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- Cinematographer
- Camera and Electrical Department
American cinematographer who spent the bulk of his career at Paramount (1923-1959). After two years apprenticed in the studio lab, Fapp first worked the movie camera as an assistant in 1925. By 1941, he had graduated to full director of photography at the behest of cinematographer, turned director, Ted Tetzlaff. Fapp joined the American Society of Cinematographers that same year. Though he was generally confined to shooting B-grade material, he was allowed to shine whenever bigger budgeted productions came his way. He did arguably his best work for the director Mitchell Leisen, who, as a former art director and costume designer, had a famously keen eye for visual style.
Fapp excelled shooting Leisen's sumptuous-looking period romance Kitty (1945) (a true example of style trumping content). He was equally effective on another Leisen film, lensing Olivia de Havilland (as she aged in the course of three decades) in the superior tearjerker To Each His Own (1946). Other efforts in contrasting style: the noirish crime flic The Big Clock (1948) in stark, austere black & white; the vivid Technicolor frontier adventure The Far Horizons (1955), its stunning scenery expertly captured in Vista Vision (directed by another former cinematographer, Rudolph Maté); the frantic Billy Wilder farce One, Two, Three (1961); and West Side Story (1961), which finally won Fapp an Oscar (and a Golden Laurel Award) for Best Color Cinematography. After leaving Paramount in 1959, Fapp free-lanced for another decade and retired in 1969.- Director
- Editor
- Actor
A highly regarded editor (he cut the classic Sunrise (1927)), Harold D. Schuster started out in films as an actor. It didn't take him long to abandon that career, and he turned to the production side of the business, working his way up to editor and eventually taking the reins as a director. While much of his directorial output is routine, there are some real gems scattered throughout. My Friend Flicka (1943) is a beautiful, serene tale of a boy and a spectacular horse and was a major success in its day. Although typed as an "outdoors" director, Schuster could turn out tough, gritty little thrillers when he wanted to, such as Loophole (1954), about a bank teller who gets framed for an embezzlement; it ranks right up there with the edgy crime dramas of Don Siegel and Phil Karlson. Schuster's western Dragoon Wells Massacre (1957), despite its potboiler title, is a sharp, well-paced effort about two disparate groups of travelers who must band together to fight off rampaging Indians. Good writing, a rousing score and Schuster's tight direction raise this several notches above the product normally churned out by its studio, the usually low-grade Allied Artists. Schuster eventually turned to series television, and finished out his career there.- Camera and Electrical Department
Percy D. Burt was born on 9 May 1904 in Kinsley, Kansas, USA. Percy D. died on 19 July 1986 in Burbank, California, USA.- Luciano Codignola was born on 21 June 1920 in Genoa, Liguria, Italy. He was a writer, known for Odissea (1968), Anna Kuliscioff (1981) and Il marsigliese (1975). He died on 19 July 1986 in Sestri Levante, Genoa, Liguria, Italy.
- Franz Xaver Lehner was born on 29 November 1904 in Regensburg, Kingdom of Bavaria. Franz Xaver was a composer, known for Die Liebeskette (1963). Franz Xaver died on 19 July 1986 in Fürstenfeldbruck, Bavaria, Germany.