Gregg Toland
During the deeply entrenched days of the Hollywood studio system, cinematographer Gregg Toland's technical and visual innovations set him apart from the flock of doctrinaire technicians and engineers embedded in the formulaic studio factories. He was that rarity among technicians--a cinematographer eager to accept technological advances and apply them creatively to the narrative film form. Toland's talent was readily accepted by the Hollywood establishment, who graced him with a charmed life amid the workmanlike atmosphere pervading most studio productions. Contracted throughout his career to Samuel Goldwyn (although he was lent to other producers), Toland was permitted more freedom than most cinematographers of his time, from being allowed his choice of crew and story properties to converting studio cameras to his own specifications. Working with such outstanding directors as Howard Hawks, William Wyler, John Ford and Orson Welles, Toland was in the unique position of incorporating technological innovations into equally innovative narrative frameworks.
Photos
Gregg Toland
Filmography
Movies
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Enchantment | Cinematographer | - | 1948 |
85% |
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The Bishop's Wife | Cinematographer | - | 1947 |
98% |
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The Best Years of Our Lives | Cinematographer | - | 1946 |
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December 7th | Director | - | 1943 |
100% |
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The Little Foxes | Cinematographer | - | 1941 |
99% |
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Citizen Kane | Cinematographer | $977.3K | 1941 |
100% |
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The Westerner | Cinematographer | - | 1940 |
100% |
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The Long Voyage Home | Cinematographer | - | 1940 |
100% |
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The Grapes of Wrath | Cinematographer | - | 1940 |
96% |
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Wuthering Heights | Cinematographer | $593.9K | 1939 |
No Score Yet |
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The Cowboy and the Lady | Cinematographer | - | 1938 |
33% |
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The Goldwyn Follies | Cinematographer | - | 1938 |
No Score Yet |
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Woman Chases Man | Cinematographer | - | 1937 |
83% |
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Dead End | Cinematographer | - | 1937 |
100% |
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History Is Made at Night | Cinematographer | - | 1937 |
100% |
|
These Three | Cinematographer | - | 1936 |
91% |
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Come and Get It | Cinematographer | - | 1936 |
100% |
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Beloved Enemy | Cinematographer | - | 1936 |
94% |
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The Dark Angel | Cinematographer | - | 1935 |
No Score Yet | No Score Yet | The Wedding Night | Cinematographer | - | 1935 |
No Score Yet | No Score Yet | Public Hero No. 1 | Cinematographer | - | 1935 |
80% |
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We Live Again | Cinematographer | - | 1934 |
No Score Yet |
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Roman Scandals | Cinematographer | - | 1933 |
No Score Yet |
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The Kid From Spain | Cinematographer | - | 1932 |
No Score Yet |
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Man Wanted | Cinematographer | - | 1932 |
No Score Yet | No Score Yet | The Tenderfoot | Cinematographer | - | 1932 |
No Score Yet | No Score Yet | Washington Masquerade | Cinematographer | - | 1932 |
No Score Yet |
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Palmy Days | Cinematographer | - | 1931 |
No Score Yet |
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Tonight or Never | Cinematographer | - | 1931 |
No Score Yet | No Score Yet | The Unholy Garden | Cinematographer | - | 1931 |
No Score Yet |
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The Devil to Pay | Cinematographer | - | 1930 |
100% |
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Whoopee! | Cinematographer | - | 1930 |