By James Curtis
He used to be the consummate clothier of movie structure on a grand scale, prompted by way of German expressionism and the paintings of the good eu administrators. He used to be identified for his visible aptitude and undying innovation, a guy who meticulously preplanned the colour and layout of every movie via a sequence of continuity sketches that made transparent digital camera angles, lights, and the actors’ positions for every scene, translating dramatic conventions of the level to the recent features of movie.
this is the long-awaited e-book on William Cameron Menzies, Hollywood’s first and maximum construction fashion designer, a role name David O. Selznick invented for Menzies’ outstanding, all-encompassing, Academy Award–winning paintings on Gone With the Wind
(which he successfully co-directed).
It was once Menzies—winner of the first-ever Academy Award for paintings path, together for The Dove
(1927) and Tempest
(1928), and who used to be besides a director (fourteen photographs) and a manufacturer (twelve pictures)—who replaced the best way video clips have been (and nonetheless are) made, in a profession that spanned 4 a long time, from the Nineteen Twenties in the course of the Nineteen Fifties. His greater than one hundred twenty movies contain Rosita
(1923), Things to Come
(1936), Foreign Correspondent
(1940), Kings Row
(1942), Mr. Lucky
(1943), The delight of the Yankees
(1943), For Whom the Bell Tolls
(1943), Address Unknown
(1944), It’s an excellent Life
(1947), Invaders from Mars
(1953), and Around the realm in eighty Days
Now, James Curtis, acclaimed movie historian and biographer, writes of Menzies’ existence and paintings because the such a lot influential clothier within the background of movie. His artistry encompassed the massive, scenic drawings of Douglas Fairbanks’ The Thief of Bagdad
(1924), which created a brand new ordinary for good looks at the reveal and whose unique fairy-tale units are nonetheless considered as natural genius. (“I observed The Thief of Bagdad
whilst it first got here out,” acknowledged Orson Welles—he used to be, on the time, a nine-year-old boy. “I’ll always remember it.”) Curtis writes of Menzies’ layout and supervision of John Barrymore’s loved Rogue
(1927), a movie that continues to be a masterpiece of craft and synthesis, the most targeted photos to emerge from Hollywood’s waning days of silent movies, and of his awesome, opulent appointments for Gone With the Wind
It was once Menzies who outlined and solidified the function of paintings director as having total keep watch over of the glance of the movie, taking part with manufacturers like David O. Selznick and Samuel Goldwyn; with administrators equivalent to D. W. Griffith, Raoul Walsh, Alfred Hitchcock, Lewis Milestone, and Frank Capra. And with actors as diverse as Ingrid Bergman, W. C. Fields, Cary provide, Clark Gable, John Barrymore, Barbara Stanwyck, Ronald Reagan, Gary Cooper, Vivien Leigh, Carole Lombard, Mary Pickford, Gloria Swanson, and David Niven.
Interviewing colleagues, actors, administrators, associates, and relations, and with complete entry to the William Cameron Menzies kinfolk number of unique paintings, correspondence, scrapbooks, and unpublished writing, Curtis brilliantly supplies us the path-finding paintings of the flicks’ such a lot bold and dynamic construction clothier: his evolution as artist, paintings director, creation dressmaker, and director. here's a portrait of a guy in his time that makes transparent how the flicks have been endlessly remodeled by way of his startling, visionary work.(With sixteen pages of colour illustrations, and black-and-white photos throughout.)