s ''Broken Arrow'' (1950). Not all his films were major productions and towards the end of his career his work became less interesting. The 116 titles listed by IMDb were all shot after 1918, though, according to an issue of the New York Clipper, he was already a partner in the Monarch Feature Film Co., based in Albany as early as December 1912. | (b. Kansas City, Missouri, 06/12/1885 – d. Pacific Palisades, California, 22/02/1978). Prolific American cinematographer who worked with many Hollywood filmmakers and shot a number of the early films of directors such as John M. Stahl, Frank Borzage and Frank Lloyd. He also was active in Great Britain, working with the likes of Michael Powell and Thorold Dickinson. In 1942 he and Ray Rennahan shared an Academy Award for the cinematography of Rouben Mamoulian’s ''Blood and Sand'' and he was nominated for three other films, including Anthony Mann’s ''Broken Arrow'' (1950). Not all his films were major productions and towards the end of his career his work became less interesting. The 116 titles listed by IMDb were all shot after 1918, though, according to an issue of the New York Clipper, he was already a partner in the Monarch Feature Film Co., based in Albany as early as December 1912. | ||
| − | In addition, while in Great Britain, he had already worked on Herbert Brenon’s ''Ivanhoe'' (1913), as well as on George Loane Tucker’s ''The Prisoner of Zenda'' (1915) and possibly its sequel, ''Rupert of Hentzau'' (1915). Also in England, he filmed a war-time documentary entitled ''Fighting the German Raiders'' (1916), as well the propaganda short ''Everybody’s Business'' (1917). The Cape Times of 13 December 1917 reported that much of his war-time work was “done under the supervision of D.W. Griffith” which, if true, probably means that he shot some of the footage used in Griffith’s | + | In addition, while in Great Britain, he had already worked on Herbert Brenon’s ''Ivanhoe'' (1913), as well as on George Loane Tucker’s ''The Prisoner of Zenda'' (1915) and possibly its sequel, ''Rupert of Hentzau'' (1915). Also in England, he filmed a war-time documentary entitled ''Fighting the German Raiders'' (1916), as well the propaganda short ''Everybody’s Business'' (1917). The Cape Times of 13 December 1917 reported that much of his war-time work was “done under the supervision of D.W. Griffith” which, if true, probably means that he shot some of the footage used in Griffith’s ''Hearts of the World''. He retired in 1960 and was one of the founder members of the American Society of Cinematographers. |
When he came to South Africa to shoot ''The Rose of Rhodesia'' (1918) and possibly [[Thoroughbreds All]] (1918) for [[Harold M. Shaw]], it was reported that Palmer had “photographed all the principal pictures that Mr. Shaw has made, both in American and England”. Though this is difficult to verify, it seems that he definitely shot Shaw’s ''England’s Menace'' (1914). Like Shaw, he had worked for the Independent Moving Pictures Company of America and like him, later joined the London Film Company. There is certainly no evidence that Palmer had been approached by [[African Film Productions]], so it is very likely that he came to South Africa at Shaw’s invitation. He left South Africa in December 1917, before the films had been edited, to return to the United States after an absence of several years. Upon his arrival there it was stated that he was representing [[Harold Shaw Film Productions]]. | When he came to South Africa to shoot ''The Rose of Rhodesia'' (1918) and possibly [[Thoroughbreds All]] (1918) for [[Harold M. Shaw]], it was reported that Palmer had “photographed all the principal pictures that Mr. Shaw has made, both in American and England”. Though this is difficult to verify, it seems that he definitely shot Shaw’s ''England’s Menace'' (1914). Like Shaw, he had worked for the Independent Moving Pictures Company of America and like him, later joined the London Film Company. There is certainly no evidence that Palmer had been approached by [[African Film Productions]], so it is very likely that he came to South Africa at Shaw’s invitation. He left South Africa in December 1917, before the films had been edited, to return to the United States after an absence of several years. Upon his arrival there it was stated that he was representing [[Harold Shaw Film Productions]]. | ||
Revision as of 14:12, 26 August 2013
(b. Kansas City, Missouri, 06/12/1885 – d. Pacific Palisades, California, 22/02/1978). Prolific American cinematographer who worked with many Hollywood filmmakers and shot a number of the early films of directors such as John M. Stahl, Frank Borzage and Frank Lloyd. He also was active in Great Britain, working with the likes of Michael Powell and Thorold Dickinson. In 1942 he and Ray Rennahan shared an Academy Award for the cinematography of Rouben Mamoulian’s Blood and Sand and he was nominated for three other films, including Anthony Mann’s Broken Arrow (1950). Not all his films were major productions and towards the end of his career his work became less interesting. The 116 titles listed by IMDb were all shot after 1918, though, according to an issue of the New York Clipper, he was already a partner in the Monarch Feature Film Co., based in Albany as early as December 1912.
In addition, while in Great Britain, he had already worked on Herbert Brenon’s Ivanhoe (1913), as well as on George Loane Tucker’s The Prisoner of Zenda (1915) and possibly its sequel, Rupert of Hentzau (1915). Also in England, he filmed a war-time documentary entitled Fighting the German Raiders (1916), as well the propaganda short Everybody’s Business (1917). The Cape Times of 13 December 1917 reported that much of his war-time work was “done under the supervision of D.W. Griffith” which, if true, probably means that he shot some of the footage used in Griffith’s Hearts of the World. He retired in 1960 and was one of the founder members of the American Society of Cinematographers.
When he came to South Africa to shoot The Rose of Rhodesia (1918) and possibly Thoroughbreds All (1918) for Harold M. Shaw, it was reported that Palmer had “photographed all the principal pictures that Mr. Shaw has made, both in American and England”. Though this is difficult to verify, it seems that he definitely shot Shaw’s England’s Menace (1914). Like Shaw, he had worked for the Independent Moving Pictures Company of America and like him, later joined the London Film Company. There is certainly no evidence that Palmer had been approached by African Film Productions, so it is very likely that he came to South Africa at Shaw’s invitation. He left South Africa in December 1917, before the films had been edited, to return to the United States after an absence of several years. Upon his arrival there it was stated that he was representing Harold Shaw Film Productions.
(Curiously, there is an early photograph of him issued by John Stahl Productions in which he is identified as Ernest S. Palmer, which is also the name he is given in the 1922-23 Film Daily Yearbook of Motion Pictures as a member of the A.S.C.) (FO)
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