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James Crabe
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James Crabe, A.S.C. (August 19, 1931 – May 2, 1989) was an American cinematographer.[1]
Key Information
He was a regular collaborator of director John G. Avildsen, known for his work in Rocky and The Karate Kid, as well as other movies from the 1970s and 80s, like The China Syndrome, Night Shift, and Thank God It's Friday.
Crabe was also a two-time Primetime Emmy Award winner, received multiple nominations the ASC Awards, and one from the Academy Awards.
Biography
[edit]James Crabe was one of the few openly gay cinematographers in Hollywood.[2] He was nominated for the Academy Award for Best Cinematography for director John G. Avildsen's The Formula (1980). He also photographed Avildsen's films Save the Tiger (1973), W.W. and the Dixie Dancekings (1975), Rocky (1976), The Karate Kid (1984), The Karate Kid Part II (1986), Happy New Year (1987) and For Keeps (1988) as well as Thank God It's Friday (1978), The China Syndrome (1979), and Police Academy 2: Their First Assignment (1985).[1]
He won the Primetime Emmy Award for Outstanding Cinematography for a Limited Series or Movie for The Letter (1982)[3] and was nominated for The Entertainer (1976), Eleanor and Franklin: The White House Years (1977) and his final film Baby M (1988). He won Outstanding Cinematography for a Series for The New Mike Hammer episode "More Than Murder" in 1984.[4]
Death
[edit]On May 2, 1989, James Crabe died at his home in Sherman Oaks, California, from complications of AIDS at the age of 57.[1] The Karate Kid Part III was dedicated to his memory.
Filmography
[edit]Film
[edit]| Year | Title | Director | Notes |
|---|---|---|---|
| 1962 | The Proper Time | Tom Laughlin | |
| The Soldier | Richard A. Colla | Short film | |
| 1964 | Everybody Loves It | Phillip Mark | |
| 1965 | One Way Wahine | William O. Brown | |
| 1966 | Agent for H.A.R.M. | Gerd Oswald | |
| 1970 | Zig Zag | Richard A. Colla | |
| 1972 | All About Alice | Ray Harrison | Uncredited |
| The Honkers | Steve Ihnat | ||
| 1973 | Save the Tiger | John G. Avildsen | |
| 1974 | Rhinoceros | Tom O'Horgan | |
| 1975 | W.W. and the Dixie Dancekings | John G. Avildsen | |
| 1976 | Rocky | ||
| 1978 | Sextette | Ken Hughes | |
| Thank God It's Friday | Robert Klane | ||
| 1979 | The China Syndrome | James Bridges | |
| Players | Anthony Harvey | ||
| 1980 | The Baltimore Bullet | Robert Ellis Miller | |
| How to Beat the High Cost of Living | Robert Scheerer | ||
| The Formula | John G. Avildsen | Nominated- Academy Award for Best Cinematography | |
| 1982 | Night Shift | Ron Howard | |
| 1984 | The Karate Kid | John G. Avildsen | |
| 1985 | Police Academy 2: Their First Assignment | Jerry Paris | |
| 1986 | The Karate Kid Part II | John G. Avildsen | |
| 1987 | Happy New Year | ||
| 1988 | For Keeps |
Television
[edit]| Year | Title | Director | Notes |
|---|---|---|---|
| 1964 | Hollywood and the Stars | Mel Stuart | Episode "Natalie Wood: Hollywood's Child" |
| 1965-1966 | Time-Life Specials: The March of Time | William Kronick Alan Landsburg |
Episodes "Frontiers of the Mind" and "The Longs: A Louisiana Dynasty" |
| 1972 | The Last of the Wild Mustangs | Gus Jekel | Documentary short |
| 1984 | Paper Dolls | Harry Winer | Episode "Pilot" |
| 1988 | Baby M | James Steven Sadwith | Miniseries |
Documentary film
| Year | Title | Director |
|---|---|---|
| 1965 | The Bold Men | William Friedkin |
| Pro Football: Mayhem on a Sunday Afternoon |
TV movies
| Year | Title | Director |
|---|---|---|
| 1970 | Sole Survivor | Paul Stanley |
| Lost Flight | Leonard J. Horn | |
| 1971 | A Step Out of Line | Bernard McEveety |
| Sweet, Sweet Rachel | Sutton Roley | |
| 1973 | The Great American Beauty Contest | Robert Day |
| 1974 | The Autobiography of Miss Jane Pittman | John Korty |
| 1975 | The Entertainer | Donald Wrye |
| F. Scott Fitzgerald in Hollywood | Anthony Page | |
| 1976 | The Disappearance of Aimee | Anthony Harvey |
| 1977 | Eleanor and Franklin: The White House Years | Daniel Petrie |
| 1978 | A Death in Canaan | Tony Richardson |
| 1979 | Strangers: The Story of a Mother and Daughter | Milton Katselas |
| 1982 | The Letter | John Erman |
| 1983 | Two Kinds of Love | Jack Bender |
| 1984 | More Than Murder | Gary Nelson |
| Family Secrets | Jack Hofsiss | |
| Concrete Beat | Robert Butler | |
| 1985 | The Hugga Bunch | Gus Jekel |
| The Covenant | Walter Grauman | |
| 1986 | Long Time Gone | Robert Butler |
| George Washington II: The Forging of a Nation | William Graham | |
| When the Bough Breaks | Waris Hussein | |
| 1987 | Deadly Care | David Anspaugh |
| Code Name: Dancer (aka Her Secret Life) | Buzz Kulik |
References
[edit]- ^ a b c "James Crabe; Award-Winning Cameraman". Los Angeles Times. May 5, 1989. Retrieved April 14, 2017 – via Newspapers.com.
- ^ Mann, William (2001). Behind the Screen: How Gays and Lesbians Shaped Hollywood, 1910-1969. Viking. ISBN 0670030171.
- ^ "Nominees/Winners". Academy of Television Arts & Sciences. Retrieved April 14, 2017.
- ^ "Nominees/Winners". Academy of Television Arts & Sciences. Retrieved April 14, 2017.
External links
[edit]
James Crabe
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Early life
Early years and entry into cinematography
James Aubrey Crabe was born on August 19, 1931, in Los Angeles, California.[5][6] Before entering the film industry, Crabe performed professionally as a stage magician under the name "Aubrey the Magician."[7] He appeared several times on the early ABC television show You Asked For It and also performed at Disneyland.[7] These connections from You Asked For It facilitated his entry into cinematography.[7] He received his first cinematography credit in 1962 on The Proper Time.[8]Career
Early career (1960s–early 1970s)
James Crabe began his career in cinematography during the early 1960s, initially working in support roles in the camera department before establishing himself as a director of photography. [8] He served as camera operator on low-budget genre films such as The Touchables (1961) and The Slime People (1963), and as assistant camera and second camera operator on the TV movie Krebiozen and Cancer: Thirteen Years of Bitter Conflict (1964). [8] He also contributed special photography to the television documentary The Legend of Marilyn Monroe (1965). [8] His first credit as director of photography came with the independent feature The Proper Time (1962), directed by Tom Laughlin. [8] Throughout the 1960s, he built experience on a mix of modest projects, including cinematography on the spy spoof Agent for H.A.R.M. (1966). [6] [8] In the early 1970s, Crabe continued to expand his portfolio across film and television, serving as director of photography on the crime thriller Zig Zag (1970) and the TV movie Sole Survivor (1970), as well as other television films such as A Step Out of Line (1971) and Sweet, Sweet Rachel (1971). [8] He provided additional photography for the documentary Dusty and Sweets McGee (1971) and uncredited cinematography for rodeo footage in The Honkers (1972). [8] This period marked his steady progression from assistant and operator positions to leading cinematographer roles in both feature films and television. [8]Breakthrough feature films (1970s)
In the 1970s, James Crabe established himself as a cinematographer capable of handling diverse genres in feature films, marking his breakthrough in Hollywood after earlier work in commercials and television. [4] His credits during this decade included Save the Tiger (1973), directed by John G. Avildsen, where he utilized lengthy camera moves to support the film's introspective drama. [9] Crabe also served as director of photography on Rhinoceros (1974), W.W. and the Dixie Dancekings (1975), Thank God It's Friday (1978), and Sextette (1978). [10] Thank God It's Friday, a fast-paced disco comedy directed by Robert Klane, allowed Crabe to apply dynamic lighting and camera techniques suited to its energetic nightclub settings. [10] In 1979, Crabe photographed Players, directed by Anthony Harvey, and The China Syndrome, directed by James Bridges, the latter a critically acclaimed thriller starring Jane Fonda, Jack Lemmon, and Michael Douglas that addressed nuclear safety concerns with realistic tension in its visuals. [5] These projects demonstrated Crabe's versatility across dramatic, comedic, and suspenseful material, while his concurrent collaborations with John G. Avildsen further elevated his profile in the industry. [9]Collaboration with John G. Avildsen
James Crabe maintained a longstanding professional partnership with director John G. Avildsen, serving as cinematographer on a series of feature films from the 1970s through the late 1980s. [11] Their collaboration began with Save the Tiger (1973), an early joint project that helped establish Crabe's work in dramatic storytelling. [9] It continued with Rocky (1976), their third collaboration, where Crabe's cinematography emphasized a gritty, naturalistic style that complemented the film's underdog narrative and low-budget production constraints, including location shooting in Philadelphia and Los Angeles with practical lighting and Steadicam usage for dynamic sequences. [9] The partnership extended to The Formula (1980), for which Crabe earned an Academy Award nomination for Best Cinematography. [11] In the 1980s, Crabe and Avildsen reunited for the commercially successful The Karate Kid (1984) and its sequel The Karate Kid Part II (1986), with Crabe's photography contributing to the visual tone of the martial arts coming-of-age stories. [2] Their later collaborations included Happy New Year (1987) and For Keeps (1988), marking the end of their on-screen work together. [11] Although Crabe did not serve as cinematographer on The Karate Kid Part III (1989), the film included a dedication to his memory in the closing credits, with a tribute from the "Karate Kid family" expressing that they would miss their dear friend Jimmy Crabe. [5]Television and commercial work
James Crabe maintained a prolific parallel career in television cinematography, contributing to numerous TV movies, miniseries, and specials from the early 1970s through the late 1980s. [5] His work in this medium often earned critical recognition, including Emmy nominations and awards for outstanding cinematography. [3] He also photographed The Disappearance of Aimee (1976), The Entertainer (1975), and Eleanor and Franklin: The White House Years (1977), demonstrating his range in handling historical and dramatic subjects for television. [8] Later projects included The Letter (1982), the TV movie More Than Murder (1984) from the Mickey Spillane's Mike Hammer series, and the miniseries Baby M (1988). [8] [3] Crabe additionally excelled in commercial cinematography, earning two Clio Awards for his advertisements with Marlboro and Max Factor, highlighting his versatility beyond narrative filmmaking. [4]Awards and nominations
James Crabe received two Primetime Emmy Awards for his cinematography, along with an Academy Award nomination and other recognitions.Academy Awards
- 1981: Nominated – Best Cinematography – The Formula [12]
Primetime Emmy Awards
- 1976: Nominated – Outstanding Achievement in Cinematography for Entertainment Programming for a Special – The Entertainer
- 1977: Nominated – Outstanding Cinematography in Entertainment Programming for a Special – Eleanor and Franklin: The White House Years
- 1982: Won – Outstanding Cinematography for a Limited Series or a Special – The Letter [2]
- 1984: Won – Outstanding Cinematography for a Series – Mickey Spillane's Mike Hammer (also known as The New Mike Hammer) [2]
- 1988: Nominated – Outstanding Cinematography for a Miniseries or a Special – Baby M
American Society of Cinematographers Awards
- 1987: Nominated – Outstanding Achievement in Cinematography in Theatrical Releases – The Karate Kid Part II
- 1988: Nominated – Outstanding Achievement in Cinematography in Mini-Series or Specials – When the Bough Breaks