Matte Shot – a tribute to Golden Period particular fx: KEEP ‘EM LAUGHING: Mattes & Trick Photographs in Comedies

Hello there mates and followers of the chic, misplaced artwork type of historically rendered matte painted pictures and miscellaneous movement image wizardry. It’s certainly that point once more,

Delays in getting this up and operating have been because of close to apocalyptic climate situations, with the worst cyclone descending upon New Zealand from the tropics ever recorded, with floods and destruction the likes unseen right here since information started.  Complete communities wiped off the map.  My house was partially flooded, although fortunately only a spare bed room and annexes within the basement, although, sadly, that simply occurred to be the place I retailer an unlimited assortment of film memorabilia akin to traditional one-sheets, foyer playing cards, slides and the remainder of it.  I managed to save lots of 3/4 of the stuff, however needed to throw away a substantial quantity of posters and stills.  That mentioned, it is minor in comparison with all the districts right here worn out, and that does not even come near what they are going by way of in Turkey and Syria.

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So, earlier than embarking on at this time’s mammoth weblog publish (would you anticipate something much less?), listed below are a couple of necessary mentions that conventional matte followers merely can’t overlook.  My Texas based mostly buddy and like-minded matte fanatic, Thomas Higginson, has been doing the onerous yards in assembling a whole collection of wonderful featurettes for YouTube on the matte results work of Albert Whitlock at Common and Syd Dutton at Phantasm Arts.  https://www.youtube.com/@TraditionalMattePaintings/featured

Completely important viewing, every body, with the hyperlink proper right here.

Working instantly from Common’s matte division’s effectively preserved 35mm demo reels, in addition to a mass of donated materials from Syd Dutton and the late Invoice Taylor – amongst others – Thomas has put collectively a number of excellent, deep dissections of particular matte impact pictures and sequences, which, on the time of this writing, have included the sci-fi television film GENESIS II; THE TWILIGHT ZONE television collection; the unimaginable mud storm from BOUND FOR GLORY and the invisible maritime trick pictures from SHIP OF FOOLS.  Nowhere will you discover a extra detailed inside take a look at some nice visuals as you have by no means seen them earlier than.  I perceive others within the works will embrace THE MAN WHO WOULD BE KING, THE THING, the unrealised 80’s model of THE LOST WORLD mission and one among my all time matte faves, the unimaginable COLOSSUS-THE FORBIN PROJECT amongst others.  Important viewing!

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In my earlier publish I featured a shot from Charlie Chaplin’s traditional CITY LIGHTS (1931), which I described as being a matte painted shot.  An nameless reader has ‘put me straight’ on that, with it really being an elaborate and flawless foreground hanging miniature, with very uncommon images from an extremely complete Chaplin web site in Italy (The Charlie Chaplin Archive Website) displaying the impact in progress.  See beneath for breakdown…

I am unable to even start to let you know how a lot I like to find pictures akin to this.  Extraordinarily uncommon, particularly for the interval, for any movie maker to brazenly reveal his secrets and techniques.  At left is the foreground miniature rigged up, with the crystal clear picture at proper – having been photographed on the set with a nonetheless digital camera – displaying the in depth trick work married up.  The precise CITY LIGHTS 35mm film body is tighter and extra precisely aligned, whereas this ‘manufacturing nonetheless’ is barely mis-aligned, with depth of area focal points evident, however nonetheless a marvellous report of such a time.

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So, now’s the second the place we take a break from the day by day grind, sit again in a comfortable chair, crack open a Jack Daniels & Coke, and luxuriate in one other in depth journey down that effectively travelled cinematic highway, the place tons of of fantastic pictures have been lovingly assembled and celebrated, and hopefully will probably be appreciated on a first rate sized ‘actual’ display and NOT on a godammed cell phoney kind toy.

Get pleasure from

Pete

***This publish, and all 178 earlier weblog posts often known as ‘Matte Shot’, have been initially created by Peter Prepare dinner for nzpetesmatteshot, with all content material, format and textual content initially revealed at http://nzpetesmatteshot.blogspot.com/

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First up, is that this extraordinarily uncommon uncredited Albert Whitlock matte from and equally uncommon cinematic artifact THE PHYNX (1970).  I’ve by no means been capable of finding the movie and have all the time needed to see it – regardless of the universally dire opinions.  Everybody who’s anybody was on this flick, from Kentucky Fried Col.Sanders to Richard Pryor and an entire gaggle of celebs and walk-on cameos.   Body on proper is from Albert’s 35mm present reels and has suffered important color loss through the years.  A technically complicated shot with multi cut up cloud drift, daylight slowly creeping throughout the fort partitions and grass, and a most intriguing ‘parallax shift’ involving tender splits and portray motion in phases, a lot as Whitlock did with a shot in SHIP OF FOOLS 5 years earlier.

Judy Garland and Gene Kelly’s comedy musical FOR ME AND MY GAL (1942), with many high-quality mattes from the well-known MGM Newcombe division.

Steven Spielberg’s rowdy epic 1941 (1979) wasn’t particularly humorous however did lay on an excellent solid of character actors and continuous particular results pictures.  An enormous results present, crammed with fully ‘old-fashioned’ trick work, akin to a ton of Lydecker model miniature sequences such because the scene right here, with P51 Mustang buzzing Hollywood Blvd and doing loopy barrel rolls and so forth – all fully in miniature.  Outdated time fx veteran A.D Flowers (Adlia Douglas Flowers) was proper in his ingredient right here, having been one among Buddy Gillespie’s assistants again at MGM on Oscar profitable movies akin to the good 30 SECONDS OVER TOKYO and others.  Logan Frazee (proven decrease left) was fingers on with the various mannequin ‘flying’ sequences.  I noticed this on the massive cinema display in scope again in ’79 and it was improbable, motion sensible that’s.

Extra mayhem from 1941, with large Greg Jein miniature units and props.  Movie was nominated for the FX Oscar in ’79, and was a really robust contender, most likely ought to have gained, however the movie was a bomb on the field workplace in order that just about was the nail in it is coffin.  Nice results work all through!  My full detailed weblog article on 1941 could be learn right here.

A really younger Matthew Yuricich is proven right here at work at Fox on his first movie as absolutely fledged matte painter, CALL ME MADAM (1953).  Matt mentioned that departmental head, Fred Sersen, was very essential on his draftsmanship for the decrease shot with the wine vat and spiral staircase.

The relatively pleasant Deanna Durbin starred – and sang some very catchy ditties – within the very nice MAD ABOUT MUSIC (1938) for Common.  Russell Lawson would have painted the quite a few mattes.

Mark Sullivan’s earlier than and after matte from the Kim Basinger flick, NADINE (1987).

MAISIE WAS A LADY (1941) was one among a operating collection of Maisie comedies from MGM, with the standard glorious Newcombe matte work, rendered with pastels and goache on artists card.  The illuminated theatre facade was an MGM specialty, and one among my very own fave ‘genres’ of matte artwork.

Most likely the least identified and sorely underneath credited exponents of matte work was the extremely proficient Ken Marschall who, together with colleague and cameraman Bruce Block, created tons of of invisible mattes for films, television and commercials all by way of the 1980’s.  That is one among Ken’s from MY BOYFRIEND’S BACK – aka JOHNNY ZOMBIE (1993)

One other great Ken Marschall matte from the identical movie.

MY BOYFRIEND’S BACK,  low forehead teen fluff, astonishingly, directed by the extraordinarily proficient and all the time watchable character actor, Bob Balaban – so memorable in issues like Catch 22, Shut Encounters, Prince of the Metropolis and Report back to the Commissioner.

Two Newcombe pictures from the hilariously humorous, all time traditional Marx Bros present A NIGHT AT THE OPERA (1937).  The shipboard ‘stateroom sequence’ stays an all time comedy gem. Belief me.

Jan Domela matte extensions for the W.C Fields comedy-musical MISSISSIPPI (1935).

As a child, MUNSTER GO HOME (1966) was one among – if not the – favorite films of mine, and I by no means missed a possibility to catch it on a wide range of double options at native film homes, typically with stuff like The Ghost and Mr Hen, or McHales Navy Be part of The Air Drive.  Matte by Albert Whitlock.

Hey, even the good Alfred Hitchcock will get a slot on this weblog with the very dry, black comedy MR AND MRS SMITH (1941), with this expansive winter matte underneath the supervision of RKO’s Vernon Walker.  Matte artist might have been Chesley Bonestell, Al Simpson or Fitch Fulton?

One other RKO present, MR BLANDINGS BUILDS HIS DREAM HOUSE (1948), with results supervised by Russell Cully.  The underside matte by no means appeared within the movie however was within the trailer(!)

Common’s MY LITTLE CHICKADEE (1940) with Russ Lawson and John DeCuir each portray within the matte division.

Phantasm Arts’ twin aircraft matte stand arrange for the teenager comedy MANNEQUIN TWO – ON THE MOVE (1991).  The principle portray on the rear will characteristic a simulated cloud transfer throughout the display, achieved by way of tender cut up screens. The foreground glass has partial parts that can line up with the principle rear portray within the last shot, whereas permitting the shifting clouds to move realistically behind these parts (bushes and tower and so forth).  Last composite proven beneath.

MANNEQUIN TWO mattes by Syd Dutton at Phantasm Arts.

Comedy westerns have been undoubtedly a factor within the late 60’s and thru the 1970’s, with Common’s ONE MORE TRAIN TO ROB (1971) starring George Peppard being one such movie.  Extremely gratifying, rollicking heist yarn, made all of the extra so by Albert Whitlock’s quite a few and beautiful mattes.  I had hoped to incorporate a picture of the unique portray right here, however alas, ’twas to not be  🙁

One other of Whitlock’s great mattes from the identical movie.

I’ve all the time been a sucker for the previous Bob Hope photos he did at Paramount, and he did rather a lot.  This one, NEVER SAY DIE (1939), was penned by the comedic genius of Preston Sturges (youthful weblog readers will not have a clue of whom I am talking, I am sure!), the movie is a giggle and what’s extra, has plenty of nice matte pictures by previous timer Jan Domela, who began on the studio in 1926 and saved on portray mattes until the mid 1960’s!  That is a s***load of matte work in anyone’s e book.

The quaintly wacky British comedy MOUSE ON THE MOON (1963) directed by Richard Lester. No results credit score, however possible Pinewood or Shepperton offering the pictures.

Extra Jan Domela matte pictures from Paramount’s MIDNIGHT (1939) – a traditional of the time, co-written by a younger Billy Wilder.

Danny Kaye cherished doing these ‘twin-look alike’ comedies, and ON THE DOUBLE (1961) is typical of the style, and infrequently laugh-out-loud.  The legendary John P. Fulton was Danny’s favorite trick shot man, and labored with him on many movies.  This type of factor was Fulton’s forte, with ingenious cut up screens with matted out physique double’s arms outstretched and daring interplay between the 2 Danny’s.

John Fulton once more supervised the work on the Martin & Lewis spoof, PARDNERS (1956), with Jan Domela portray this vista of 1910 period New York.

The huge, star packed, uncontrolled extravaganza IT’S A MAD, MAD, MAD, MAD WORLD (1963) was a bonanza so far as mechanical results (by Danny Lee) and stunt gags go, with the hefty photographic results element saved for the prolonged motion climax. The motion centres round this road, city sq. and excessive rise – all of which have been rendered as extremely complicated visible results pictures.  This broad view is a fantastically painted matte by trade veteran, Howard Fisher.  Be aware the odd hinge operating down the center of the massive masonite panel.  This was inserted years later by Linwood Dunn in order to make the matte artwork moveable for when Dunn performed quite a few SFX seminars, the place numerous miniatures, mattes and a rigorously assembled 16mm reel of earlier than and afters can be run (for these too younger, there was a time earlier than video tape, digital information, MP4’s and cyber issues; 16mm celluloid with numerous sprocket holes was the medium of instruction)

Shut up element of Howard’s brushwork.  Fisher was an previous timer, and really skilled, who started a long time earlier than as one among Warren Newcombe’s steady of artists at MGM within the 1930’s.  Howard painted on many photos over the a long time akin to GREEN DOLPHIN STREET and FORBIDDEN PLANET.  Results males Jim Danforth and Matt Yuricich each knew Howard and mentioned he was fairly a personality.

The ultimate composite made on 65mm movie at Dunn’s Movie Results of Hollywood. Round 11 separate parts went into this comp, with plenty of completely different reside motion plates flawlessly matted in, in addition to an enormous optical pull again added later.  Some of the memorable mattes of the 1960’s.

A revealing earlier than and after exhibits in depth matte artwork added into the again lot motion.

Extra complicated visible results work, with massive miniatures, matte artwork, cease movement folks and ladder, all assembled meticulously on Cecil Love and James B. Gordon’s optical printer.

Extra MAD WORLD insanity, with mannequin work, matte artwork and nice animation cuts by Jim Danforth. By the way, I did a full weblog report on the entire results pictures on this movie beforehand, which may hopefully be discovered right here.

Establishing matte shot from Charlie Chaplin’s final silent image, MODERN TIMES (1936) – a veritable masterpiece that by no means dates.  Though with out spoken dialogue, the movie has an excellent soundtrack comprising insanely exaggerated industrial sound results in addition to music.

Arguably one among Chaplin’s most well-known sequences, the unimaginable curler skating scene, the place the little tramp skates repeatedly perilously near the sting.

Though I someplace have a behind the scenes pic of the arrange, however cannot for the lifetime of me discover it, I am positive this excellent sequence concerned a rigorously designed and positioned foreground miniature of the decrease buildings, with the near digital camera noticed horse and plank concealing the rig(?)  Marvellous scene.

Extra Bob Hope shenanigans, this time it is MONSIEUR BEAUCAIRE (1946), with Jan Domela’s mattes for results boss Gordon Jennings.

Phantasm Arts offered this cliffhanger shot for the overwrought MILLION DOLLAR MYSTERY – aka MONEY MANIA (1987).  The previous MAD, MAD WORLD components was tried, although failed miserably.

A pair of good Russell Lawson mattes from the comedian fantasy flick MR PEABODY AND THE MERMAID (1948)

Bob’s again, and this time with the beautiful Hedy Lamarr, for Paramount’s MY FAVOURITE SPY (1942), with this unique North African setting furnished by Jan Domela.

One other all time comedy traditional – Common’s hilarious MY MAN GODFREY (1936) with the irrepressible William Powell as Godfrey the butler.  The title sequence alongside charges point out as an elaborate photographic results piece.  An enormous panoramic matte portray of NYC was photographed with a sluggish pan throughout, with the entire solid and crew names steadily illuminating as glistening neons – full with flickering reflections on the (manmade) rippled water!  Bravo to the good John P. Fulton for orchestrating this, though it appears considerably extreme for a reasonably budgeted Common screwball comedy.

Will need to have been a nightmare to choreograph this arrange for every take.

Presumably very long time Fulton staffers David Horsely, Jerome Ash, Charlie Baker, Russell Lawson and Roswell Hoffman would have been all concerned with this.

This provides you the thought of the neon signage sequencing.  Marvellous.

The huge pan ends on reside motion of a despair period camp.

Extra composite pictures from MY MAN GODFREY (1936)

I discovered these Bare Gun films fairly humorous myself, with NAKED GUN 2 1/2 proven right here. A number of glorious matte work from the tiny two man operation known as Matte Results – that being artist Ken Marschall and cameraman Bruce Block.  Nearly all of Ken’s mattes have been accomplished as unique unfavourable, with Ken and Bruce each enormous admirers of Al Whitlock’s methodology, although this one was an optical as a pan and push in was wanted.

Shut up.  Be aware the painted cops.

One other high-quality Ken Marschall painted matte from NAKED GUN 2 1/2

The dangerous man’s oil refinery matte from the identical movie.

Element from above.

Completely invisible matte shot for the daytime view of identical.

An unimaginable unique unfavourable matte painted by Ken for NAKED GUN 2 that by no means made the ultimate minimize, sadly.

Unique matte for above, painted in acrylic upon particular German manufactured artists card.  Ken all the time painted very small and instructed me he might by no means perceive why different matte artists most popular monumental glass or masonite panels for his or her pictures.

Ernst Lubitsch was the grasp of delicate, understated and seductive comedy,  NINOTCHKA (1939) is a high-quality instance.  Very witty dialogue, with my favorite line from Greta Garbo’s very a lot pro-Stalin Soviet agent:  “The final mass trials have been an excellent success.  There are going to be fewer, however higher Russians”.  One of many funniest strains of the period.  Warren Newcombe’s guys did the matte shot at MGM.

When he was at his greatest, W.C Fields was a comic book genius.  NEVER GIVE A SUCKER AN EVEN BREAK (1941) was an totally indescribable, insane pastiche of sight gags, hilarious strains and stuff seemingly made up on the spot.  A number of results by John P. Fulton and matte artist Russ Lawson.

Jack Lemmon and Mickey Rooney starred in Columbia’s OPERATION MAD BALL (1957), together with the all the time delectable Kathryn (seventh Voyage of Sinbad) Grant.   Mattes, presumably supervised by Lawrence Butler and cameraman Donald Glouner.

Identical movie.  No concept about artist, however I do know that for a short while Matthew Yuricich was ‘laid off’ by MGM and was snatched up by Donald Glouner over at Columbia round this era for a short while.

A Syd Dutton matte portray from the Steve Martin movie L.A STORY (1991), which demonstrates the traditional ‘donut’ evening sky that Syd picked up from his mentor, the good Albert Whitlock, who so typically painted this type of cloud association.

The previous Abbott & Costello movies have been typically loaded with trick pictures – a few of which have been fairly superb (see later on this weblog publish).  PARDON MY SARONG (1942) was a fairly gratifying tropical romp with plenty of Russ Lawson mattes to fill out the backlot body.

A relatively good Lawson matte shot that I wager prolonged the synthetic Common ‘lake’ on the studio again lot to South Seas locale.

Nowhere close to pretty much as good because it’s rapid predecessor, THE PINK PANTHER STRIKES AGAIN (1976) featured a number of mattes and numerous opticals.  A particular blended bag, results sensible, with the producers being sad with a number of the unique matte results accomplished at Pinewood by Cliff Culley, and appointing Matthew Yuricich to re-do sure pictures.  Precisely which of them, I am unsure?

Identical movie.

From PINK PANTHER STRIKES AGAIN is that this main vfx sequence the place the deranged Herbert Lom (by the way an excellent character actor who made tons of of movies!) fires off some laser factor and disintegrates the UN Constructing in New York.  Matte artwork with a lot hand inked roto cel animation.

The UN constructing is not any extra.  What seems to a full matte portray, and one I would wager Yuricich painted.

Remade round 4 instances, the evergreen traditional THE PRISONER OF ZENDA (1979) labored greatest in it is thirties incarnation with Ronald Colman me thinks.  This model right here had Peter Sellers in one among his final roles, and a really disappointing saga it turned out to be.  Solely actually of worth for the superb visible results work of Albert Whitlock, Invoice Taylor, Syd Dutton and their crew.

Stunning matte work abounds in ZENDA, with this fingers down traditional Whitlock (or Dutton?) ‘donut sky’ and rotating windmill being my favorite within the movie.  I effectively recall seeing all of those pictures as earlier than and afters on Al’s 35mm present reels once I met Syd (by chance) right here in Auckland in 1986.  Blew my thoughts!

Invoice Taylor and Dennis Glouner assembled many nice blue display composites of the 2 Peter’s for a lot of scenes, utilizing tried and true previous methods have been additionally used within the older variations.  Invoice instructed me that the director was one to partake in alcoholic beverage throughout lunch breaks, making afternoons lower than productive!

Earlier than and after from the top of PRISONER OF ZENDA with Whitlock pictured right here displaying unique portray at an A.M.P.A.S day lengthy seminar within the 1980’s.  Wanting on the portray subsequent to Al, it seems that virtually the entire crowd of cities folks have additionally been ‘painted in’.

Abbott & Costello in RIDE ‘EM COWBOY (1952), with this Russ Lawson matte shot for results head David S. Horsley.

One other Abbott & Costello present, THE NAUGHTY NINETIES (1945)

Mel Brooks made a couple of traditional comedy spoofs within the mid seventies, however his later materials is considerably misplaced.  ROBIN HOOD-MEN IN TIGHTS (1993) was very poor certainly, with barely a smirk.  A significant multi-painting matte was included because the closing shot, beginning off from a fort and zooming out (for no obvious purpose) up into the sky, by way of the clouds and into house(!)  Phantasm Arts did the shot with a minimum of 4 separate work merged collectively by way of dissolves and so forth as one steady ‘pullback’.  The shot was a waste as, within the precise movie they plastered the entire damned finish credit excessive of this difficult impact, thus making all that work misplaced amid the infinite checklist of ‘Honeywagon Wranglers’, ‘Electrician’s Spouse’s Greatest Pal’ and so forth.

Leslie Nielson was a hoot within the first of THE NAKED GUN collection again in 1988.  For the sports activities enviornment climax, a number of mattes have been painted, although not all have been used.  Ken Marschall and Bruce Block did the matte pictures from their base at Gene Warren’s Fantasy II, although as a rule, Ken would paint his mattes on his eating room desk at house after which ship the ultimate artwork to Bruce for compositing.

Ken’s stadium grandstand matte artwork.  Slot gag animation was employed to simulate ‘crowd motion’ at strategic locations within the artwork.

Checks and temp marry up of an in the end unused matte for THE NAKED GUN

Extra crammed in stadium matte work.

A completely dressed matte from THE NAKED GUN.  By the way, one of many funniest strains ever was Nielson’s “Mmmmm, good beaver” and Prescilla Presley’s reply “Why thanks…I simply had it stuffed”.  Had me laughing for days!.

The David Niven – Doris Day marital ‘bliss’ saga, PLEASE DON’T EAT THE DAISIES (1960) had a single matte, this tilt down of a rundown previous villa.  Principally painted, with previous time artist Lee LeBlanc on the brushes.  FX cameraman Clarence Slifer composited the shot.

LeBlanc’s unique matte, which nonetheless survives to this present day, together with plenty of Lee’s different mattes from issues like BEN HUR and others in an artwork gallery devoted to his in depth gallery and wildlife artwork.

Lee LeBlanc at left, with decrease pic of him at Fox round 1950.  Particulars right here of the DAISIES matte.

One other Bob Hope image right here – THE PRINCESS AND THE PIRATE (1944), with Clarence W. Slifer in command of photograph results.

An inexplicably widespread movie that I completely did not take care of one bit was THE PRINCESS BRIDE (1987).  A number of results teams have been related with the movie, with this shot being a Bob Cuff matte.

Bob’s daughter-in-law, Pleasure Cuff, additionally painted on PRINCESS BRIDE, as did Doug Ferris on some pictures.

Additionally from THE PRINCESS BRIDE was the ultimate closing shot which was farmed out to US based mostly suppliers, Matte Results, consisting of Ken Marschall and Bruce Block.  Right here is Ken’s unique virtually full body portray at left, and the separate sky portray.

Don Knotts was a singular, one among a form comedian expertise, that is for positive.  I grew up on his loopy antics. THE RELUCTANT ASTRONAUT (1967) had a minimum of one – and presumably two – results pictures by Al Whitlock.

MIRANDA (1947) was a British comedy a couple of man and his very personal mermaid.  This shot seems suspiciously like a dangling miniature to me, and it is attainable that Albert Whitlock might have been round after they did this, as he was within the make use of of Gainsborough Photos and did work with foreground miniatures, amongst different issues, earlier than embarking on matte portray.

The primary of the extraordinarily widespread ‘Street’ photos for Bob Hope and Bing Crosby, ROAD TO SINGAPORE (1940) had this matte shot by Jan Domela.

Peter Medak’s movie THE RULING CLASS (1972) was a tour-de-force for Oscar nominated Peter O’Toole, in what’s an indescribable smorgasbord of satire, anti-establishment, sacrilege and music & dance(!)  Overlong by an extended shot, however well worth the time for danger takers like me.

The ultimate scene from THE RULING CLASS inside the Homes of Parliament, although largely consisting of a substantial set extension simply above the lighting.  Probably a foreground glass portray(?), with results not credited, however could also be somebody like Ray Caple maybe?

A delightfully daffy and utterly off-the-wall, pre-code laugh-fest, MILLION DOLLAR LEGS (1932) often had me splitting my sides by way of its roughly one hour operating time.  W.C Fields starred, and the entire thing jogged my memory of these very early Marx Bros photos the place just about something goes, if it’s going to get fun.  The matte portray is completely great, although I’ve noticed it in a number of different Paramount photos round that decade.  Jan Domela was matte artist.

The twentieth Century Fox made Danny Kaye car ON THE RIVIERA (1951) as soon as once more had Danny in twin roles in addition to a few good mattes akin to this one.  Emil Kosa jnr was chief matte artist underneath Fred Sersen.

Two extra mattes from ON THE RIVIERA

Common’s ONE NIGHT IN THE TROPICS (1940) was a musical comedy that launched Bud Abbott & Lou Costello as secondary characters in what was their first movie.

Matte shot from PARDON US (1931), the place Laurel & Hardy find yourself within the joint! Remade as Midnight Specific…. nahhh, possibly not?  ;(

Paramount’s MY FRIEND IRMA (1949) began off with this invisible matte shot by Jan Domela.

The savagely witty James Coburn political satire, THE PRESIDENT’S ANALYST (1967) had this huge broad pan throughout the body, from an evening time cityscape, up and throughout a hill, to a extremely suspect and villain ridden lair.  Albert Whitlock did the uncredited matte work, together with very long time cameraman, Ross Hoffman orchestrating the composite and transfer on the optical printer.

A better take a look at the primary a part of the broad pan…

…and the latter a part of the shot.

Whereas most of Abbott & Costello’s movies have been made by Common, some have been accomplished elsewhere, with THE NOOSE HANGS HIGH (1948) being an Eagle-Lion present.  George Teague was a course of specialist and was, on the time, Eagle-Lion’s head of digital camera results.  Teague was Common’s course of projection specialist, and for a short while, really headed up Common’s results division, however that did not final.  Mattes at Eagle-Lion have been painted by Jack Rabin who, later, would set up his personal results home with buddy Irving Block, working largely of low price range and ‘B’ photos.

Intensive matte additions right here by Jack Rabin.

The enormously widespread THE PALE FACE (1948) starring Bob Hope, was a heap of enjoyable.  Jan Domela furnished the Technicolor mattes along with his very long time cameraman Irmin Roberts.

This scene from the exceedingly unusual Dan Aykroyd movie NOTHING BUT TROUBLE (1990) is generally matte artwork.  Ken Marschall was painter.

NOTHING BUT TROUBLE largely painted.

NOTHING BUT TROUBLE earlier than and afters.

W.C Fields was a uniquely, multi-talented comedian performer from vaudeville and silents, and proved enormously widespread with audiences as soon as Paramount set him up within the thirties.  This Jan Domela matte is from POPPY (1936).  Amongst his all time classics – although minus matte pictures – have been the extremely humorous IT’S A GIFT and THE BANK DICK.  Sheer madness, and all the higher for it.

Peter O’Toole gave one among his all time greatest performances as a type of fading Errol Flynn-esque boozing shag artist in Richard Benjamin’s MY FAVOURITE YEAR (1982) – a pleasant play on the period of reside tv.  For this 50’s depiction of New York’s reside television district, Matthew Yuricich painted within the applicable landmarks and neon marquees of the interval.  In line with Yuricich, when director Benjamin noticed this accomplished matte shot he gasped with disbelief that the manufacturing had needlessly positioned and shot a lot in NYC, whereas they may have had Matthew simply paint the required pictures.

Yuricich’s former apprentice matte artist, Rocco Gioffre, created three very memorable pictures for the very humorous Chevy Chase highway film NATIONAL LAMPOON’S VACATION (1983).

The second Gioffre shot from the identical movie.

Most likely Rocco’s most well-known rendering of his profession was this beautiful reveal of the fictional ‘Walley World’.  Rocco instructed me that this portray is proudly within the possession of director J.J Abrams (whom I used to be instructed as soon as has been a purveyor of this very NZ Pete weblog website, as effectively he ought to!)

Do not trouble going to California to go to Walley World of us… it is only a matte shot!

Phenomenally convincing matte trickery by the ever spectacular Ken Marschall from the lower than phenomenal teen comedy MOVING VIOLATIONS (1985).

Extra outstanding Ken Marschall matte artwork from the identical movie.

Element from one other of Ken’s mattes from MOVING VIOLATIONS, proving the previous adage that excellent matte results do not make a ‘dud’ movie any higher.

Bing Crosby and Bob Hope made an excellent group, with a number of ‘Street’ photos collectively in addition to different movies, normally with Bing being the doorstop for a fast joke cameo.  These pictures are from the hit comedy ROAD TO MOROCCO (1942).  Gordon Jennings was Paramount’s results chief, and by all accounts, was an extremely good man to work for.  Jan Domela, as per common, was matte painter.

Additionally featured in ROAD TO MOROCCO have been a number of ingenious opticals and a few splendidly completed ‘speaking camels’, achieved with meticulously rotoscoped cel animated lip-sync cartoon parts and eye rolling and so forth.  Nearly actually executed by Anna Osborne, on the Duo-Aircraft system which was developed for the collection of Oscar profitable quick topics ‘Talking Of Animals’, which is roofed later…

The one ‘Street’ film made in Technicolor was ROAD TO BALI (1952), once more having mattes by Jan Domela and opticals by Paul Lerpae.

Bob and Bing’s ROAD TO UTOPIA (1945) was, if not their greatest movie, however actually their greatest visible results present.  Completely jam filled with mattes, miniatures, opticals and extra ‘Duo-Aircraft’ animated speaking animals.  May simply have been an results nominee that 12 months, with stable work all through.  The Jennings photographic results division have been saved very busy.

“Holy shit Bing…. it is that friggen Cocaine Bear, and he is speaking!”

Prime quality matte artwork by Jan Domela from identical movie, the place the whole lot is painted right here besides the small pocket of oldsters mid body.  The variety of painted mattes in ROAD TO UTOPIA is substantial, with a number of invisible pictures solely evident when seen on BluRay.

Issues are wanting grim…. ROAD TO UTOPIA.

Lt. Frank Drebin was again for the ultimate within the collection, NAKED GUN 3 (1994), with Phantasm Arts offering a few conventional painted pictures in addition to some oddly rushed wanting digital pictures late within the movie.  Robert Stromberg painted this one with brush and pigments.

Robert’s unique matte artwork on masonite/hardboard.

Dramatic tilt-down shot from NAKED GUN 3.

An attention-grabbing matte from NAKED GUN 3 that most individuals by no means noticed was this excessive down view from atop the ‘fly tower’ and grid space excessive above the stage in a theatre, as characters cling to man wire.

The Hope-Crosby ‘Street’ photos had just about had their day by the point ROAD TO HONG KONG (1962) was made.  Not particularly memorable, although Dorothy Lamour nonetheless regarded nice and the movie had a hilarious bunch of ‘A listing’ cameos, particularly Peter Sellers.  Not like the earlier movies, this one was a British manufacturing, made at Shepperton Studios.  Various mattes have been used, with Bob Cuff being principal matte artist for Wally Veevers.  This shot is attention-grabbing, with the very same reside motion plate getting used for this matte of India and a later matte (beneath) for Hong Kong!

Identical plate locale used for this HK matte shot.

Very attention-grabbing shot right here from ROAD TO HONG KONG, with what virtually seems to be one among Percy Day’s mattes, possibly unused, from BLACK NARCISSUS, although upon reflection I feel Bob Cuff most likely painted this from scratch, as the person cherished portray!

A better view…

NATIONAL LAMPOON’S CHRISTMAS VACATION (1989), with uncredited results by the all the time dependable Dream Quest.

A number of classic Jan Domela pictures from PARIS HONEYMOON (1938).

An atmospheric evening vista that was painted at Phantasm Arts, although not included within the last minimize, of the movie SPEECHLESS (1994).  Love that very, very Whitlock impressed cloudscape!

The eighties spurned an entire slew of utterly undesirable and infrequently idiotic ‘child’ themed so-called comedies, with this Diane Keaton flick, BABY BOOM (1987) being barely higher than common.  Noteworthy, for some astonishing matte work by artist Ken Marschall and affiliate Bruce Block, with this jaw dropper of a matte portray being the most effective excuse to see the movie.

The ultimate, completely lifelike unique unfavourable composite, and a detailed up of Ken’s very small paintings.  Ken instructed me that this was his favorite among the many tons of of mattes he did, and nonetheless has saved away.  He was particularly happy with how the painted balloons turned out.  There have been different mattes as effectively, however these did not survive the ultimate edit.

HIGH SCHOOL HIGH (1996) was dismissed by the critics, but had me chuckling all through.  This matte painted faculty is one among Robert Stromberg’s, at Phantasm Arts.

Element

HIGH SCHOOL HIGH last shot.

Matthew Yuricich did a lot uncredited and neglected work over the a long time, with this distinctive earlier than and after from a present known as OPPORTUNITY KNOCKS (1990).  Be aware element of artwork at proper.

The Ronald Colman traditional, IF I WERE KING (1938), a fantastically photographed 14th Century escapade.  Mattes by Jan Domela and results cinematographer Irmin Roberts.

One other matte from IF I WERE KING, a movie during which Ronald Colman is so good.

An important earlier than and after from Paramount’s IF I WERE KING (1938)

Silent star Marion Davies was a pure delight within the mistaken id farce BEVERLY OF GRAUSTARK (1926).  Nice enjoyable, with some attention-grabbing classic mattes and early Dunning composite pictures. No mentions of ‘Rosebud’ right here please!  😉

Early matte work from BEVERLY OF GRAUSTARK (1926).

BEVERLY OF GRAUSTARK was daring for the day with closing sequences processed in 2-Tone color, with this shot most likely being an in digital camera glass shot.

British comedian Norman Knowledge made many low price range flicks by way of the 1960’s largely, with THE EARLY BIRD (1965) most likely being his greatest movie, shot in color with tons of stunts, pratfalls and visible results pictures.  This can be a Cliff Culley matte, and is among the first on-screen credit Cliff really acquired after being in results work for the reason that mid 1940’s.

Poor ole’ Norman has many a misadventure in THE EARLY BIRD, with this prolonged bit involving a runaway garden mower destroying a millionaire’s property.  A number of intelligent puppet and miniature work as issues go utterly uncontrolled.

Pity the shiny Rolls Royce, flattened by falling tree, all in miniature.  I presume Pinewood guys like Bert Luxford, Jimmy Snow, Frank George and John Stears will need to have been concerned with all of the mannequin work.

Cliff Culley matte artwork coupled with miniature fireplace ladders, animation and smoke overlays.

Last scene in THE EARLY BIRD has Norm crash a hearth truck into milk manufacturing unit, with the entire constructing cracking aside through cel animation atop matte artwork.

Syd Dutton painted this excellent imaginary palatial HQ for wacko evangelical non secular zealot, Peter Boyle, for Marty Feldman’s spoof IN GOD WE TRUST (1980)

One other Charlie Chaplin traditional from way back, THE GOLD RUSH (1925) had a number of mattes or glass pictures as I feel this one to be, in addition to different complicated trickery.

One of many results sequences in THE GOLD RUSH entails a personality trapped on a steadily slipping away ice cap.  Completed as a miniature set with the actor added both by the Dunning or the Williams travelling matte composite technique.

The partial translucency of the actor tends to counsel the Dunning matting course of might effectively have been used, with this artifact typically seen with that method.

One other memorable second from Chaplin’s THE GOLD RUSH has the 2 guys desperately try to stop their cabin from toppling over the abyss.

I do not understand how Chaplin pulled this off, apart from with massive miniature chasm set and cabin, and glorious optical composite pictures including the folks into the shot.

Rock Hudson and Gina Lollobrigida starred within the Common movie STRANGE BEDFELLOWS (1965), with Albert Whitlock offering this uncredited matte shot.

A usually spectacular Newcombe shot from the movie TWO FACED WOMAN (1941), although I am unsure if this daytime view was within the last movie?

Mattes from TWO FACE WOMAN (1941) with Greta Garbo.

Here is one other Norman Knowledge comedy from the UK; THERE WAS A CROOKED MAN (1960) – to not be confused with the superb Kirk Douglas western of the identical identify made a decade later.  This can be a wacky one, even by Knowledge’s requirements, the place the US are conned into shifting a whole English city and rebuilding it in a extra preferable locale. A number of fx pictures together with painted mattes and miniatures, not credited however presumably Cliff Culley or the Wally Veevers folks throughout city.

One of many many uncredited mattes that Al Whitlock did over his lengthy profession was for SOME KIND OF NUT (1969), with Dick Van Dyke, whom I can tolerate solely in small doses.

The primary Bob Hope Pale Face movie was an enormous hit, so naturally Paramount mounted a sequel, SON OF PALEFACE (1952), and a wide range of trick pictures and mattes have been wanted, akin to this Jan Domela matte of the city within the distance.

Foolish gags abound in SON OF PALEFACE, however no one complained.

The sweltering desert presents a ‘cool’ respite, with an ice-capades mirage.  Hope, in a single uninterrupted shot, drives from scorching, sandy environs into an arctic environ, full with ice skaters, after which out the opposite facet again into the desert warmth!!  A cleverly devised and really complicated visible impact sequence, designed by Gordon Jennings, involving shifting cut up screens by ace optical man Paul Lerpae, with exterior location and inside set mixed on the optical printer.

SON OF PALEFACE concludes with this multi-element composite by Paul Lerpae.

One in every of my all time favorite Syd Dutton matte work, created for the exceedingly mediocre Mel Brooks spoof SPACEBALLS (1987)

Shut up element of Syd’s unfastened and impressionistic brush work. Love Syd’s backlight.

Additionally from SPACEBALLS was this push in shot, I feel painted by Robert Stromberg, of the galactic diner.

Albert Whitlock rendered this pleasant homage to a sure monkey film traditional, for the ending of SPACEBALLS.  “Rattling you all to hell”.

For the John Landis spy spoof SPIES LIKE US (1985), Ray Caple painted this view of Afghanistan.

Derek Meddings miniature results from SPIES LIKE US.  By the way, Derek appeared in a cameo, as did an entire truckload of movie guys like Ray Harryhausen and numerous director mates of Landis.

Most likely the funniest factor in STRANGE BREW (1983) was this neat title sequence.

STRANGE BREW matte work by veteran Matthew Yuricich.

Extra Yuricich matte work from STRANGE BREW

The Sandra Dee light-weight romantic comedy THAT FUNNY FEELING (1965) had a few good mattes by Al Whitlock, but it surely was the work of results home Venture Limitless that actually stole the present.  See beneath…

It might not seem like a lot however this outstanding transient scene is a masterpiece of film magic.  A impolite and obnoxious driver of a crimson speedster roars by way of the site visitors, slicing off different vehicles and inflicting a pile up earlier than dashing off down the freeway.  Fabulous work right here, designed and executed largely by Jim Danforth.  See beneath…

From Jim’s memoir, Dinosaurs, Dragons & Drama, comes this glorious breakdown.  A miniature freeway facet was constructed at Venture Limitless, with mannequin vehicles animated through cease movement, with Jim concentrating upon the principle crimson automobile, whereas different staffers labored on secondary site visitors.  What sells that is the completely bullseye matching of the particular LA location and the miniature set, with excellent line up, perspective, lighting and above all else, mixed with delicate matte artwork mixing as latent picture on unique unfavourable.  In line with Jim, the studio have been so ‘wrapped’ with this sensational shot that that they had it spliced right into a steady loop and screened it time and again.  I price it as one of many all time nice visible results moments.

One other of Albert’s mattes from THAT FUNNY FEELING.

Mattes from the Rank comedy starring Alec Guinness THE CARD (1952).  Invoice Warrington, though not a matte artist, was in command of the matte division, with numerous artists working underneath him akin to Les Bowie, Albert Whitlock and Cliff Culley.

Don Knotts did this fairly amusing remake of the previous Bob Hope traditional, The Pale Face, with THE SHAKIEST GUN IN THE WEST (1967).  This excellent matte was the work of Al Whitlock, with a fairly appreciable quantity of the body right here being pure paint, with simply the parents with the three partial mock up carriages within the background being actual.  All else was painted, together with the foreground rolling inventory, the station inside, the background left carriage and the bags trolley and even the group of individuals at excessive left!  I would like to see Al’s precise portray for this.

A wholly matte painted shot, with the huge thousand seat film home, The Grand – seen in higher instances – from the totally pleasant British comedy THE SMALLEST SHOW ON EARTH (1957), which for causes that escape me was retitled BIG TIME OPERATORS for American  launch(!).  Bob Cuff was one among Shepperton’s most interesting matte artists, and never solely did he do the mattes for the movie but in addition obtained an on-screen credit score – though in smaller font, underneath Wally Veevers’ identify – however a credit score, is a credit score, as they are saying.

A second full body matte, additionally by Bob Cuff, exhibits the Grand burnt to the bottom. One of many nice previous British comedies, in addition to being a loving and nostalgic tribute to the times of previous time film homes; Saturday matinees, double options, movie breakages, cartoon & travelogue previous the principle present, wonky projection and that unmistakable aroma of previous popcorn and Jaffa’s that these locations was identified for.  Very fond recollections by your blogger of all such issues, from a film loopy childhood and past…. all now however a distant reminiscence, sadly.  Screw multiplexes… The Satan’s work!

Time for some astonishingly good trickery from Abbott & Costello’s TIME OF THEIR LIVES (1946), the place ghostly goings-ons with spirits from 1776 trigger mischief within the 1940’s.  An absolute rollercoaster journey of extraordinarily effectively accomplished optical results by veteran Common photographic results males David Stanley Horsley and Jerome Ash.

Extremely complicated travelling matte mixture work was carried out for plenty of fairly eye popping set items, akin to this one the place a sublime girl spirit loses right here apparel, piece by piece, throughout a confrontation on a staircase.  Many frames wanted to show the work…

Who get’s the most important shock, the ghost or the true girl?  Each run screaming for his or her ‘lives’, so to talk.  The ghostly gal runs down after which again up the steps, with objects of garment being thrown off as she goes…

I’ve no concept how Horsley pulled this one off, apart from through travelling matte and far roto assist?

Probably achieved as per the previous Fulton technique by draping the set and stairs in black velvet, with physique double suited in black beneath the elegant apparel, permitting excessive distinction mattes to be pulled on Ross Hoffman’s optical printer?

Now it is simply right down to ‘her’ stockings and lengthy lace gloves operating up the steps!

The sequence in full, although in fact you will want a REAL pc monitor to correctly recognize such magic as offered right here by NZ Pete.

However wait!!…There’s extra!  Additionally from TIME OF THEIR LIVES is one other spectacular visible impact the place Lou Costello and woman buddy ‘survive’ successful and run because the automobile merely passes by way of them, or did they move by way of the automobile??

Once more, I am baffled by this terrific scene.  Positively has some extent of matte line on the higher proper fringe of each actors, although whether or not that is roto work or from photo-chemical composite pictures, I do not know?

I am presuming it to be a mixture of travelling matte achieved proper there on the outside set, isolating the actors; a second take with the automobile, with out the actors, and quite a lot of cautious hand drawn and inked rotoscope mattes made on cels.  Millie Winebrenner was Common’s very long time rotoscope artist (and, as Syd Dutton instructed me, a superb cartoonist/caricature artist) who had labored way back to the John Fulton days and onward effectively into the Whitlock period as a everlasting staffer within the matte division.

Common’s veteran optical cinematographer, Roswell Hoffman was additionally one whose profession stretched again to the early Fulton days, being an worker from 1931 by way of to 1974, with most likely a thousand fx composites underneath his belt.

Welcome to the Pearly Gates – the ultimate matte from TIME OF THEIR LIVES (1946)

A Les Bowie shot of a collapsing bridge in THOSE FANTASTIC FLYING FOOLS (1967) – made at a time when titles akin to this have been all the craze.

The cheeky Hal Roach ghost comedy TOPPER RETURNS (1941) was a little bit of a hoot.  A number of humorous bits, particularly right here with the all the time nice Eddie ‘Rochester’ Anderson and Marlboro puffing spectre.

Roy Seawright was the in home Hal Roach photographic results man, with Jack Shaw portray mattes and William Draper and Frank Younger on opticals.  Matte right here from TOPPER RETURNS

Additionally from identical movie is that this very nifty bit combining miniatures, matte artwork and actual water.

A pair of Jack Shaw mattes of The Riviera from TOPPER TAKES A TRIP (1939)

Peter Melrose painted this shot from Blake Edwards’ TRAIL OF THE PINK PANTHER (1982) – a movie comprised of out takes from unused footage from the sooner Sellers movies.

An important solid of UK comics in SCHOOL FOR SCOUNDRELS (1960), although I do not know who did this matte shot for Tom Howard.

Jan Domela painted this matte for the Clark Gable comedy TEACHER’S PET (1958)

This was apparently Albert Whitlock’s first matte shot for Common.  The movie is THAT TOUCH OF MINK (1962) starring Cary Grant.  I had hoped to show the unique matte artwork with this, but it surely wasn’t attainable as issues turned out.

I do not go a lot for Terry Gilliam’s movies myself, with TIME BANDITS (1981) being an actual drag.  Mattes painted by Ray Caple, with this shot being particularly good.

Additionally from TIME BANDITS was this shot by Caple, which I imagine Gilliam was by no means pleased with, and was always asking for the ‘damaged glass’ to look higher.

One of many nice cinema classics was Ernst Lubitsch’s TO BE OR NOT TO BE (1942) starring Jack Benny and Carole Lombard.  Daring, for the day, to combine severe drama with out and out hysterical comedy in the identical movie.  Many great strains and bits.  Results overseen by Lawrence W. Butler, with this nameless matte of the theatre district in Warsaw, Poland, being a set extension for the higher half of the body.

One other favorite movie of NZ Pete was Preston Sturges’ UNFAITHFULLY YOURS (1948), that includes a by no means higher Rex Harrison and his elaborate makes an attempt to kill off his spouse.  A lot funnier than it could sound, with the graceful as silk ‘fantasy homicide’ utterly coming aside when carried out as ‘the true factor’.  Aspect splittingly humorous, I laughed until my spleen exploded!  Here is a matte by one among Fred Sersen’s artists.

A key scene in UNFAITHFULLY YOURS has orchestral conductor Rex drift into his lengthy deliberate fantasy of knocking off his previous girl.  What’s most fascinating is simply how within the hell Sersen and DOP Victor Milner pulled off this superb shot?  Shot begins in lengthy shot, and slowly pushes in (not a zoom, thoughts you…a push in) and finally goes proper as much as and just about into his eyeball!!!  If any cinematographers are studying this, I would like to understand how the main target puller managed to make this work so effectively.   Maybe shot in reverse, as a pull out?  Hitchcock did one thing related a decade earlier than with YOUNG AND INNOCENT with the drummer and his ‘twitch’.  Very spectacular.

Though the overlong, but bouncy Julie Andrews musical-comedy THOROUGHLY MODERN MILLIE (1967) had some inexplicably poor high quality work from the normally dependable Albert Whitlock, a minimum of this shot was of excessive sufficient customary to slide by unnoticed.

The Naval comedy SAILORS THREE (1940)  from Ealing Studios, had some properly accomplished mannequin work and matte artwork on a really, very tight wartime price range.  Roy Kellino was Ealing’s results man.

As removed from the grasp, John LeCarre as one might hope to get; THE SPY WITH A COLD NOSE (1966) a couple of canine employed by MI5, had matte pictures by Gerald Larn (most important picture) and Doug Ferris at Shepperton. Not by any means to be confused with the sensible SPY WHO CAME IN FROM THE COLD with Richard Burton.

These enormous solid of worldwide star ‘around the world’ roadshow epics have been very a lot in vogue within the sixties, with quite a few alongside the identical strains.  THOSE MAGNIFICENT MEN IN THEIR FLYING MACHINES – OR HOW I FLEW FROM LONDON TO PARIS IN 25 HOURS AND 11 MINUTES (1965) – and so they all had absurdly lengthy titles as if to lend extra grandeur to the occasion!  Cliff Culley was matte artist, presumably assisted by Charles Stoneham, with Roy Discipline on fx digital camera duties.

Painted Paris and onlookers from identical movie.

Interval riverboat antics, THREE MEN IN A BOAT (1956) from Shepperton’s fx dept.

Dramatic closing shot from the hit Gene Wilder-Richard Pryor motion comedy SILVER STREAK (1976).  I used to be instructed as soon as that Louis Litchtenfield most likely painted this .

Gorgeous matte artwork is all that I can advocate for the totally dreadful SNOW WHITE AND THE THREE STOOGES (1960).  L.B Abbott was photographic results chief, with Emil Kosa jnr portray mattes.

Some extra high quality mattes from the identical diabolically terrible movie.

The Ritz Brothers have been a price range variation on the good Marx Bros, although not in that very same league by any means, and right here they play up in one among many variations of THE THREE MUSKETEERS (1939).  Fred Sersen’s matte artists included Ray Kellogg, Fitch Fulton, Ralph Hammeras and  Gil Riswold.

The pre-code traditional TROUBLE IN PARADISE (1932) from the good Ernst Lubitsch, was a complicated, sultry, horny and really easy affair – with Herbert Marshall completely solid.  Paramount’s Jan Domela would have painted the matte shot.

Producer Jerry Fairbanks made an entire collection of very talked-about one-reeler quick topics SPEAKING OF ANIMALS within the early 1940’s, profitable an Oscar for one among them.  They will need to have actually been successful again within the day as they nonetheless look unimaginable at this time.  Cleverly edited animal footage supplemented by intricate rotoscope work and cel animated lip sync for hilarious voice overs and widespread songs of the day.

Anna Osborne was key animator for the SPEAKING OF ANIMALS collection, and her group deserve a bow for such top quality work.  I nonetheless have a VHS assortment of all of ’em.

The bull in baritone singing  ‘The Cow-Cow Boogie’ – sensible stuff that had my children wrapped again within the eighties.

James Garner and Doris Day have been enjoyable in THE THRILL OF IT ALL (1963), as was Carl Reiner.  Matte pictures by Albert Whitlock.

Matte artwork and far inventive Buddy Gillespie mannequin work within the Clark Gable-Myrna Loy flick TOO HOT TO HANDLE (1938)

One other Clark Gable image from MGM, THEY MET IN BOMBAY (1941), was entertaining and seemingly unique, although all overseas locales have been furnished by glorious Newcombe mattes increasing the MGM again lot.

The loopy Laurel and Hardy misadventure, SWISS MISS (1938) from Hal Roach Studios, had a couple of mattes by Luis McManus.

The Danny DeVito satire THE RATINGS GAME (1984) had Dream Quest as vfx contractor, with artists Rocco Gioffre and Mark Sullivan sharing brush duties.

Mark Sullivan instructed me about this impact: “Rocco and I have been creating some pictures, at Dream Quest, for a Danny DeVito directed HBO movie known as THE RATINGS GAME.  Someday, a Hill excessive pace digital camera was getting used on the facility to movie some falling cash, for one more Dream Quest mission. The digital camera was able to operating at some insanely quick body charges, for excessive sluggish movement results. Rocco seized the chance to shoot some parts for this stormy sea scene. Whereas the digital camera was screaming alongside at 400 frames per second, Rocco tossed a couple of quarter cup stuffed with powdered espresso creamer up into the air, into body, in entrance of a black background. He later tossed some powdered hand cleaning soap for the rain ingredient. Everybody was amazed in dailies at how efficient these parts have been. Together with Rocco’s excessive pace parts, this shot was a mixture of a glass portray, (the ship) and a background portray on panel (the sky). I did the portray work.  Bob Bailey did the pictures, which included a movement management digital camera transfer to simulate the shot being taken from one other boat in tough, uneven seas. The rain and wave have been again projected and shot on a separate publicity, so the digital camera might {photograph} them with the identical movement because it did with the portray passes. The again panel sky portray was shot as a number of cut up display passes, shifting at completely different charges, to counsel the clouds have been churning.”

Some uncredited mattes from the Bob Hope comedy THEY GOT ME COVERED (1943), made by Samuel Goldwyn Studios versus Bob’s common ‘house’ at Paramount for some purpose.

A mod replace of the previous Gunga Din story, with the Rat Pack on the unfastened, SERGEANTS 3 (1961) was a United Artists present, with no results credit score.

The unbearable UNDER THE RAINBOW (1981), in regards to the alleged making of The Wizard Of Oz, did a minimum of have this intelligent use of a matte portray, by Matthew Yuricich.  Carrie Fisher did look so candy although.

Peter Ustinov wrote and directed VICE VERSA (1947) – an overlong however extremely imaginative fantasy of function reversal, that was remade some 40 years later.  Some glorious trick pictures, supervised by Rank’s then chief of results, Henry Harris, akin to this wild head tornado of a shot which certainly will need to have influenced William Friedkin when he did The Exorcist(??)  Movie is value viewing for the great, quaint title sequence, accomplished as a collection of classic lantern slides, and painstakingly set out and phrased in very Victorian period textual content, akin to: ‘Ices and nectarines might typically be obtained from well uniformed attendants by request’;   ‘Director of Kinema-Images, Mr Jack Hildyard’;   ‘Affiliate Producer and Factotum Mr Paul Sherrif’;   ‘All Great & Extravaganza Results by Professor Henry Harris’;   ‘Continuity & Feats of Reminiscence Mlle. Tilly Day’;   ‘Sound Editor & Methods of the Ear Dr Harry Miller; and my fave ‘Editor in Cost of Magic Lantern Decoupage Mr John Guthridge’.  I am positive the good wordsmith himself, Mr Ustinov should have been behind the pleasant title playing cards.

Michael Curtiz’ WE’RE NO ANGELS (1954) used movement mattes for some tilt up and down pictures, which was not one thing that Paramount did fairly often, even having their patented Movement Repeater.  John P. Fulton was in cost, with Jan Domela on mattes and Irmin Roberts as FX cameraman.

A superb VistaVision Domela shot from WE’RE NO ANGELS.

Identical movie, with this attention-grabbing shot that I think entails foreground miniature set; ship and background painted on glass, and a course of projected sea ingredient

An impressive painted sky kinds a serious tilt down for the opening of the Ealing charmer WHISKEY GALORE (1948).  Most definitely that Geoffrey Dickinson painted the mattes, as Ealing’s artist in residence.

Three matte comps from WHISKEY GALORE in addition to what I feel to be a foreground miniature (decrease left) shot.

I solely ever favored Dudley Moore when he was paired with comedian genius Peter Prepare dinner (no relation) in these previous issues just like the hilarious Bedazzled and numerous television and radio specials.  This shot is a good matte by Matthew Yuricich from the abysmal, barely watchable parody WHOLLY MOSES (1979).

Two extra Yuricich pictures from the ‘to be prevented in any respect prices’ WHOLLY MOSES.

The very humorous homicide thriller with Abbott & Costello, WHO DONE IT (1942).  Dizzying matte work featured at climax, with each Russ Lawson and John DeCuir on the brushes.  I do love excessive perspective matte artwork.

Two barely noticeable matte prime ups from the Frank Capra image YOU CAN’T TAKE IT WITH YOU (1938) from Columbia Photos.  No results credit score however could also be somebody like Chesley Bonestell or Ted Withers?

I form of hammered Mel in earlier examples from his movies for his weaker than common latter day output.  YOUNG FRANKENSTEIN (1974) nevertheless harks again to the times when Mel might do no improper.  Good, pitch excellent retelling of the Percy (Mary) Shelley horror fable.  Fantastically made, and fortunately shot in B&W because it damned effectively must be!  I will wager Fox had arguments with Brooks about that selection!  By the way, once I noticed this on first launch right here in my teenagers (on the Plaza theatre, Auckland) I used to be bitterly upset to seek out the movie not in color, particularly as the entire front-of-house stills have been in damned full color!!

The traditional fort on the rain soaked hill prime from identical movie, as painted by Matthew Yuricich.  In my oral historical past with Matt he talked about that the painted, accomplished glass obtained damaged earlier than pictures.  He thought that maybe one among his boys stepped on it, however could not recall.  He managed to restore the cracked glass, and by all accounts, it was a wonderful repair.

Two extra Yuricich pictures from YOUNG FRANKENSTEIN.  By the way, Gene Wilder was by no means higher than on this film.

One other Matt Yuricich shot, this time from the Tom Hanks flick VOLUNTEERS (1985).

WILL SUCCESS SPOIL ROCK HUNTER (1957) was fairly a intelligent satire on commercialism.  L.B Abbott’s matte artist Emil Kosa jnr was little question liable for the shot.

Frantic screwball kind car for pop icon Madonna, WHO’S THAT GIRL (1987) had some good results work akin to this jail matte by Rocco Gioffre.

Earlier than and after take a look at Mark Sullivan’s rooftop matte painted shot for WHO’S THAT GIRL

Some classic Albert Whitlock pictures right here, from the J.Arthur Rank comedy YOU KNOW WHAT SAILORS ARE (1953), when Al was head painter at Pinewood earlier than heading throughout the pond to the States a 12 months later.

Different Whitlock pictures from identical movie.  Noteworthy for previous time character actor Akim Tamiroff – an extremely busy actor in a thousand flicks – who’s hilarious on this.

Jeff Goldblum and Cyndi Lauper in a bizarre psychic/mystical journey with Peter Falk, VIBES (1988), with mattes I feel, by Matthew Yuricich.

I’ve all the time had a liking for the movies of Woody Allen, particularly his ‘earlier & funnier movies’ (Take The Cash and Run and Bananas nonetheless being fucking hilarious!) in addition to his books and previous 1960’s get up information.  Woody’s pseudo documentary, ZELIG (1982) was a masterpiece in intelligent fakery and seemingly convincing historic recreations the place Woody’s mysterious Leonard Zelig mixes and mingles with everybody from Hitler to Herbert Hoover, F.Scott Fitzgerald, Amelia Earhart, Babe Ruth and Chaplin amongst others.  Brilliantly photographed by the legendary Gordon Willis, with delicate and seamless optical trickery by R/Greenberg and Associates, with Joel Hynek supervising, to not point out amazingly good photograph retouching.  The faux marry-ups far outshine related pictures ILM did a lot later for Forrest Gump, which have been strictly show-pony pictures and a gimmick-fest, and little extra. Excellent work in all ZELIG departments, and a powerful rating too.  *Be aware, The pictures with Hitler above have Woody/Zelig flawlessly inserted inside the footage, with prime proper body having Zelig in background interacting 2nd from proper.  The opposite decrease Hitler body has Zelig with arm outstretched, waving to the newsreel digital camera of Leni Riefenstahl.

I did not take care of it again within the day, however WRONG IS RIGHT (1982) lately, it was a extra satisfying expertise. Sean Connery headlines on this Richard Brooks movie.  A number of results contributors, with an uncredited Ken Marschall portray and offering these opening pictures.

Extra from WRONG IS RIGHT, (which out of curiosity was titled THE MAN WITH THE DEADLY LENS right here in New Zealand and different overseas territories, full with ludicrous Bond styled advert artwork and posters to seem like a 007 flick!  No shit!)  Anyway, the highest left matte was by Joe Musso, whereas the opposite optical mixture pictures of NY being destroyed have been accomplished (not effectively) by Fox veteran Invoice Abbott.

Two Jan Domela mattes from WEDDING PRESENT (1936).

The Duke, sans horse or six shooter, within the romantic comedy WITHOUT RESERVATIONS (1946). Some attention-grabbing matte work with what I took to be an intensive painted railway station for the decrease body.

Syd Dutton supervised the rendering of this new age church and environs for the movie WAYNE’S WORLD 2 (1993).  Solely value it for a extremely amusing prolonged sequence with a purposely badly dubbed James Hong, which, should you’re something like me, you grew up on badly dubbed Hong Kong motion flicks, which this spoofs to perfection. Hilarious!

The ultimate composite, with shifting clouds and daylight breaking by way of.

A usually beautiful matte from one among Warren Newcombe’s many artists, for the movie THE WILD MAN OF BORNEO (1941).

Nicely, that is about it for this weblog publish.  Hope you discovered it fascinating.

Peter