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

‘Tis the season to be jolly, or so they are saying, so right here we’re again once more with one more weblog that is completely jam filled with cinematic wonderment.  My earlier weblog on low price movie results proved hottest, with a lot suggestions and remark (and a few corrections).  I nonetheless plan to do a comply with up Low Finances weblog in some unspecified time in the future, as I missed a bunch of nice little movies with actually nifty trick work such because the sci-fi cult merchandise FIEND WITHOUT A FACE amongst others.  Keep tuned, as they are saying.

Right now we will likely be embarking on the primary of a giant two-parter on mattes and trick results seen in film comedies.  Naturally the potential right here is huge, so I’ve hand picked actually tons of of fantastic particular impact photographs and sequences (would you anticipate something much less?) from an enormous cross part of titles.  My very own private preferences are usually previous time comedies quite than the latest stuff, although I do span the many years pretty equally I really feel.

I am a large fan of The Marx Brothers for instance, so they only need to be included.  Likewise, the previous Abbott & Costello comedies, which whereas generally being fairly hit-or-miss, typically comprise eye poppingly ingenious visible results work from the likes of John Fulton and David Horsley.  For previous timers on the market, it’s best to take pleasure in some basic Laurel and Hardy, W.C Fields flicks and even the amazingly under-valued Olson & Johnson materials, which actually deserves rediscovery, remastering and reissue!

I’ve bought a ton of fantastic British comedies in right here as properly, with some classics from The Boulting Brothers, Ealing and Norman Knowledge, and even have an all time BBC television gem The Goodies, although these Brit entries is perhaps fully contemporary to most American readers.

There are the extra ‘fashionable’ exhibits right here too, similar to The Bare Gun and Sizzling Photographs sequence and such-like, and a combined bag of latter day comedy flicks which have conventional matte, mannequin and optical mastery.  If it ain’t ‘photo-chemical’ then it actually does not match right here.

I like motion pictures, so forgive me once I greater than often drift off observe with obscure information, critique, raves about fave actors or administrators, off-tangent movie references, in jokes and so forth.  I am unable to assist it.

As with my traditional ‘gross sales pitch’, I am sure you will uncover exhibits you’ve got completely by no means heard of; photographs you’ve got by no means observed; and technical wizardry that may dazzle even probably the most jaded viewer who solely usually watches the newest DC/Marvel/Star Wars reboot dross (when will that tiresome development ever be lifeless and buried, I ask you?).  Effectively, with a complete secure of contemporary enemies now assured, it’s excessive time to enterprise down that boulevard of film magic, and rediscover the film comedy.  All suggestions enormously appreciated.

Take pleasure in

Pete from New Zealand  🙂

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In all probability probably the most profitable and broadly praised of their many A&C options, ABBOTT & COSTELLO MEET FRANKENSTEIN (1948) was a winner all the way in which.  Hilarious, scary and a beautiful tribute to all of the previous Common monster flicks.  David S. Horsley was results supervisor right here, and did some unimaginable work on different A&C movies, documented later.  Fairly certain it is a Russell Lawson matte painted fortress, probably blended with miniature foreground dock and later row boat.  Cel animated bat flies into shot.  *I recall my mom telling me they retitled it ABBOTT & COSTELLO MEET THE GHOSTS right here in New Zealand again within the day.

Observe up matte portray by Lawson.  Movie additionally has some groovy transformation sequences, completed through inked cel animation.

From the opposite aspect of the Atlantic got here THE AMOROUS MR. PRAWN (1962).  No thought who did the assorted matte photographs of the Scottish stately residence.

A telling earlier than and after executed by Phantasm Arts for THE ADDAMS FAMILY (1991)

The inevitable sequel, ADDAMS FAMILY VALUES (1992) used a lot matte (left) and miniature (proper) work to nice impact.  Once more, Phantasm Arts, underneath Syd Dutton and the late Invoice Taylor dealt with all the mattes, whereas I recall fx cameraman Jim Aupperle as soon as telling me he sorted the miniature photographs similar to that at proper.  Love that exaggerated perspective on the acute downview matte portray!

Extra matte artwork from ADDAMS FAMILY VALUES.  The movies have been fairly good in truth, largely because of the good casting of the late Raul Julia as Gomez.  Greatest line, uttered by Morticia:  “Oh he is fairly a girl killer”, with Gomez’s delighted response: “Sure…acquitted!”

A full body painted matte vista, with circling buzzard added.

Again to a different previous Common Abbott & Costello frolic, IN THE NAVY (1941).  Numerous fx photographs by John P. Fulton, with mattes painted by John DeCuir and Russ Lawson.

Similar movie, with brilliantly completed close to collision between warships.  Very long time Common mannequin exponent was Charlie Baker, who labored intently with Fulton for many years on tons of of movies.  Jim Danforth instructed me he had fond reminiscences of working as a contemporary younger trainee underneath Charlie within the early 60’s on movies like FATHER GOOSE.

One other IN THE NAVY matte shot.  John DeCuir’s son instructed me he nonetheless has a bunch of historical earlier than and after 35mm trims of this and plenty of different Uni matte exhibits his father painted on.  I am nonetheless vaguely hopeful to see these some day….please!

Essentially the most unlikely pairing of Doris Day with Richard Harris(!) within the foolish swinging sixties spy spoof CAPRICE (1967) included this very good CinemaScope matte by Emil Kosa jnr.

England’s beloved Ealing Studios turned out scores of a lot liked classics.  This one was BARNACLE BILL (1957) – which was renamed ALL AT SEA for the Yanks.  Extremely amusing story of crusty seaman – Alec Guinness – who’s afraid of the ocean and will get seasick, so units up a type of non-ocean going ‘vessel’ on an English pier.  Some nice miniature work, probably by an uncredited Syd Pearson or Cliff Richardson who labored lots at Ealing.

Harmful comedy from BARNACLE BILL.

I am unsure whether or not this photograph is from the fx stage of BARNACLE BILL, although it does look very comparable?

Extra maritime hi-jinks, this time in Technicolor and VistaVision.  THE ADMIRABLE CRICHTON (1957) was a Shepperton manufacturing, with Wally Veevers overseeing quite a lot of matte and mannequin mixture photographs of the ship, it is demise and the island setting.  Bob Cuff was matte artist, and Veevers usilised his choice of cut up screening miniature ships into precise ocean with painted skies.

Rocco Gioffre provided this poisonous dump matte for the forgettable John Sweet car ARMED AND DANGEROUS (1986)

Positively one in all A&C’s lesser efforts, ABBOTT & COSTELLO MEET THE KEYSTONE COPS (1954) is nevertheless noteworthy for some extremely properly executed photographic results gags.  I needed to cease and rewind this bit a number of instances to analyse it.  Lou in path of oncoming specific prepare, with foot jammed in observe, simply manages to leap to security with a second to spare!  I figured the stunt man practically bought nailed at first till I reviewed it very rigorously.  David Horsley and fx cinematographer Roswell Hoffman truly perpetrated a flawless travelling matte right here, with the character photographed on location minus locomotive, presumably in entrance of a giant impartial gray toned (or black?) canvas, whereby a travelling matte might be remoted because the actor/double went by the motion. The prepare rushing towards would have been safely filmed both earlier than or proper after the ‘gag’ fall, primarily based upon the equivalent daylight in each components.  Completely excellent, with barely a matte line detectable!  In an interview Horsley described such a staple trick as an ordinary within the John Fulton division, courting manner again to the early 1930’s in issues like THE INVISIBLE MAN and BRIDE OF FRANKENSTEIN – during which David was a key collaborator.  You’ll be able to maintain all of your CG stuff guys… these things was boss!

One other Horsley gag from the identical A&C movie.  Aircraft narrowly misses automobile in a rigorously composited travelling matte, with what I am certain was a miniature airplane.  Find it irresistible!

Similar movie, with loopy slapstick.  Russell Lawson matte artwork with doubled in horse & buggy.

Ahhh, sure… one in all my fave movies.  The outstanding BLUES BROTHERS (1980) – a movie which, pardon the pun, hit all the fitting notes for me!  Incredible music, dry deadpan humour, automobile wrecks-a-plenty, bizarre cameos and a few present stopping Albert Whitlock photographs similar to this magnificence!  Greatest line in movie, as uttered by the good Charles Napier:  “You are gonna look mighty humorous tryin’ to eat corn on the cob… with no fucken’ tooth!”  Traditional!

BLUES BROTHERS wizardry, described intimately in earlier Invoice Taylor tribute article right here.

Again to the UK right here… a beautiful matte from the favored comedy BLUE MURDER AT ST. TRINIANS (1957), with matte artwork by a hardly ever credited (however was right here) Albert Julion – one in all Vincent Korda’s favorite matte painters and an extended timer within the Shepperton photograph results division with Pop Day and Wally Veevers.  I’ve purpose to consider that Julion might very properly have been mentor to Albert Whitlock, primarily based on analysis I’ve completed.

British movie maker Lindsay Anderson turned out some seminal footage from the late 60’s onward, similar to IF and the fantastic O’ LUCKY MAN.  The photographs listed here are from Anderson’s final(?) movie BRITANNIA HOSPITAL (1982).  Matte by Charles Stoneham who began underneath Cliff Culley within the Pinewood matte dept within the mid 1960’s.  Nice work right here as I would hate to suppose how tough it should have been to render that huge mirrored construction.

The movie is not possible to categorize, and is as free-wheeling as they arrive.  Unforgettable set piece in working theatre sees a rebuilt, patched collectively Malcolm McDowell who by chance will get his head torn off (do not even start to ask!!).  Phenomenal particular make up results by Nick Maley, who additionally did exceptional work on Tobe Hooper’s ridiculous LIFEFORCE – the likes of which have been completely contemporary to audiences of the day!  And to suppose all of the ‘gore’ was dusted off within the earlier weblog…. You fools!!!

One other Charles Stoneham matte, with Roy Subject on fx digital camera duties.

A pair of uncredited mattes from Chaplin’s basic CITY LIGHTS (1931).

Rocco Gioffre painted quite a lot of mattes for Billy Crystal’s CITY SLICKERS (1991).  I am not 100% certain concerning the high left however suspect it to be Gioffre.

I am a devotee of previous Bob Hope comedies.  This one, CAUGHT IN THE DRAFT (1941) being a winner.

Two extra of Jan Domela’s matte photographs from CAUGHT IN THE DRAFT.

ABBOTT & COSTELLO GO TO MARS (1953) sounds prefer it could not go incorrect, however by no means actually labored.  Tons of results photographs although, from in depth Russ Lawson matte artwork, many optical gags and mannequin photographs abound.  Additionally has a bevvy of Martian ‘hotties’ of some be aware!

Similar movie:  David Horsley was photographic results chief.

The climax entails a mess of fx photographs as rocket roars by New York skies and down avenues and tunnels – all stable work with a lot, a lot rotoscope artistry by Common veteran Millie Minebrenner (who was with the studio for many many years from Fulton by to Whitlock).  Neat gag right here with Liberty Woman ducking out of the way in which of out-of-control spaceship.

Similar A&C movie:  basic Lou Costello arrange, with delectable younger lass planting kiss, then reworking into previous grandma – mid smooch!

Bing Crosby starred within the in style musical/comedy model of Mark Twain’s A CONNECTICUT YANKEE IN KING ARTHUR’S COURT (1949).  Numerous results supervised by Gordon Jennings, with matte artwork similar to this rendered by studio veteran Jan Domela.

One other Domela matte.  Movie additionally used the newly designed movement repeater for a few daring photographs the place huge digital camera pan crosses expanse of reside motion and up onto painted fortress (not this body).

Essentially the most unimpressive DRAGNET (1987) characteristic from the previous television sequence at the least had this glorious matte shot, labored on by each Al Whitlock and Syd Dutton – with Invoice Taylor offering a digital camera transfer.

Have not seen this in years, however recall THE DUCHESS AND THE DIRTWATER FOX (1976) as being an actual hoot, largely as a consequence of comedian chemistry of George Segal and Goldie Hawn.  A number of mattes, probably completed by Matthew Yuricich?

Very controversial again within the day, and bought an MPAA ‘X’ Ranking (primarily as a consequence of state of affairs being a brothel), THE BEST HOUSE IN LONDON (1968) was fairly humorous (particularly bit with John Cleese in a cameo).  Many matte and mannequin photographs, with Shepperton’s resident painters Gerald Larn and Bryan Evans on matte photographs, and Ted Samuels on mannequin work.  Above is a masterful earlier than and after by Gerald Larn of Victorian London.

BEST HOUSE IN LONDON (1968) matte shot.

Gerald Larn described the matte workload to me some time again, with this being another of his.

Not one in all Bob’s higher exhibits, although CALL ME BWANA (1963) does have the luscious Anita Ekberg in it, so what’s to not like!

CALL ME BWANA mattes by Cliff Culley.

The enormously in style UK comedy THE BELLES OF ST. TRINIANS (1954) with Alastair Sim and George Cole.  Good mattes begin issues off, painted by George Samuels (above center).

The Carry On sequence was extraordinarily in style right here in New Zealand, and likewise different former British colonies, with the sense of humour being most agreeable.  CARRY ON CLEO (1964) was a riff on Fox’s mega funds bust CLEOPATRA and price simply pocket change.

CARRY ON CLEO mattes by Pinewood veteran artist Cliff Culley.

One other CLEO matte by Culley.  Cliff began off at J.Arthur Rank again within the 1940’s and labored alongside a younger Al Whitlock within the matte division.

And my alternative for the proper ‘desert island’ DVD can be the all time basic DUCK SOUP (1933) starring the 4 Marx Brothers.  Outright masterpiece, bar none!

The brothers solely made lower than a dozen options, and the later ones have been extremely variable, however the ones that hit bullseye, have been, and nonetheless stay, all time classics of American cinema.  One such was DUCK SOUP (1933) – a biting, sarcastic anti-war satire (that really flopped again in ’33 as audiences simply did not get it).  I’ve in all probability seen this movie round 30 instances and by no means fail to snort out loud.  DUCK SOUP packs extra laughs into it is compact 68 minutes than you’d suppose potential.  Above are two matte photographs by Jan Domela.

Though The Marx Bros have been by no means heavy on particular results photographs, their choice being good and endlessly quotable verbal sparring, the mute Harpo would typically pull some hilarious trick out of his bag, sleeve, harp, horn, or on this case, tattoos!  After showcasing his varied tat’s to Groucho (a really humorous scene in itself), Harpo proudly exhibits off his tummy tat – full with barking canine!

Conflict breaks out in DUCK SOUP – a daft conflict declared only for the hell of it.  Audiences of the day have been misplaced to the notion of ‘anti-war’ themes, or satire on such a shattering occasion that had a way more patriotic which means again then.  A lot later audiences, particularly throughout the anti-Vietnam period simply lapped it up and rediscovered the masterpiece.  By the way, the very best scene, and one not even involving any digital camera tips was the well-known mirror sequence – doubtless THE funniest set piece ever filmed.  Discover it on YouTube or a kind of cyber web issues.

From the chic mastery of the Marx’s, to the loud silliness of Rodney Dangerfield.  CADDYSHACK (1980) made Invoice Murray a star.  Listed below are two mattes by Rocco Gioffre, one with the status nation membership and grounds, and the opposite with mass destruction (painted in) after gopher hunt.

The hit Danny Kaye comedy THE COURT JESTER (1956) had quite a lot of memorable scenes and far charisma from it is main man.  A number of mattes too, similar to this lovely Jan Domela shot.

One other Marx Bros film, A DAY AT THE RACES (1937) can also be an all time favorite of NZ Pete.  I’ve misplaced depend of the variety of instances I’ve seen this, both on the large display as a child on Marx double payments; on television; on 16mm; VHS and DVD.  So repeatable, and with so many aspect splitting sequences and interactions.  Their greatest funds movie, as they’d been woo’ed by MGM by now, and their greatest hit.  Warren Newcombe’s division offered this matte.

Oh, man… the classics simply carry on a comin’.  One other bona-fide masterpiece, the good DR STRANGELOVE-OR HOW I LEARNED TO STOP WORRYING AND LOVE THE BOMB (1964).  Wally Veevers dealt with the mannequin results with Shepperton’s Doug Ferris and Alan Maley rendering mattes, and Vic Margutti on travelling mattes.  Greatest line in movie, from Peter Sellers as President Merkin Muffly(!): “Gents…you may’t combat in right here…that is the conflict room!”

Veteran vfx cameraman Wally Veevers standing backside proper, with the miniature bomber arrange fro Stanley Kubrick’s timeless masterpiece, DR STRANGELOVE.

These large forged roadshow/race movies have been very a lot the ‘in factor’, with THOSE DARING YOUNG MEN IN THEIR JAUNTY JALOPIES (1969) being a typical instance from the interval.  No thought who painted these mattes, however a lot of the manufacturing crew have been Europe primarily based.  The movie was retitled MONTE CARLO OR BUST for America, and did star ‘Peter Cook dinner’, although not this Peter Cook dinner who scribes earlier than you.

A Cliff Culley shot from CARRY ON UP THE KHYBER (1968).

Jan Domela matte artwork from the Jack Benny model of ARTISTS AND MODELS (1937)

I like political thrillers, and although this movie, DAVE (1993) is political, it is actually a sly type of comedy of errors, although movie.  An astounding array of vfx scenes characteristic in it, with Harrison Ellenshaw supervising the extraordinary work at Buena Vista Visible Results.  Numerous exceptional, but invisible matte painted photographs abound, with extremely expert painter Paul Lasaine largely accountable.  Many photographs of The White Home needed to be rendered on glass from varied angles and composited with partial units, again tons and such, to glorious impact.  Right here we see Paul at work on one in all his unimaginable glass work.

The ultimate shot is completely convincing.

One other of Paul Lasaine’s mattes in progress and closing comp.  Staggeringly properly completed.

Additionally from DAVE, with this in depth portray with minimal reside motion plate.  Paul was one of many actually underneath appreciated artists who got here into the business in it is closing couple of years of conventional ‘paint on glass’ methodology.  Harrison Ellenshaw instructed me he holds Paul in very excessive reward.  Paul was extremely instrumental within the VFX design and ‘look’ of Peter Jackson’s LORD OF THE RINGS trilogy, together with his conceptual work being so near the ultimate scenes.

The British heist comedy CROOKS IN CLOISTERS (1964).  No results credited.

Hammer not solely produced horror footage but in addition knocked out nearly each style you may consider.  DON’T PANIC CHAPS (1959) was a low funds b&w comedy, with a dependable forged of well-known Brit character actors.  Apparently, the unique glass matte artwork nonetheless survives to this present day.  It was painted by Albert Julion, presumably completed in color in order to function a inventory portray for future movies if wanted.  New assistant matte artist Doug Ferris instructed the story of being interviewed by Wally Veevers round 1962 and proven by the matte storage room.  Wally instructed Doug he might select any one of many matte glasses if he needed.  Ferris picked this one and took it residence.  On the time, there was fairly a group of classic Shepperton mattes and fashions, although in time all of them appeared to fade, and no one is aware of the place.

Element of Albert Julion’s glass portray.

A Newcombe division pastel matte made for Woody Van Dyke’s ANOTHER THIN MAN (1939), although it does not seem within the model I’ve on DVD, sadly.

Ronald Reagan and a chimp… yeah, BEDTIME FOR BONZO (1951) was the movie.  Matte artwork by Russell Lawson at Common.  I recall when Reagan was elected as US President, they re-released this movie right here in NZ at Auckland’s previous Hollywood Cinema in Avondale for fun.

ABBOTT & COSTELLO MEET THE INVISIBLE MAN (1951) actually ought to have been at the least nominated in the very best visible fx class, because the work was terrific!

Among the many myriad invisibility gags and pratfalls was this extraordinary sequence that stands out in a category of it is personal the place Bud and Lou have a poker recreation with the invisible dude.  A lot finely tuned and fantastically composited optical work right here with playing cards being shuffled, dealt, flipped over, chips counted, and many others… It truly is a nice scene.  David Horsley deserves kudos for orchestrating this elaborate multi-cut sequence, together with optical cameraman Ross Hoffman and roto artist Millie Winebrenner.  A winner!

Similar movie, with a terrific sequence displaying the man turning into seen.  Horsley labored on comparable scenes with John Fulton for a few the previous INVISIBLE MAN footage.  Apparently, I recall that simply one in all that sequence was ever nominated for it is vfx.

A lot superimposition, cross dissolving layered anatomical art work with Roswell Hoffman’s optical printer.

Syd Dutton painted this atmospheric view of New York for Richard Pryor’s frantic CRITICAL CONDITION (1986), full with customary drifting clouds, rising smoke components and animated lightning cel overlays.

One other Dutton matte from CRITICAL CONDITION the place a lot set extension has been painted in together with different components.

A surprisingly late conventional matte for ALMOST HEROES (1998), made properly into the digital period.  Rocco Gioffre was matte artist right here.

Very entertaining and fulfilling yarn that could not miss with that forged, BROTHERS IN LAW (1957) made by the very profitable Boulting brothers.  Tom Howard oversaw the results work.

A Robert Stromberg full matte from DENNIS THE MENACE (1993), with Phantasm Arts as results contractor.

One other Phantasm Arts matte from identical movie.

The prehistoric comedian extravaganza, CAVEMAN (1981) with a grunting Ringo Starr and spouse to be Barbara Bach.  Numerous David Allen cease movement, with different results enter from Jim Danforth.  I believe Rocco Gioffre might have painted the backing and mix in right here.

Whereas not a patch on the primary movie, AIRPLANE II (1982) had it is humorous moments, particularly William Shatner completely taking the piss out of his Capt James T. Kirk persona.  Manufacturing designer and conceptual artist Mike Minor painted this matte shot.  *These movies have been titled FLYING HIGH (1 & 2) right here and in a number of different nations.

A later entry by iconic Laurel and Hardy was this one, AIR RAID WARDENS (1943) made by MGM.  Warren Newcombe would have supervised the matte, which is properly as much as the excessive calibre we now have come to anticipate from his division.

The very fulfilling quick speaking Howard Hawks comedy BALL OF FIRE (1941) starring the good Gary Cooper, and penned by Billy Wilder no much less.  A Goldwyn Image so matte artist a thriller.  Could also be somebody like Jack Cosgrove or Jack Shaw?

The 1970’s noticed a complete slew of spoof fairy story flicks, most of them sexploitation, and CINDERELLA 2000 (1977) suits the invoice exactly.  An odd mish-mash, shot in Scope and fairly formidable, for a ‘C’ grade film, however what else would you anticipate from an auteur as ‘on the market’ because the late and extremely productive Al Adamson, who made tons of biker flicks, shoestring ‘B’ horror and miscellaneous Grindhouse forty second avenue fare!

One among a sequence of ‘Maisie’ comedy adventures from MGM, CONGO MAISIE (1940).  A pleasant earlier than and after Newcombe pastel matte proven right here.

Laurel and Hardy’s BONNIE SCOTLAND (1935) featured many mattes and optical gags to good impact.  A Hal Roach movie, Roy Seawright was vfx supervisor and most certainly Jack Shaw or Luis McManus would have painted the mattes, because the studio’s in home matte artists.

Extra photographs from BONNIE SCOTLAND, the place 1000’s of stinging bees have been launched and go loopy.  Many glorious photographs right here with cel animated bees added in by optical cinematographers Frank W. Younger and William Draper.  Terrific sequence.

A excessive rez pic of an authentic Newcombe pastel portray made for the movie CAIRO (1942).  The black space can have water doubled in for the ultimate shot (see under). Lovely art work.

Matte work from the journey/comedy CAIRO (1942) with the finished shot with water proven at left.

The biting and cynical (some may even say savage) satire, THE APARTMENT (1960) actually simply had a single matte portray – that of the particular house exterior which seems in the beginning.  Interiors of the large insurance coverage workplaces have been, if I recall from the disc commentary, inbuilt an excessive pressured perspective, I believe with youngsters within the background at tiny desks.  Appropriate me if I am incorrect.

ABBOTT & COSTELLO IN THE FOREIGN LEGION (1950) had just a few mattes and photographs by David Horsley, similar to this mirage gag – a gag used a dozen instances over time.

Cliff Culley painted set extensions from Norman Knowledge’s amusing  A STITCH IN TIME (1963).

Harrison Ellenshaw painted this splendid matte for the movie CABIN BOY (1992) – a movie that Harrison stated was “an unwatchable piece of rubbish”.  I by no means noticed the movie myself.  He additionally shared quite a lot of private recollections on the ill-fated manufacturing which shall stay ‘unpublished'(!)

Jan Domela mattes and composites from Mae West’s BELLE OF THE NINETIES (1934).

One other Laurel & Hardy flick,  A CHUMP AT OXFORD (1940), which apparently additionally featured a younger Peter Cushing as a bully(!)  Roy Seawright sorted the Hal Roach results unit, with both Jack Shaw or Luis McManus doubtless as matte painters.

Jack Benny was a one in all a form comedian character, each on display and on the radio.  At all times self-effacing, Benny made some nice comedies.  This one’s BUCK BENNY RIDES AGAIN (1940) with Gordon Jennings on results, and very long time artist Jan Domela portray mattes.

A number of Newcombe mattes from one other Marx Bros image, AT THE CIRCUS (1939).  Not the very best of their output, sadly, however has it is moments.  Their early Paramount footage have been fairly financial affairs – and all the higher for it – with no studio interference, so the boys might actually reduce free and go wild.  The later MGM exhibits have been very structured as Louis B. Mayer merely did not ‘get’ the Marx sense of humour… it was past of his pay grade.

Ken Marschall was the best matte artist you by no means heard of (except you frequent this weblog in fact). Along with cameraman and collaborator Bruce Block, Ken created tons of of completely invisible hand painted matte photographs over a 20 12 months profession earlier than all of it went digital.  This terrific matte is from CRAZY PEOPLE (1990) starring Dudley Moore.  The movie wanted faux billboard adverts across the metropolis – some fairly humorous – however Ken did not wish to merely plonk in a ‘new’ billboard advert’ because it is perhaps apparent as if a paste in.  He discovered over years of expertise that to black out far extra of the plate and paint in a substantial deal made for a extra credible closing consequence.  Man, can Ken paint!

Bob Hope was one in all Paramount’s ‘money cows’, with dozens of hit motion pictures and a legion of followers (me included). CASANOVA’S BIG NIGHT (1954) was a giggle, and had just a few Jan Domela mattes.

I by no means went for these silly BILL & TED movies – they jogged my memory an excessive amount of of these god-awful Cheech & Chong dope head flicks of yesteryear.  This one, B&T’s BOGUS JOURNEY (1991) had at the least a few my fave actors in it, the tremendous British character actor Joss Ackland, and the Foxiest of all Coffy colored Sheba’s, the fantastic Pam Grier!  Mattes by Matthew Yuricich, with these uncommon authentic work found, I consider, in a dumpster in LA.

One other ‘junked’ BILL & TED Yuricich matte, and the ultimate shot.

Two nice MGM Warren Newcombe photographs from THE CAT AND THE FIDDLE (1933)

The versatile and extremely skilled Ralph Hammeras was a pioneering visible results exponent in all sides of the artform.  Ralph was a talented matte artist, results cameraman, miniatures technician and cease movement man on movies similar to the unique silent LOST WORLD and plenty of, many others.  These photographs are Hammeras glass photographs from twentieth Century Fox’s CHARLEY’S AUNT (1941).  In accordance with Matt Yuricich, Ralph was supposed to move the Fox results dept however fell out over dangerous blood with Fred Sersen or some greater up exec at some stage.

As already talked about, the British CARRY ON sequence have been enormously in style, with a terrific monetary return on the low funds sequence.  These mattes by Pinewood’s Cliff Culley are from CARRY ON HENRY (high row) and CARRY ON JACK (backside row) from the early 70’s.  I significantly like that harbour with crusing ship full portray.  Very good certainly!

The tangled tales surrounding the manufacturing of the mega-budgeted spy spoof CASINO ROYALE (1967) are legend.  Some six (sure 6) administrators helmed this, and by all accounts it was an uncontrolled, freewheeling rollercoaster of extra.  That stated, I fairly loved it.  Phenomenal forged, cool music, groovy artwork course, some nice gags scattered right here and there, scores of mini-skirted swinging sixties dolls and extra! What number of movies have Woody Allen, Jean Paul-Belmondo, George Raft and Orson Welles in the identical forged??? I reckon Mike Myers should certainly have watched this 100 instances earlier than doing Austin Powers.

Plenty of results guys have been concerned with CASINO ROYALE, with Cliff Richardson of mechanical gags and several other matte painters, Gerald Larn, Peter Melrose and Les Bowie on board.  Star Peter Sellers was so intimidated by having to work with Orson Welles that he demanded all of his photographs in prolonged scenes with Welles be filmed on his personal, minus Orson, with the editors having to determine pulling all of it collectively in some coherent vogue in put up (amazingly, they did!).  Sellers lastly stormed off the set and by no means got here again, together with his character simply ‘absent’ for the remaining story line.

A marvellous matte, which I am sure was painted by Albert Whitlock, from the very fulfilling COMEDY OF TERRORS (1963).  This shot has all of the hallmarks of Whitlock.

Talking of Al Whitlock, here is one other of his photographs, from Mike Nichols CATCH 22 (1970) with Al portray in an Italian city the place none truly existed on the Mexican location.

CATCH 22 was a sensational, although massively costly black comedy, deserving of repeat viewings to take all of it in, to not point out the dream forged of professional’s and newbies, all on the high of their recreation.  This body is a from the present stopping scene the place a low flying airplane cuts a man in half.  Actually, the sequence was a most ingenious mixture of mechanical impact (a dummy of the actor full of animal entrails) and a few fantastically delicate optical work by Albert Whitlock.  See under…

Director Mike Nichols actually needed extra than simply the standard ‘splat’ demise scene and tasked Whitlock to give you one thing totally different.  Nichols needed the decrease half of the sliced actor to step by step wobble on unsteady legs earlier than toppling very realistically into the ocean.  The stuntman held a particular mirror throughout his higher physique, reflecting the sky and obliterating his kind.  As he teetered and eventually toppled backward with legs akimbo, Whitlock’s in home rotoscope artist Millie Winebrenner rigorously roto’d out the now seen torso and higher physique with consumate talent.  Whitlock’s cameraman Ross Hoffman and assistant Mike Moramarco additionally deserve a pat on the again.  Masterpiece!

England’s a lot beloved Norman Knowledge was the UK reply to Jerry Lewis – and much funnier and much much less bloody irritating!  On this present, THE BULLDOG BREED (1960), Cliff Culley and Roy Subject offered a number of neat mattes and a humorous cel animated set piece.

William Powell was at all times excellent, and Fox’s THE BARONESS AND THE BUTLER (1938) was an agreeable experience.  Fred Sersen in command of fx, with one in all his many matte painters doing these good photographs.  Artists at Fox included Emil Kosa snr and his son Emil jnr; Hector Serbaroli;  Menrad von Muldorfer; Ray Kellogg; Ralph Hammeras;  Gilbert Riswold and Fitch Fulton amongst others.

Function size movie primarily based upon the favored board recreation, CLUE (1985), with Albert Whitlock and Syd Dutton offering a number of mattes.

One other atmospheric CLUE matte with drifting clouds and lightning overlay.

I am unable to actually take the American comedy actor/author Albert Brooks, with this car, DEFENDING YOUR LIFE (1991) being a tedious affair certainly.  It did have some glorious mattes although, from the at all times dependable Dream Quest.  Ken Allen and Bob Scifo have been artists.

Shut ups of the magnificent matte artwork.

Two extra of the quite a few DEFENDING YOUR LIFE mattes.

Arguably Eddie Murphy’s finest image was John Landis’ large COMING TO AMERICA (1988). Phantasm Arts offered a number of mattes together with the jaw dropping opening flyover which built-in in depth Syd Dutton-Al Whitlock matte artwork with miniature terrain by Apogee (with jungle cover assembled utilizing broccoli I recall).

The entire opening shot is proven as an entire, apparently uninterrupted fly over, closing in on the courtyard of the African palace.  The late Invoice Taylor defined to me intimately how he managed to drag this off, with the quick model being quite a lot of totally different (and really giant) matte work being photographed movement management, with very intelligent ‘cheats’ the place separate takes have been merged collectively.

Syd Dutton’s precise and substantial matte portray with space that might function a rear projected reside motion component.  Albert Whitlock was matte guide on this movie.

A uncommon unused Phantasm Arts matte portray supposed for a dream sequence in COMING TO AMERICA the place the John Amos character imagines opening one in all his ‘MacDowells’ quick meals joints in Africa.

The MGM Clark Gable conflict comedy COMRADE X (1940) was a exceptional particular results showcase.  The nice Buddy Gillespie devised a complete array of implausible miniature tank sequences, with very long time affiliate, the equally nice miniaturist Donald Jahraus.  Gillespie’s grandson nonetheless owns at the least one of many authentic mannequin tanks!  The in depth mannequin work labored so properly as Gillespie shot all of it exterior in daylight, with cleverly hidden management mechanisms, all expertly photographed by Maximillian Fabian – MGM’s specialist cinematographer.  Warren Newcombe’s division provided a number of painted mattes to increase the settings to Russia.

Veteran Shepperton matte and optical artist Doug Ferris with one in all his evocative glass work from ERIK THE VIKING (1989).  Doug would as typically as potential paint in his title amid structure and such, and has completed so right here at decrease proper.

Visible Results supervisor Kent Houston of London’s Peerless Optical, instructed me that artist Bob Cuff was his absolute favorite and he’d make use of Bob each time potential on his assignments.  The matte photographs in ERIK THE VIKING are the one memorable asset, sadly.

Earlier than and after by matte cameraman John Grant.

ERIK THE VIKING employed three matte artists; Bob Cuff, Doug Ferris and Bob’s daughter in legislation, Pleasure Cuff.  This shot is a winner.

Earlier than and after from the late John Grant’s present reel.

A Russ Lawson matte from Abbott & Costello’s LOST IN ALASKA (1952)

A stupendous matte that was spliced into LOST IN ALASKA that was truly a stolen Jan Domela portray from Paramount’s THE GREAT MAN’S LADY made again in 1941

Extra from LOST IN ALASKA, although one at proper could also be a cyclorama?

David Horsley engineered composite with matte artwork and blue screened actor from LOST IN ALASKA (1952).  VFX cameraman was Common’s Ross Hoffman who was employed by that one studio for round fifty years.

Roman Polanski’s movies at all times come to my consideration, with many being excellent works.  That stated, I by no means a lot cared for THE FEARLESS VAMPIRE KILLERS (1967), which was often known as DANCE OF THE VAMPIRES in some lands.  For me, the movie by no means labored, although the vfx work was excellent.  The memorable opening shot stays a staggering occasion even now.  From an excessive shut up on the moon, the digital camera does this large pullback and finishes on a snowy Transylvania.  Brilliantly designed and orchestrated, with an unusually crisp completed impact that does not in any respect cry out ‘dupe’ or ‘manipulation’.

Peter Melrose painted components making up the scene on 3 or 4 separate glasses, with cautious camerawork (doubtless by Peter Harman and John Grant) and optical composite and mixing by Doug Ferris.  An animated bat flying by the shot helps cover the division between two of the work throughout the very daring digital camera transfer.  Astonishingly achieved shot in a mediocre film.

Behind the scenes photograph displaying Peter Melrose at work (far left) on the above glass portray.  Fellow matte artist Bryan Evans can also be proven right here showing to work on a glass, although I used to be instructed by Gerald Larn that the photograph was an in home studio publicity pic, with Bryan pretending to color on what was in truth one other of Peter Melrose’s mattes this manufacturing (see under).

Similar movie.  In accordance with Doug Ferris, Polanski initially shot the movie ‘flat’ – ie not widescreen.  A call was made into principal pictures that Roman needed it to be anamorphic 2.35 ratio, which means matte artist Ferris and co needed to prolong sure photographs sideways by portray in further surroundings to make for scope presentation.

Similar movie, with matte additions by artist Peter Melrose of chateau and likewise the left and proper sides of the scope body.  The horse and buggy passes behind the tree and by no means comes out the opposite aspect!  Am I the one nerd who spots issues like that?

An uncredited piece of matte mastery by Albert Whitlock as seen within the very common Dick Van Dyke movie FITZWILLY (1967), with nearly the whole body being painted in.

Paramount’s pleasant haunted home spoof THE GHOST BREAKERS (1940) with Bob Hope and Paulette Goddard.  Photographic results by Gordon Jennings, Paul Lerpae and Farciot Edouart.  Jan Domela was matte painter.

Jan Domela mattes from THE GHOST BREAKERS

Extra ghosts, with this one being Ivan Reitman’s GHOSTBUSTERS (1984).  Matthew Yuricich at work on the central venue for all kinds of spooky shit, and fx cameraman Neil Krepela taking a lightweight studying for composite pictures.

Remaining large pullback shot with small patch of reside motion on skyscraper terrace.

One of many terrific apparitions courtesy of Richard Edlund’s EEG results home earlier than it turned BOSS Movies.

I liked the wacky cel animated neutrona results photographs in GHOSTBUSTERS.  Regarded and sounded so damned cool on the large cinema display in Dolby Stereo again within the day.

A rigorously drawn out matte that will likely be a kind of ‘blink and you may miss it’ fx photographs (see under).

Remaining comp utilizing above painted metropolis, with matted in miniature ghost constructing and far pyro.

Similar present, with multi half composite.  Stay motion, marshmellow puppet, cel animated rays, painted buildings and miniature avenue.  Matt Yuricich was chief matte artist, with pal Michele Moen helping on portray together with former Disney artist Deno Ganakes.

The comply with up, GHOSTBUSTERS II (1988) was stuffed with results photographs, this time provided by ILM. The highest body is a miniature Titanic and surrounds, with ghostly passengers superimposed in.

I’ve by no means seen HEXED (1993) and solely know of it by the use of matte painter Ken Marschall. Now right here is a tremendous shot which I, as one who’s actually eager on excessive perspective portray, can admire.  Frames at left present the motion as character leaps from one rooftop to a different.  Once I carried out my marathon 3-part profession interview with Ken and fx accomplice Bruce Block again in 2015, there was confusion as to who truly painted this shot.  Ken and Bruce’s little two man firm Matte Results have been overloaded with matte work on the time and introduced in a single or two artists to assist out.  I do know that painter Rick Rische labored on a few exhibits with Ken, and it is potential Rick painted this?  I do know all of us mentioned the matter and I do not recall anybody being sure.  If I would painted this lovely matte I do know I would certain keep in mind it!

Additionally from the movie HEXED is that this earlier than and after which was painted by Rick Rische.

A weird shot from the wacky Don Knotts comedy THE INCREDIBLE MR LIMPET (1964).  No fx credit score however might be the work of somebody similar to Lou Litchtenfield?

An odd little screwball comedy EARTHWORM TRACTORS (1936) that was pretty amusing and featured quite a lot of miniature sequences amid the antics.

Splendid earlier than and after frames from Norman Jewison’s GAILY, GAILY (1969), which was titled CHICAGO, CHICAGO right here and in non-US territories.  Albert Whitlock was matte artist, with this flawless shot being one in all many non-Common assignments Albert contributed to over his profession.  Noteworthy shot as Whitlock would repeat the identical primary trick impact in at the least three motion pictures, with THE STING being probably the most well-known.

One other earlier than and after from GAILY, GAILY (1969).

Mae West made many movies for Paramount, and most of them had just a few mattes or mannequin photographs.  KLONDIKE ANNIE (1936) with miniature cargo ship and Jan Domela painted locale.

Steve Martin made many truly humorous movies in his early profession, with THE LONELY GUY (1984) being significantly noteworthy.  Albert Whitlock matte shot right here opens the movie, with that unmistakable Whitlock moonlit sky.

The movie that put the ‘little tramp’ firmly onto Hitler’s shit-list… THE GREAT DICTATOR (1940), was a splendidly witty satire and a real basic.  Results work by Ralph Hammeras and Jack Cosgrove.

The 70’s produced so many memorable and timeless comedies from Nice Britain. I lived for exhibits like THE TWO RONNIES, MORECOMBE & WISE, MONTY PYTHON, SOME MOTHERS DO HAVE ‘EM,  DAD’S ARMY and most of all of the completely insane THE GOODIES which ran from 1970 to 1982.  The BBC sequence was at all times a deal with, with it is fantastic homage to previous time silent period underneath cranked slapstick insanity.  Creators/stars Tim Brooke-Taylor, Graeme Backyard and Invoice Oddie went all out with completely off the wall plots and conditions, a lot of which practically exhausted the BBC visible results unit when it got here to necessities starting from ‘Kitten Kong’ ravaging London; The Loch Ness Monster; Jack and the Beanstalk and all method of absurd free wheeling narratives.  I do not know if THE GOODIES ever made it throughout to the US, however really feel it could not have discovered an viewers there.  Enormously in style right here and within the ‘former British Colonies’.  I nonetheless keep in mind sitting down with my grandmother watching these and splitting our sides with laughter.

THE GOODIES was filled with easy, but extremely efficient gags, the most typical being the brilliantly executed leap reduce substitute of a life-like dummy so exactly for the actor for some nonsensical second of household pleasant violent slapstick, simply because the silent comedians did so properly.  Essential vfx guys have been Peter Day, Ron Oates, Len Hutton and John Horton.  Often, the exhibits used glass photographs and cut up screens.  Right here is a good behind the scenes have a look at the creation of a Gladiatorial enviornment for one episode.  Completed as a really straight ahead and rapidly rendered glass painted shot.  Roger Turner did some glass photographs on THE GOODIES in order that is perhaps him laying within the art work because the cameraman strains up the shot. These have been certainly the times!

Peter Sellers starred within the satirical HEAVENS ABOVE (1963), made by the gifted and profitable Boulting brothers.  Right here is one in all Bob Cuff’s matte photographs, made underneath Wally Veevers’ supervision.

Extra prime quality HEAVENS ABOVE matte work.  Doug Ferris stated he assisted with a few of these photographs, having simply been with Shepperton for a brief length.  *Be aware the signage proven within the left tilt down matte shot!

Paramount’s nearly indescribable farce, INTERNATIONAL HOUSE (1933) with matte artwork by Jan Domela.  This movie people, might be the one probability you’d ever need to see W.C Fields, Bela Lugosi, George Burns and Cab Calloway – and early tv being seen in the identical movie!!

The saddest factor concerning the quite feeble FIENDISH PLOT OF DR FU MANCHU (1980) was that it was Peter Sellers’ closing movie, quite than the earlier Sellers image, the completely good Hal Ashby movie BEING THERE (1979), which if an actor ever wished to be remembered for a ‘nice’ closing curtain name, then the Ashby movie have to be it, arms down.  Anyway, I digress…  That is a younger and keen Leigh Took on the brushes there portray Fu’s mountain fortress which within the closing shot is fantastically matted into an precise alpine setting by Cliff Cully.

Jan Domela painted photographs for Paramount’s GOIN’ TO TOWN (1935) with Mae West starring.

GOIN’ TO TOWN Domela matte.

Jena Holman painted this alpine setting for the misguided film reboot of the famed 60’s GET SMART sequence, THE NUDE BOMB (1980), often known as THE RETURN OF MAXWELL SMART.  David Stipes was results cameraman.

English comedian Will Hay each directed and starred (in a twin function no much less) in Ealing’s THE GOOSE STEPS OUT (1942) – a really amusing and frantic paced parody on Nazi’s and that prick Hitler. The movie is filled with trick work, from cut up screens, opticals and an enormous quantity of miniature motion involving planes, a prepare and an aerial mishap in London.

A few of the miniature motion in THE GOOSE STEPS OUT which I lined intimately in an older weblog.  Roy Kellino was particular results chief, and did tremendous work on many Ealing movies.  I will wager although he’d have wished he’d by no means launched his spouse to actor James Mason…. She ran off with Mason and ended up marrying him!  Ya’ heard it right here first…

Excellent miniature work in THE GOOSE STEPS OUT.  Cliff Richardson might have additionally been on board as he labored at Ealing and specialised then in mannequin work.

Warner Bros made the enjoyable however fatally overlong and overwrought THE GREAT RACE (1965).  Tons of particular results abound, starting from ingenious mechanical rigs and gimmicks, by to miniatures and plenty of matte work similar to this shot made on the again lot.

An distinctive matte from THE GREAT RACE, painted both by Cliff Silsby or Albert Maxwell Simpson – each of whom labored on the movie.

For the closing scene of THE GREAT RACE, results supervisors Linwood Dunn and James B. Gordon selected a quite simple and price efficient means to destroy Paris’ Eiffel Tower.  Dunn bought a toy mannequin equipment off the shelf and shot a body by body demolition which was then matted into an precise plate of Paris.  Easy, but completely efficient, and one which Dunn would typically regale at lectures I am instructed.

An historical matte from the second Marx Bros characteristic ANIMAL CRACKERS (1930), in all probability the work of Jan Domela or perhaps Hans Ledeboer who was additionally portray at Paramount within the early days.

The loopy, camp sci-fi/comedy/musical/love story EARTH GIRLS ARE EASY (1988) was truly fairly a smirkfest, although hampered by an excessive amount of discotec sub plot.  The movie definitely pushed the ‘PG’ score to it is restrict, and ‘politically appropriate’ movie makers at present would by no means get away with what Julian Temple did with this movie.  The MPAA should have nodded off when this was screened.  Anyway, Dream Quest offered the visuals and Bob Scifo did the interplanetary matte artwork. Oh, and for any ‘aliens’ studying this text, sure… Earth Ladies apparently are straightforward, if this flick is something to go by!

I’ve not seen HERE COMES COOKIE (1935) with George Burns and Gracie Allen , so do not have a ‘closing’ shot, however do have this matted plate and the following Jan Domela matte portray, courtesy of Jan’s daughter.

Mel Brooks’ movies have been typically hit and miss, with BLAZING SADDLES and YOUNG FRANKENSTEIN being classics.  I by no means felt HIGH ANXIETY (1978) as proven above, was pretty much as good because it might have been, given the alternatives of spoofing Hitchcock.  By no means one for subtlety, Mel offered some laughs however principally simply too broad, heavy handed and apparent.  The mattes have been completed by longtime Hitchcock collaborator Albert Whitlock, who in a terrific flip, additionally featured in an appearing function within the movie!

HIGH ANXIETY tilt up impact.  Presumably a mannequin foreground with painted sky?

Closing shot from HIGH ANXIETY was this in depth pullback from the window and outward.

Charlie Chaplin’s  A KING IN NEW YORK (1957) was a intelligent little satire on consumerism and social standings, and was principally infamous for being ‘banned’ from American screens till the early 1970’s as supposed ‘anti-American sentiment’ or some such codswallop, little doubt caused by that wanker Senator McCarthy, who bought far an excessive amount of airtime.  Anyway, movie is sweet, with the very best sequence being an hilarious spoof on the CinemaScope huge display film ‘fad’!  Bob Cuff painted these excellent, and extremely detailed matte work which occupy virtually the complete display.  Wally Veevers oversaw the results together with a number of ‘joke’ billboards in Instances Sq..

Uncommon to seek out Abbott and Costello in full color, however JACK AND THE BEANSTALK (1952) did simply that!  Not an excellent movie and lacking the sting of their Common footage of previous, the movie had quite a few photographic results courtesy of matte painter Jack Glass who did an excessive amount of work on smaller unbiased movies by the 1950’s that might often sit on the underside half of the proverbial double invoice on the Drive In.

Properly rendered matte photographs by Jack Glass from JACK AND THE BEANSTALK (1952)

Oh now, here is a favorite 70’s flashback for NZ Pete, and one which has bugged me for over 40 years!  FREEBIE AND THE BEAN (1974) with Alan Arkin and the late James Caan is a hoot.  The flick – a darker than darkish black comedy –  predates all these terrible 90’s ‘buddy cop’ motion pictures, such because the Deadly Weapon‘s, Tango & Money and all that stuff by far, with the sheer variety of violent motion set items, stunts, busted noses and wanton injury to public property!  What’s not to love?  Now, for many years this sequence had me baffled… the Arkin-Caan automobile crashes off a freeway overpass and down by the bed room in a shitty tenement constructing, disturbing some aged breakfast session in mattress.  Traditional, iconic 70’s second. I would figured some optical trickery had been perpetrated, although how and by whom was unknown….. till now!

To realize this present stopping stunt, Warner Bros turned to Albert Whitlock and his vfx crew over at Common, a lot as they’d on quite a few events prior to now when going through particular photographic necessities.   The precise freeway overpass and the house constructing have been filmed in fully totally different areas of San Francisco, with meticulous calculations made by Whitlock and his cameraman Ross Hoffman.  The driverless automobile was jettisoned off the freeway ramp into wasteland beneath the precise freeway. The 2 areas have been flawlessly matted as one through a seamless cut up display.  To finish the trick, Whitlock’s in home rotoscope artist, Millie Winebrenner rigorously traced the car define for the ultimate 15 or so frames of the stunt to permit the automobile to cross throughout the nook of the individually filmed constructing and even cross partway by the wall.  A brilliantly executed, uncredited trick shot.  *Footnote:  I do know this movie so properly that I as soon as had the misfortune of seeing it on TV in America, with all of the violence reduce out (and there is a shitload of mayhem), and a lot dialogue looped to vary the ‘God Damns’ into ‘Gosh Darns’!  American television censorship… oh boy!

Russ Lawson or Jack Cosgrove matted set extension from Common’s THE GOOD FAIRY (1935)

Ken Marschall painted this hospital for Steve Martin’s FATHER OF THE BRIDE II (1995)

One other largely forgotten Hollywood basic deserving of rediscovery is HELLZAPOPPIN (1941) – a movie I’ve mentioned typically in different blogs.  Ole Olsen and Stylish Johnson have been a type of cut-price Abbott & Costello or Martin & Lewis, although not with out their very own one-of-a-kind completely bonkers stylings.  Full madness prevails of their movies (that are close to not possible to seek out, sadly).  Non cease sight gags, in jokes, sly Hollywood references, cameos and materials seemingly simply made up because the cameras have been rolling.  John P. Fulton sorted the huge and infrequently ingenious photographic results and optical gags.  Russell Lawson painted the mattes.

One among my fave gags is that this one the place they actually cease the movie and assessment the plot through a matte portray that simply occurs to be mendacity round!  Who writes these things?  Hilarious.

Among the many substantial roster of visible results in HELLZAPOPPIN is a terrific sequence the place our duo dispense with half of their our bodies – one higher the opposite decrease – and trigger havoc.  Brilliantly filmed and performed by the boys who rigorously oversaw all of their gags.

The loopy sequence continues…  Naturally, this type of factor was absolute gold when it got here to the legendary (although notoriously tough) Fulton, who simply liked making photographs like these work.  I assume John used his previous Invisible Man approach the place the set is filmed with out actors, then separate takes made on set with actors however all key props and set draped in black velvet, in addition to components of the performers deemed ‘invisible’.  Excessive distinction mattes can be pulled from the second take, with closing composites made on the optical printer by David Horsley and Ross Hoffman.

I assume the actor pulled a black velvet blanket down over his head and higher torso for that fantastic ‘natural’ disintegration, which was much more spectacular than some duped mechanical wanting wipe made on a printer which might look naff.

What astounds me are the extremely clear closing composites that do not for a second spoil the enjoyable with thick matte strains or different inform story flaws one may anticipate.  So damned good.

However wait…. there’s extra!  The 2 comics run about as separate transversely sectioned our bodies (google it!) – leaping on chairs and making an attempt to kick the opposite man’s ass.  Should have introduced the home down again in ’41.

To conclude, our idiotic duo ‘be part of’ hemispheres and try to ‘be as one’, although naturally the legs are on backward, making strolling a terrific punchline.  David Horsley returned to this gag for the ultimate scene in ABBOTT & COSTELLO MEET THE INVISIBLE MAN a few decade later.

One other A&C image, HOLD THAT GHOST (1941) with a terrific haunted home… or is it?

It isn’t too typically The Duke, the one and solely John Wayne, appeared in a comedy, albeit a lightweight one.  LADY TAKES A CHANCE (1943) was an RKO image.  Results by Vernon L.Walker, with mattes probably by Albert Maxwell Simpson or Chesley Bonestell.  These mattes are fascinating as virtually all the pieces in every body is pure brushwork, with only a tiny slice of ‘actual’ motion.

Alec Guinness each wrote and starred in THE HORSE’S MOUTH (1958), although it begins off properly, the momentum runs out manner earlier than the top credit.  A Shepperton manufacturing, with Wally Veevers results unit comprising painters similar to George Samuels, Albert Julion and Bob Cuff on the brushes.

One other matte from THE HORSE’S MOUTH, this full portray was a part of an enormous zoom out.

Comedy from the nineties right here, HOT SHOTS (1991) was, once I final noticed it, fairly darned humorous.  Numerous nice gags and a few cool results photographs similar to this little bit of miniature disaster, I believe, completed by Dream Quest Photos(?)

Right here we now have an amazingly invisible piece of wizardry from HOT SHOTS.  The plane provider was a fantastically detailed glass portray by Bob Scifo (proper), with unpainted patch the place reside motion can be rear projected in for the final word large digital camera transfer pull again.

The sequel, HOT SHOTS, PART DEUX (1993), was, I assumed, hilarious.  Charlie Sheen acquitted himself properly and the gags come thick and quick.  Has one of many all time nice film in jokes:  Sheen on Navy patrol boat taking place river in ‘Nam.  A second Navy PBR approaches from the opposite course, and as they draw shut we see it piloted by Charley’s father Martin – in full APOCALYPSE NOW regalia – with each Sheen’s shouting to one another “I liked you in WALL STREET!”   They each performed in that very same movie for these not within the know.  Effectively, I discovered it hilarious!!!

One among Mike Pangrazio’s mattes from HOT SHOTS, PART DEUX.

Element from Pangrazio’s matte.

One other Matte World shot from that very same movie.

One of many actual British comedy classics was the pitch-perfect satire on commerce unionism I’M ALRIGHT JACK (1959).  In all probability Roy & John Boulting’s finest image, and so they made many nice movies.  Peter Sellers was simply fantastic, as have been the achieved forged of acquainted UK thespians similar to Richard Attenborough, Ian Carmichael, John Le Mesurier, Liz Frazer, Terry Thomas, Dennis Worth and the at all times nice Irene Handl.  Matte photographs have been completed by Bob Cuff at Shepperton Studios.

One other I’M ALRIGHT JACK matte by Bob Cuff.  One among the nice Brit comedies!

The Chevy Chase film FUNNY FARM (1988) wasn’t dangerous, so far as Chevy motion pictures go.  It did have just a few very intelligent matte photographs in it that Albert labored on with Syd Dutton.  This seemingly unassuming sequence the place a truck approaches a bridge was in truth a quite sophisticated visible impact.  The late Invoice Taylor instructed me how advanced it was, so briefly, it was a VistaVision arrange panning with the truck, and stopping the pan on the level the place the non existent bridge was to be inserted.  The matte painted bridge and forest was photographed individually, with the ‘pan’ shot accomplished on the optical printer to look as if one uninterrupted digital camera transfer had taken place.  The type of phantasm that no one ever suspects.  Invoice stated he used that trick typically.

A later shot the place the bridge has collapsed concerned a big miniature by Grant McCune in entrance of a historically painted backing, rendered by Al Whitlock.  Invoice instructed me that Al actually appeared to take pleasure in portray that backing, which introduced him again to his early years as a scenic artist again at Gaumont Studios in England.  That is fx cameraman Mark Sawicki organising the shot.

One other Abbott & Costello movie right here, IT AIN’T HAY (1943) with a Russ Lawson portray, accentuated with bi-packed reside foreground foliage by fx cameraman Ross Hoffman.

A movie jammed with monumental matte artwork, however the movie itself was something however monumental.  Mel Brooks’ HISTORY OF THE WORLD, PART ONE (1981) was a little bit of a shoddy affair, comedy sensible, although establishing photographs similar to this mighty matte by Syd Dutton made for important viewing alone. I would like to have this one hanging on my wall, however did not wish to danger transport glass mattes proper internationally!

Similar movie, with this epic matte by both Albert Whitlock or Syd Dutton.  Masterful work!

Two mattes from IT HAPPENED ON FIFTH AVENUE (1947), a decrease funds Allied Artists movie that has Frank Capra intent.  No fx credit score.

One among Ealing Studio’s most beloved footage, KIND HEARTS AND CORONETS (1949), with this in depth glass shot by Geoffrey Dickinson.

MONTY PYTHON’S LIFE OF BRIAN (1979) was reasonably controversial again within the day in sure nations.  Not so good as M.P & HOLY GRAIL (their finest characteristic, as ‘pure’ Python) however their most profitable and oft quoted.  A number of matte photographs have been painted by artists contracted by Kent Houston’s Peerless Optical in London.  This was a Bob Cuff matte.  A second Cuff matte was rendered however was in the end reduce.

Ray Caple was additionally introduced on board, and painted this and different mattes.

LIFE OF BRIAN tagging in historical instances.  I am knowledgeable by one of many Peerless fx staffers that Ray Caple painted these two photographs reside on location as in digital camera glass photographs.

The LIFE OF BRIAN viewers lapped this up once I noticed it again in ’79 on the not very glamourous Odeon theatre right here in downtown Auckland.  Miniature spaceship (and early prototype) proven at proper.  The large crash vista wasn’t a matte portray as many suppose, however was a reduce & paste up photograph collage, hand retouched, with animation stand spaceship added.

One other Chaplin characteristic, this being LIMELIGHT (1952), although probably not what you’d name ‘a comedy’ as such, nonetheless a rewarding expertise.  No credit score for matte work, however shot on the Paramount lot I believe, so maybe Jan Domela did this shot??

The extremely uneven spoof on Church and greed, IN GOD WE TRUST (1980) with Marty Feldman had some properly positioned mattes by Albert Whitlock and his division.  This one was a Syd Dutton shot.

A pointy tongued British political satire with a terrific forged, LEFT RIGHT AND CENTRE (1959) included just a few uncredited prime quality matte results photographs, together with the large tilt up at proper with actors on avenue, others matted into balcony and fireworks added within the night time sky.  Very spectacular.

A fairly amusing made-for-tv western, EVIL ROY SLADE (1972) had these photographs by Al Whitlock.

From the ‘Carry On’ secure got here FOLLOW THAT CAMEL (1967).  Cliff Culley was matte supervisor, probably with Charles Stoneham helping.

Extra basic British black comedy right here.  Such a terrific forged all enjoying at peak, THE GREEN MAN (1956), with Shepperton’s lead matte artist George Samuels portray this shot.

On no account a basic, however Eric & Ernie have been at all times nice collectively, with such chemistry that the fabric did not at all times matter.  THE INTELLIGENCE MEN (1965) was one in a complete slew of spy spoofs, riffing on Bond, made all through the sixties.  Not with out benefit, with some stable laughs.  Mattes by Cliff Culley at Pinewood Studios.

Though I am certain this multi-part matte should have been painted for a special movie initially, it did present up as a RP background within the Bob Hope comedy GIVE ME A SAILOR (1938).  Profession Paramount matte painter Jan Domela did this one, with very long time affiliate Irmin Roberts on fx digital camera.

As written earlier, Ken Marschall was probably the best matte painter you by no means heard of.  Ken painted tons of of mattes over a 22 12 months interval, a terrific many with out display credit score, on so many movies, television exhibits and commercials, his whole output is superb.  I did an enormous 3 half weblog on Ken and his matte work with affiliate Bruce Block again in 2015.  These frames are from THE GEORGE BURNS COMEDY WEEK (1985) – a tv particular.  Ken may be very well-known nevertheless for his work on Titanic analysis and underneath sea exploration and has illustrated espresso desk books on the topic.  For the primary of my three half interview with Ken & Bruce, click on right here.

An all-star forged with Burt Reynolds, Gene Hackman and Liza Minnelli, LUCKY LADY (1975) was a classy, fantastically shot and motion packed interval comedy, principally shot on the excessive seas.  No results credit score however might have been Matthew Yuricich or Louis Litchtenfield on matte portray?

George Hamilton made for a really humorous Rely Dracula within the parody LOVE AT FIRST BITE (1979), with good really feel for the storied vampire and nice comedian timing.  This painted shot comes on the finish.

The Marty Feldman take off on the basic International Legion story, THE LAST REMAKE OF BEAU GESTE (1978) was an actual laugh-fest once I noticed it within the cinema (The Plaza, in Queen avenue, Auckland), although it does not maintain up as properly at present.  Visible results supervised by Albert Whitlock, although most curiously, this intelligent sequence involving silent footage matted into fashionable color footage was apparently completed exterior of the Common matte division by individuals unknown.  I quizzed Invoice Taylor on this and he stated they did not do the sequence and had no thought the place it was completed.  Invoice did say although that working with Marty, as director/actor and author was a dream!

Similar movie, with the 2 characters from the earlier scene using off to ‘Hollywoodland’ because the solar units.

Gene Wilder was a beautiful comedian actor (by no means name the man a ‘comic’ because it actually pissed him off!!).  Gene did some stable work by the seventies and past.  This movie, HANKY PANKY (1982) was directed by Sidney Poitier and as an motion innocent-man-on-the-run kind thriller it labored, however the comedy aspect by no means did.  A few good matte photographs by Ken Marschall and Bruce Block, similar to this one the place an unlimited underground secret plant is revealed by villain, the at all times glorious Richard Widmark.  Excellent matte work.

Bob Newhart; I’ve at all times appreciated his very dry humour.  His previous comedy albums are hilarious, and his 70’s television sequence was nice too.  He had some hysterical roles in issues like Catch 22 as properly.  This movie is FIRST FAMILY (1980), and whereas not particularly good, did have it is moments.  Dream Quest did the visuals, with Rocco Gioffre portray a number of mattes.

Additionally from FIRST FAMILY the place large greens spring up throughout Washington.

Extra Rocco Gioffre matte artwork from identical movie.

Though I’ve not seen this one, listed here are some Syd Dutton mattes from EIGHT HEADS IN A DUFFEL BAG (1997) {that a} reader despatched to me.

These items have been so in style by the 50’s.  FRANCIS (THE TALKING MULE) IN THE HAUNTED HOUSE (1956) with results supervised by Clifford Stine who labored manner again on the unique 1933 KONG and later did sensational work on EARTHQUAKE (1974)

One of many corridor of fame particular visible results movies, the wild Jack Benny comedy THE HORN BLOWS AT MIDNIGHT (1945) was a fiesta of dazzling photographic results.  By no means stunning as Warner’s have been completely high of the sport all through the 1940’s when it got here to astonishingly artistic trick results that would depart different studios flailing within the mud.  Together with the standard matte artwork, fashions and opticals, HORN boasts some unimaginable movement photographs with excessive flyover digital camera strikes throughout huge expanses of, on this case, Heaven stuffed with harp strumming angels.  Warner’s have been by no means afraid of pulling phenomenal sequences out of the bag with movies like MARK TWAIN, RHAPSODY IN BLUE, THE FOUNTAINHEAD, YOUNG MAN WITH A HORN and better of all of the staggering YANKEE DOODLE DANDY – all of which I’ve mentioned and praised right here earlier than.

One other Warner Bros image, although a a lot decrease key one after the earlier title.  LARCENY INC (1942) is a genuinely hilarious little gem of a heist film with the good Edward G. Robinson.  Very humorous movie, with just a few nice mattes reworking the WB again lot into Attica Jail and NY city skylines.  A few fast cuts of actors in medium shot reveal again lot with out any portray.  Artists then at Warners have been chief painter Paul Detlefsen and others like Mario Larrinaga, Vern Taylor and others.

Additionally from Warner Bros was the light-weight Doris Day romp LUCKY ME (1954) – an early CinemaScope entry for the studio.  Results by Hans Koenekamp, and matte artwork in all probability by Lou Litchtenfield.

The monetary and significant catastrophe that was ISHTAR (1986) was straightforward to know for those who ever noticed the movie.  Off track nearly all the way in which.  A number of mattes have been designed and painted for the troubled manufacturing, with artists Mark Sullivan and Rocco Gioffre busy with these solely to have some dropped mid-way by portray and different accomplished mattes jettisoned in an try to re-edit the movie into one thing coherent.  I occur to have a half completed ISHTAR portray right here at residence that Mark was instructed would now not be required as “that sequence has now been dropped”.  The above Sullivan matte although did make it into the ultimate movie.

One other of my favorite previous time comedies was the Cary Grant-Leslie Caron WWII desert island present FATHER GOOSE (1964).  An uncredited Albert Whitlock would have painted this glorious sky and distant island.  A younger Jim Danforth additionally labored on the movie as assistant to Charlie Baker in Common’s miniature division constructing Japanese warships for an evening sequence.  Nice little movie and I reckon one in all Cary’s finest (together with OPERATION PETTICOAT).

No, sadly… ’tis not I, however some imposter by the identical title.  I will have my lawyer look into this matter pronto and clear my title.

Effectively people, that is about it for this entry, and this 12 months as a matter of truth.  I nonetheless have as many movies once more to cowl within the second half, come New Yr 2023.  I hope you discovered this fulfilling, enlightening and irreverent.

All the very best for the Xmas vacation season wherever you occur to be, with a particular ‘Greatest Needs’ directed to the individuals of Ukraine, whose sheer energy and braveness within the face of brutal genocidal aggression has the whole free world’s help.

Pete