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| Lynn Bari, Cathy O'Donnell, "The Spiritualist" (1948). |
As legend has it, in the summer of 1923 a 21-year-old John Alton and four friends drove across the country to Los Angeles. They parked in front of the Egyptian Theater on Hollywood Blvd., and in the lobby a Gypsy fortune teller read their palms. Alton’s pals, she said, would seek their fortunes elsewhere, but her prediction for him was not the same.
"You, I tell different," she said. "You'd better stay here. You're going to make it."
Those were indeed prophetic words. Alton became one of Hollywood’s most influential cinematographers and his work had a major impact on film, especially film noir.
Born on the Austrian side of the Austria-Hungary border in 1901, Alton came to America to attend college. His first foray into the film industry occurred when he was pressed into service at Cosmopolitan Studios in New York as a movie extra. In Los Angeles he worked as a lab technician in the 1920s and four years later became a cameraman.
He moved to France with Ernst Lubitsch to film backgrounds for “The Student Prince in Old Heidelberg” (1927) and ended up staying for a year heading the camera department of Paramount Pictures's Joinville Studios.
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| John Alton |
Alton also photographed many color movies including the noir “Slightly Scarlet” (1956). He worked with Vincent Minnelli at MGM for 10 years including on “Father of the Bride” (1950) and “An American in Paris” (1951), for which he won the Academy Award for Best Color Cinematography with Alfred Gilks.
His last film was “Elmer Gantry” (1960). He worked with director Charles Crichton on “Birdman of Alcatraz” (1962) but both were fired after two weeks and Alton quit the industry.
In describing his experiences in Hollywood, he explains how his approach to cinematography differed from that of others in his profession:
"In the morning, when many cameramen came in, they didn't have any plans for what they were going to do, so they just lit [everything] up," he said. "When I got a story, I'd sit down with the director and work out each scene — just the two of us. I'd ask the director his opinion of how he would like to see each scene. Then I'd go home and, even though it took me a lot of time, I'd work out every scene — [including] which lights and tricks to use. So when the time came for shooting, I was ready.”
Directors were at first dumbfounded. They expected to cinematographers to merely flood a scene with light and no more.
“I'd say 'You don't 'pump' light into a scene. That light has to tell something. There's a meaning, and it establishes a mood.' That was the difference between my pictures and some of the others: [in mine], each mood was different. The mood had to be done with lighting.”
Here’s the lowdown on several of Alton’s lesser known works, earlier noirs filmed on Poverty Row. They display his distinctive touch and are harbingers of things to come:
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| June Lockhart, Hugh Beaumont, "Bury Me Dead" (1947). |
“Bury Me Dead” (1947) Eagle–Lion Films
The title may sound like that of a horror film, but “Bury Me Dead” is an old school murder mystery dressed in noir clothing. Its resolution comes with a twist, as murder mysteries do. In the opening scene we encounter a horse stable engulfed in flames. The fire ravaged structure, piercing the night sky, is a preview of the dramatic use of light that we’ll be seeing throughout the film.
A woman’s body is recovered from the blaze, and that’s the setup that sends us down a path crowded with suspects who each have motives to perpetrate the crime. From the start, we encounter one head-turning revelation after the next, and Alton’s lighting and camera angles guide us through the story and help frame the plot’s twists and turns.
A distinctly minimalist touch arises now and then and creates visual drama not usually seen in Poverty Row films, such as when light spilling out of a refrigerator’s open door is all that illuminates the room. Near the climax, a shadowy figure attacks the heroine, Barbara Carlin (June Lockhart). Later, the killer’s identity is revealed in an arresting shot that illuminates the perp’s eyes. The reveal is only seen by the audience at first. Barbara is slower to catch on, making us want to yell for her to vamoose on the double. As spooky light rakes across the murderer’s face, Barbara is stunned by the revelation that she’s in mortal danger.
Light is used here to dramatically drive the story forward, subtly preparing us for the story’s climax. A more run of the mill film might have used overheated dialog and swelling music to convey a dramatic conclusion. But Alton’s inventiveness presents us with a nuanced, emotionally gripping conclusion.
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| Francis Lederer, Gail Patrick, "The Madonna’s Secret" (1946). |
“The Madonna’s Secret” (1946) Republic Pictures
A crushing weight rests on the shoulders of artist James Corbin (Francis Lederer). It seems the women who model for him die violently, and although the police can’t link him to the killings he wonders if he’s responsible for those death.
The Madonna of the film’s title is also a title of a Corbin painting. Corbin obsesses over the model and has the curious habit of painting her face time and time again regardless of the sitter.
Newspaperman John Earl (Edward Ashley) is aware of the many coincidences that make Corbin look like a guilty man, and he sets out to see that justice is done. One evening Earl tails Corbin to a cabaret where his current model, Helen North (Linda Stirling), performs in what may be the oddest act in show business. She stands against a wooden wall and sings torch songs as a knife thrower pitches daggers that outline her form.
Stranger still, Corbin sits ringside and sketches the chanteuse with a knife in her chest, which doesn’t help dispel the cloud of suspicion hanging over him. She’s got a jealous boyfriend who wants her to quit modeling for Corbin, and he might have a point. She promises she will, but then doesn’t
Mood is everything in this psychological drama, and Alton’s shadows and pools of light set the tone for the film’s brooding atmosphere. Corbin’s studio, awash in sunlight by day, morphs into a charcoal-black purgatory as the painter sits alone playing Beethoven’s Sonata Pathétique on the piano. His isolation and despair seem to hang in the air. Gloomier still, when Corbin dines with his mother (Leona Roberts), with whom he lives, they sit in a dark candlelit room that’s as cozy as a mausoleum.
When another killing occurs, evidence against Corbin piles up, and yet no one can place him at the murder scene. But a revelation turns the investigation around and, as they say on “Dateline NBC,” sends the case in a whole new direction, just as we suspected it would.
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| Lynn Bari, "The Spiritualist" (1948). |
"The Spiritualist" (1948) [AKA: The Amazing Mr. X] Eagle Lion
The home of spiritualist Alexis (Turhan Bey) is a frequent stopover for visiting specters who pop in for a visit whenever he arranges a seance. He offers his sympathy and insights on matters spiritual to Christine Faber (Lynn Bari), who lost her husband, Paul, two years before. Lately, she’s been hearing the voice of her deceased partner.
This happens when she’s brooding over the magnificent ocean view from her balcony or walking on the beach below her cliff dwelling. By chance she bumps into the seemingly omnipresent Alexis on the beach one night as she’s close to having emotional breakdown. He seems to know everything about her and she resolves to engage him as a psychic medium.
Christine visits the mustachioed Alexis only after sunset because, we can suppose, the spirit world only works the night shift. But that’s perfect for the creepy atmosphere we expect when raising the dead.
Alton fills the psychic medium’s lair with dusty light that seems to be filtered through a thousand layers of cobwebs. As Christine and her younger sister Janet (Cathy O’Donnell) become entranced by Alexis’s soothing voice, foreign accent and continental charm, Christine’s home seems to become more shadowy, bathed in candle light and aglow with dim table lamps.
One evening, Christine detects an eerie glow emanating from an open closet and upon investigation is terrified by a specter that emerges, gives chase and makes her scream. More spooky stuff is in store for her, especially after someone slips her a mickey in a glass of warm milk. Supernatural hallucinations grow stronger still and Christine seems to be under the influence of a bad batch of psychedelics — a precarious state of mind when you live atop steep cliffs overlooking the sea.
In addition to his inventive lighting techniques, Alton’s hallmark is his unusual camera placements, and we see that here. He shoots the seance scene with the camera situated dramatically low, looking upward at Alexis’s crystal ball as well as the participants’ faces, adding to the scene’s topsy-turvy surreal effect.
With all the eerie goings on at chez Alexi we’re not so surprised when we learn that he’s a fraud who swindles well-heeled widows. But there’s an added twist that we might not see coming, and neither does Alexi, and it shifts the story’s focus to another character whom we don’t meet until later on. It turns out there’s an even more elaborate scheme in the works. As implausible as it may be, the story keeps us in the dark til near the end, just as Alton had planned.
Next week I’ll cover more of John Alton’s Poverty Row films, the ones he did in collaboration with director Anthony Mann — you’ll probably be familiar with the titles.
