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Gregg Toland
Gregg Wesley Toland (May 29, 1904 – September 28, 1948) was an American cinematographer known for his innovative use of techniques such as deep focus, examples of which can be found in his work on Orson Welles' Citizen Kane (1941), William Wyler's The Best Years of Our Lives (1946), and John Ford's The Grapes of Wrath, and The Long Voyage Home (both, 1940). He is also known for his work as a director of photography for Wuthering Heights (1939), The Westerner (1940), Ball of Fire (1941), The Outlaw (1943), Song of the South (1946) and The Bishop's Wife (1947).
Toland earned six Academy Award nominations for Best Cinematography, and won for his work on Wuthering Heights. He was voted one of the top ten most influential cinematographers in the history of film by the International Cinematographers Guild in 2003.
Toland was born in Charleston, Illinois, on May 29, 1904, to Jennie, a housekeeper, and Frank Toland. His mother moved to California several years after his parents divorced in 1910.
Toland got his start in the film industry at the age of 15, working as an office boy at the Fox studio. He became an assistant cameraman a year later.
His trademark chiaroscuro, side-lit style originated by accident: while shooting the short film The Life and Death of 9413: a Hollywood Extra (1928), one of two available 400W bulbs burned out, leaving only a single bulb for lighting.
During the 1930s, Toland became the youngest cameraman in Hollywood, but soon became one of its most sought-after cinematographers. Over a seven-year span (1936–1942), he was nominated five times for the Academy Award for Best Cinematography, winning only once, for his work on Wuthering Heights (1939). He worked with many of the leading directors of his era, including John Ford, Howard Hawks, Erich von Stroheim, King Vidor, Orson Welles and William Wyler.
When the Office of the Coordinator of Information (predecessor to the Office of Strategic Services and later the Central Intelligence Agency) was created by Franklin Delano Roosevelt before the United States' entry into World War II, Toland was recruited to work in the agency's film unit. Toland was commissioned as a lieutenant in the Navy's camera department, which led to his only work as a director, December 7th (1943). This documentary of the attack on Pearl Harbor, which Toland co-directed with John Ford, is so realistic in its restaged footage that many today mistake it for actual attack footage. This 82-minute film was trimmed by censors into a 20-minute version, which took the Academy Award for Best Documentary (Short Subject), and was released in its entirety in 1991.
Some film historians believe Citizen Kane's visual brilliance was due primarily to Toland's contributions, rather than director Orson Welles'. Many Welles scholars, however, maintain that the visual style of Kane is similar to many of Welles's other films, and hence should be considered the director's work. Nevertheless, the Welles movies that most resemble Citizen Kane (The Magnificent Ambersons, The Stranger, and Touch of Evil) were shot by Toland collaborators Stanley Cortez and Russell Metty (at RKO).[citation needed]
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Gregg Toland
Gregg Wesley Toland (May 29, 1904 – September 28, 1948) was an American cinematographer known for his innovative use of techniques such as deep focus, examples of which can be found in his work on Orson Welles' Citizen Kane (1941), William Wyler's The Best Years of Our Lives (1946), and John Ford's The Grapes of Wrath, and The Long Voyage Home (both, 1940). He is also known for his work as a director of photography for Wuthering Heights (1939), The Westerner (1940), Ball of Fire (1941), The Outlaw (1943), Song of the South (1946) and The Bishop's Wife (1947).
Toland earned six Academy Award nominations for Best Cinematography, and won for his work on Wuthering Heights. He was voted one of the top ten most influential cinematographers in the history of film by the International Cinematographers Guild in 2003.
Toland was born in Charleston, Illinois, on May 29, 1904, to Jennie, a housekeeper, and Frank Toland. His mother moved to California several years after his parents divorced in 1910.
Toland got his start in the film industry at the age of 15, working as an office boy at the Fox studio. He became an assistant cameraman a year later.
His trademark chiaroscuro, side-lit style originated by accident: while shooting the short film The Life and Death of 9413: a Hollywood Extra (1928), one of two available 400W bulbs burned out, leaving only a single bulb for lighting.
During the 1930s, Toland became the youngest cameraman in Hollywood, but soon became one of its most sought-after cinematographers. Over a seven-year span (1936–1942), he was nominated five times for the Academy Award for Best Cinematography, winning only once, for his work on Wuthering Heights (1939). He worked with many of the leading directors of his era, including John Ford, Howard Hawks, Erich von Stroheim, King Vidor, Orson Welles and William Wyler.
When the Office of the Coordinator of Information (predecessor to the Office of Strategic Services and later the Central Intelligence Agency) was created by Franklin Delano Roosevelt before the United States' entry into World War II, Toland was recruited to work in the agency's film unit. Toland was commissioned as a lieutenant in the Navy's camera department, which led to his only work as a director, December 7th (1943). This documentary of the attack on Pearl Harbor, which Toland co-directed with John Ford, is so realistic in its restaged footage that many today mistake it for actual attack footage. This 82-minute film was trimmed by censors into a 20-minute version, which took the Academy Award for Best Documentary (Short Subject), and was released in its entirety in 1991.
Some film historians believe Citizen Kane's visual brilliance was due primarily to Toland's contributions, rather than director Orson Welles'. Many Welles scholars, however, maintain that the visual style of Kane is similar to many of Welles's other films, and hence should be considered the director's work. Nevertheless, the Welles movies that most resemble Citizen Kane (The Magnificent Ambersons, The Stranger, and Touch of Evil) were shot by Toland collaborators Stanley Cortez and Russell Metty (at RKO).[citation needed]
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