#harry stradling
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**Shots of the Movie**
My Fair Lady (1964)
Director: George Cukor
Cinematographer: Harry Stradling
#shots of the movie#musical#my fair lady#my fair lady 1964#george cukor#harry stradling#audrey hepburn#rex harrison#eliza doolittle#henry higgins#romance#1960s cinema#1964#1964 in film#1960s film#stanley holloway#1960s musical#2.35:1#cinema#1964 cinema#warner bros.#cinematography#classic cinema#stills#film stills#cinema stills#best picture#best picture winner#best picture 1964
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Lee Remick and Blake Edwards with visitors Karl Malden and cinematographer Harry Stradling on set of DAYS OF WINE AND ROSES (1962). Malden and Stradling are working on Mervyn LeRoy’s GYPSY on another sound stage at Warner Bros.
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Hal Mohr** is the only person to have won a competitive Academy Award without being nominated for it. Mohr was allowed to keep his Oscar and won a second.
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Angel Face (Otto Preminger, 1952).
#angel face#angel face (1952)#otto preminger#harry stradling sr.#frederic knudtson#carroll clark#albert s. d'agostino
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If you're going to kill someone, do it simply.
Suspicion, Alfred Hitchcock (1941)
#Alfred Hitchcock#Samson Raphaelson#Joan Harrison#Alma Reville#Cary Grant#Joan Fontaine#Cedric Hardwicke#Nigel Bruce#May Whitty#Isabel Jeans#Heather Angel#Auriol Lee#Reginald Sheffield#Leo G. Carroll#Harry Stradling Sr.#Franz Waxman#William Hamilton#1941
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The Stradling’s
Born at the very beginning of the last century (1901 or 1902, according to the source) in Newark, New Jersey, he was the nephew of Walter Stradling, who shot a couple of movies by Mary Pickford after the First World War, and the father of Harry Stradling Jr., who was also a cinematographer. After working as a telegram courier during his youth, Stradling began working in the cinema around 1917 with Arthur Miller in New York. He became a cameraman in 1920 at the Whitman Bennett Studios (a few films starring Lionel Barrymore or Betty Blythe). He also did the lighting on a couple of stars of that time, like Constance Bennett or Pauline Frederick.
He also began working in Technicolor again by filming Esther Williams three times in her famous aqua-ballets (Bathing Beauty, Thrill of a Romance, and Easy to Wed). Finally recognized for his true worth, Stradling was assigned five films starring Judy Garland, produced by Arthur Freed during the golden age of musical comedies : Singing in the Rain ; The Pirate ; Easter Parade ; Words and Music, and In the Good Old Summertime).
Vincente Minnelli describes his first encounter with Harry Stradling during the filming of The Pirate : “When the first day of shooting began, besides a brief hello, there was no contact. I described to him what I wanted, he nodded. I don’t know whether I was speaking to a wall !
He would play cards with other members of the team and I would hesitate to interrupt their game, then he had still showed up to watch our rehearsals ! But when the time came to shoot the first scene, I came to watch the game of poker. Stradling lifted his eyes : “Are you ready for me ?” I nedded. After shooting a glance to the others that said, “I won’t be long” he came onto the set. “Well,” declared Stradling, “you want her to walk from this point to that one ? But there is a dark shadow in that corner ! It needs more light.” I didn’t know what attitude to adopt, I had never worked with someone so empirical and detached. Happily, the dailies, the following day, dissipated all of my fears. They were superb.”
When war was declared after a dozen years living in Europe, he definitively returned to the United States where he was hired by David Selznick for Intermezzo, in 1939, who then fired him because he was unhappy with the close-ups on Ingrid Bergman, replacing him with Gregg Toland.
Recontacted two years later by Selznick to film Rebecca, Stradling coldly turned down his offer in the following terms : “With the permanent obsession over wondering whether or not I am giving satisfaction or whether I will be fired from the film, I honestly don’t believe I’m able to honour you or your company by accepting to film Rebecca,”
In 1945, Albert Lewin (“one of the most cultivated directors in Hollywood,” according to Jean-Pierre Coursodon and Bertrand Tavernier) called on Stradling for his adaptation of Oscar Wilde’s The Portrait of Dorian Gray.
Once again, Stradling demonstrated the breadth of his palette : rich gradient of the greys and depth of field in the vast residences, smooth face of actor Hurd Hatfield to highlight the eternal youth of Dorian Gray, and penumbra in the cabaret and tavern scenes.
On 7 March 1946, during the 18th annual Oscar awards ceremony, Harry Stradling received the famous statuette from the hands of David Wark Griffith in person for his black-and-white cinematography of Albert Lewin’s The Portrait of Dorian Gray. This award crowned 25 years of a prestigious career that began in France and England and garnered him fourteen nominations (four for black-and-white and ten for colour).
In 1951 his black-and-white masterpiece A Tramway Named Desire by Elia Kazan. Tennessee William’s universe was visually transposed onto a superb photography that associated contrast, shadow, and a rich range of ashy greys with masterfully structured and arbitrary lighting, in order to successfully convey the dual atmosphere of humidity and physical and psychological incarceration in the claustrophobic sets. At the same time, he preserved Vivian Leigh’s photogeneity throughout the slow degeneration of the character of Blanche Dubois. His cinematography was simultaneously superficial and of a great artistic beauty.
The Technicolor company considered the cinematography on Parrish (D. Daves, 1961) as the best example of the use of their process (which was in fact a Technicolor printing of an Eastmancolor negative).
He won his second Oscar for My Fair Lady (G. Cukor, 1964) shot in Super-Panavision 70. Cukor claimed that he had had some difficulties with his cameraman, but recognized that “he did a remarkable job, cameramen have lots of habits and you have to watch them very closely.”
He would end his career by lighting Barbara Streisand four times, who, when she received her Oscar for her role in Funny Girl (W. Wyler, 1968), justly thanked “My dear Harry Stradling.”
#Walter Stradling Harry Stradling Sr Harry Stradling Jr#Rebeca of Sunny Brook Farms (1917)#My Fair Lady (1964)
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The Pirate, 1948.
Dir. Vincente Minnelli | Writ. Albert Hackett & Frances Goodrich | DOP Harry Stradling
#the pirate#vincente minnelli#judy garland#us films#1940s#musical film#period piece#swashbuckler#10 frames#gene kelly
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Gene Kelly and Judy Garland in The Pirate (Vincente Minnelli, 1948)
Cast: Judy Garland, Gene Kelly, Walter Slezak, Gladys Cooper, Reginald Owen, George Zucco, Fayard Nicholas, Harold Nicholas, Lester Allen, Lola Albright, Ellen Ross. Screenplay: Albert Hackett, Frances Goodrich, based on a play by S.N. Behrman. Cinematography: Harry Stradling Sr. Art direction: Cedric Gibbons, Jack Martin Smith. Film editing: Blanche Sewell. Music: Lennie Hayton, Conrad Salinger, Cole Porter (songs).
Props to Walter Slezak, who is the only person in the cast of The Pirate who knows how to pronounce the name of the heroine. Everyone else refers to Manuela (Judy Garland) as "Man-you-ella." Manuela is a young woman in the Caribbean village of Calvados who is engaged to the town's portly, middle-aged mayor, Don Pedro Vargas (Slezak). Her head is full of tales of the dashing pirate Macocco, aka "Mack the Black," and she fantasizes about him taking her away from the village for a life of adventure. Don Pedro, however, likes the village perfectly well and never wants to leave. Visiting the city of Port Sebastian to have her wedding gown fitted, Manuela encounters a traveling player named Serafin (Gene Kelly), who falls for her, and during his act he hypnotizes her, hoping she'll fall in love with him. Instead, she reveals her passion for Mack the Black. Serafin follows her with his troupe to Calvados, where he recognizes Manuela's fiancé as the real Macocco, retired from piracy and hiding his secret past. From there, the plot thickens into a series of complications as Serafin decides to win Manuela away from Don Pedro by pretending that he's the real Macocco. It's not a bad premise to hang a series of songs and production numbers on, and there's some spectacularly athletic dancing by Kelly and Garland is in fine voice. The songs by Cole Porter are not his best work, however. The lyrics are sometimes silly: "Niña," for example, rhymes the name Niña with "neurasthenia" and "schizophrenia." Only "Be a Clown," which Kelly dances to first with the Nicholas Brothers and then with Garland, has had any life outside the film, and that mostly because producer and songwriter Arthur Freed notoriously copied it for Donald O'Connor's "Make 'Em Laugh" number in Singin' in the Rain (Kelly and Stanley Donen, 1952). Garland's increasing emotional problems, which worsened after she experienced postpartum depression following the birth of Liza Minnelli in 1946, also affected the production. The film feels a little disjointed and the ending feels perfunctory, a reflection of some script problems and cost overruns. It wasn't a box office success. Still, it has moments that are as good as any of the more successful Freed Unit productions.
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Fate's Cruel Temptation
Fate's Cruel Temptation
https://ift.tt/XUWYNCA
by KTPhoenix92
Realization dawned on her then, the familiar voice she had heard earlier in the evening, the same one calling to her moments ago from beyond the veil, and the very ALIVE body she was now stradling, it all belonged to the same person, the one who had been dead for ten years. She heard the most comforting laugh in that moment. Her eyes began to sting, as she looked down at him. That familiar wavy black haired and obscenely handsome man looked back at her with a brilliant grin, reaching out a hand to cup her face.
“Hey there Kitten.”
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Unspeakable Hermione Granger and Auror Draco Malfoy have been dating for over three years now, they are happy and everything in their life seems to be going on track. Until the veil breaks, a life debt is invoked, and deceit spreads like wildfire. What happens when the person you thought you knew isn’t what they appear to be after all?
Words: 6449, Chapters: 1/40, Language: English
Fandoms: Harry Potter - J. K. Rowling
Rating: Mature
Warnings: Graphic Depictions Of Violence
Categories: F/M
Relationships: Hermione Granger/Draco Malfoy, Sirius Black/Hermione Granger, Harry Potter/Ginny Weasley, Pansy Parkinson/Blaise Zabini, Susan Bones/Ernie Macmillan, Luna Lovegood/Theodore Nott, Seamus Finnigan/Dean Thomas
Additional Tags: Love Triangle, Auror Draco, HEA, Protect Theo, Theolives, Unspeakable Hermione Granger, Auror Harry Potter, Harry Potter Epilogue What Epilogue | EWE, Bring Back Black | Sirius Black Returns From Beyond the Veil, Sirius Black Angst, Mutual Pining, Draco Malfoy & Harry Potter Friendship, Hermione Granger & Theodore Nott Friendship, Touch-Starved Sirius Black, Protective Slytherins, no beta we die like cedric, Blood Magic, Life Debt, Breaking Up & Making Up, no beta we die like Theo but Theo doesn't actually die, Theo Nott needs therapy, Inappropriate Use of Malfoy Signet Ring (Harry Potter), Angst and Fluff and Smut, Draco Malfoy is a Little Shit, Possessive Draco Malfoy, the bad guy isn't who you think it is, Or maybe it is who you think, no infidelity, Sirius gets a happy ending too I swear, Dramione endgame, He will be severely damaged though, Hermione is friends with the snakes, Pansy Parkinson to the rescue, Will Harry Potter save the day again?
via AO3 works tagged 'Hermione Granger/Draco Malfoy' https://ift.tt/qDBMIn6
April 18, 2024 at 03:41PM
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FINALLY MY SECOND SMUT EVER.
I wrote this in a rush soo:0 sorry:/
Here we go;)
Domrry, daddy kink, choking, spitting, teasing, restriction, objectification.
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"Harry you have to close your eyes!" It was his birthday and i was trying to show him his last birthday present but he wasn't cooperative.
I was so nervous. I was dressed in a pretty pink lingerie and I was so wet too looking at him in his birthday it all black suit, it seeped through my lace panty making a wet spot there.
"How long are you going to take? Birthday boy is starving love" i blushed at his words and wore the robe on top of my lingerie covering it. I walked out seeing him on our white silk bed sat with his palms on his face covering his eyes.
He looked so much like a kid waiting for his toy it made me giggle internally.
"Okay open up big boy" he did not waste a second immediately removing his hands from his face as he looked right at me making my heart skip a beat.
I could see him getting hard. As he scanned me up an down finally his vision landing on my face as he smirked.
"What ya hiding under that huh darling?"
"Nothin- gosh im just nervous sorr-"
"Jen it's okay baby you know me you dont have to feel nervous with me"
"Okay here goes nothing" my hands landed on my robe as i slowly began to slide them down my shoulders as i walked towards him.
I could hear his audible gasp as his face turned red. His eyes running all over my body as he choked on his air.
"Fuck baby i didnt kno- i fuck damn me"
I rubbed my arm awkwardly not knowing what to do or say as he motioned me with his fingers towards him.
As soon as i was a foot away from him, he pulled me into a stradling position by my forearm. As my hands landed on his shoulders to stabilise myself.
"You don't know how lucky i am. God i wish u could see yourself right now, such a sexy litte thing you are Jen. I dont know how I'm gonna last baby i really dont. I feel like I'd bust any minute right now to be honest". He said as he chucked making me laugh with.
"Its alright you can always make up for it by head" i said winking at him as he shook his head chuckling more.
He caressing my body with his hands slowly keeping eye contact with me. The lower his hands went the more i was finding it hard to breathe.
"H please don't tease me"
"You're the one to tell me that when you were teasing me the whole day today huh honey" he asked me tilting his face.
His hands eventually made they're way to my breasts as he kneaded them harshly grazing my hard nipples.
I whimpered as i buried my face in his neck. He immediately wrapped uis fingers around my jaw tilting my face as he placed his lips on mine desperately.
Our lips molded together perfectly as he slid his eager tongue in letting it explore my mouth.
I started grinding my hips down onto his crotch unknowingly making him hiss and thrust his hips up against my pussy making me whine in the kiss.
I was thrown on the bed in a matter of seconds as he crawled on top of me. His cross chain landing on my cleavage as he smirked at the sight.
"Mmm birthday boy wants it hard and rough darling he wants to feel his pretty girl tremble under him, screaming his name but tell me baby how do you want it huh? Fast? Slow? From the back? Tell me" he urged me biting his bottom lip looking down at mt cleavage.
"Birthday boy can have me anyway he wants me. Its your birthday after all just think of me as a gift a mere item. Use me, please harry"
"Mmm you said it darling, now its time for birthday boy to have fun with his present don't ya think?"
He immediately took his tie off and brought both my hands to the headboard tying it together there. As his hands gripped my jaw opening my mouth and spitting into it. I swallowed whimpering.
He took off my lace underwear and threw it on the floor spreading my legs and throwing them above his shoulders. He bent down flattening his tongue on my cunt. As i moaned at the sensation.
"Daddy fuck" i whined. As he started kitten licking my clit making eye contact with me as he kissed and sucked it with his lightly puffed up lips.
His eyes had a naughty glint as he his tongue dived into my pussy sucking and licking instantly. As i screamed his name squirming.
He slowly slid in two fingers and started fucking me with them relentlessly. As i watched him gather his saliva, spitting on my clit as he watched it drip down to my entrance.
As he placed his thumb on my clit and started to massage it. "Fuck so fucking dirty"
I moaned at his words and lifted my hips desperately as he pushed me down with his hands on my waist.
"Needy are we darling? Hm?" He questioned making me blush.
"Harry pretty please just fuck me i cant wait anymore daddy"
"Mmm since u begged"
He took his fingers out of me and flipped me around my face pressed to the mattress and my ass up. As he held my hips and started to thrust into me sharply at a fast pace giving me no time to adjust.
"Oh god daddy" i whimpered and whined as his thrusts god harder and harder.
"Fuck you feel so good jeneive soo good baby, so warm so perfect"
As one of his hand landed on my neck wrapping around it using it as a leverage to fuck into me. His other reached fowared to take my nipple between his finger and pinched it making me scream.
"Im not going to last baby i need you to come please i want to feel you come hon- fuck i need to feel you come baby can you do that for me? You're such a good girl aren't you"
Thats was enough to drive me to the edge as i screamed his name as i came hard on his dick and fingers.
He reached his high soon after that burying his face in my neck whimpering, and moaning my name.
As his tired body pulled out of me and fell beside me on the bed.
"God that was amazing"
"Hell yea it was"
As i choked out a laugh from how worned out i was.
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There we gooo finally!
This took long tbfh
Also tell me what u guys want next:))) maybe subrry;)
Untill then love ya stay highdrated!
-Jan
#pleasing#harrystyles#harry#tpwk#love on tour#only angel#solo harry#domrry#harry styles smut#harry styles masterlist#smut#one direction#harry boyfriend#harry styles fluff#harry styles x reader
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Lee Remick and Blake Edwards with Karl Malden and cinematographer Harry Stradling on set of Days of Wine And Roses (1962)
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On a Clear Day You Can See Forever
Director: Vincente Minnelli
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Writer: Alan Jay Lerner
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Editor: David Bretherton
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Cinematography: Harry Stradling
Composer: Burton Lane
Performers: Barbra Streisand, Yves Montand
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- If you had it all to do over again, would you still have married me?
- Honestly, no.
Mr. & Mrs. Smith, Alfred Hitchcock (1941)
#Alfred Hitchcock#Norman Krasna#Carole Lombard#Robert Montgomery#Gene Raymond#Jack Carson#Philip Merivale#Lucile Watson#William Tracy#Charles Halton#Esther Dale#Harry Stradling Sr.#Edward Ward#William Hamilton#1941
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Tension
A saxophone slides into the notes of Andre Previn’s score to mark Audrey Totter’s entrance as Clare Quimby, one of film noir’s most despicable femmes fatales, in John Berry’s TENSION (1949, TCM). It’s a powerful performance, as she snarls out insults at her husband, druggist Richard Basehart, or turns on the charm with lover Lloyd Gough and police detective Barry Sullivan. When she has to share a scene with good girl Cyd Charisse, she shows up how shallow the dancer’s creamy non-acting often was (I think it’s the style studio acting coaches created for acting-challenged performers). Totter is already cheating on Basehart when the film starts. Within minutes she’s left him for Gough. So, Basehart plans the kind of convoluted revenge that only happens in the movies. He creates a fake identity so he can kill his rival. But then he makes the mistake of falling in love with the new identity’s neighbor (Charisse). The film takes a sudden swerve halfway through when the focus shifts to Sullivan and partner William Conrad as they investigate Gough’s murder. It’s easy to guess whodunnit, and Sullivan does a marvelous job of playing on the various suspects to ferret out the killer. Cinematographer Harry Stradling gets some great atmospheric shots, though there aren’t as many as in films noirs made at studios that didn’t emphasize glamour as much. MGM’s main concession to the genre’s grittier side was putting the cast in clothes that seem to have come off the rack at a discount store. The picture doesn’t even have a credited costume designer. Previn’s score, his first, is quite fine and particularly impressive given that he wrote it at the tender age of 20.
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Alfred Hitchcock directing Nigel Bruce and Joan Fontaine on the set of Suspicion (1941) with Harry Stradling Sr behind the camera. Harry was born in Newark and had 144 cinematography credits from 1920 to The Owl and the Pussycat (1970) that included two Oscars, for The Picture of Dorian Gray and My Fair Lady. He had 14 Oscar nominations from 1944 to 1970. This is his first honorable mention.
His entries among my best 1,001 movies are Pygmalion, Intermezzo, The Devil and Miss Jones, A Streetcar Named Desire, A Face in the Crowd, and The Pajama Game.
His other notable credits include Knight Without Armor, The Divorce of Lady X, The Citadel, Jamaica Inn (his first with Hitch), Mr and Mrs Smith (second with Hitch), The Pirate, Easter Parade, Johnny Guitar, Guys and Dolls, Auntie Mame, Gypsy, Funny Girl, Hello Dolly, 26 episodes of The Debbie Reynolds Show, and On a Clear Day You Can See Forever.
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Ray Milland and Carole Lombard in Mr. & Mrs. Smith (Alfred Hitchcock, 1941)
Cast: Carole Lombard, Robert Montgomery, Gene Raymond, Jack Carson, Philip Merivale, Lucile Watson, William Tracy, Charles Halton, Esther Dale. Screenplay: Norman Krasna. Cinematography: Harry Stradling Sr.. Art direction: Van Nest Polglase, Albert S. D'Agostino. Film editing: William Hamilton. Music: Edward Ward.
If Alfred Hitchcock's name were not attached to Mr. & Mrs. Smith, would we remember it at all today? Perhaps as one of the last films of Carole Lombard -- it was the last released before her death in January 1942, though the posthumously released To Be or Not to Be (Ernst Lubitsch, 1942) was the last one she completed filming. Or perhaps as one of the lesser examples of the romantic/screwball comedy genre that flourished in the 1930s and '40s. But even hardcore Hitchcockians find it difficult to fit it into the director's canon. Hitchcock had said he wanted to work with Lombard, and when Lombard liked Norman Krasna's story and screenplay, the teaming was put into play. Lombard and Robert Montgomery play Ann and David Smith, who discover that their three-year-old marriage is invalid, owing to a legal technicality. Complications ensue, especially when David doesn't rush into remarriage as quickly as Ann likes. She kicks him out of the apartment, and then his law partner, Jeff Custer (Gene Raymond), makes a play for her affections. Lombard is very much at home in this kind of comedy, and Montgomery is good at it too. The weak link is Raymond, who has the kind of role, the "other man" patsy, at which actors like Ralph Bellamy in The Awful Truth (Leo McCarey, 1937) and His Girl Friday (Howard Hawks, 1940) and John Howard in The Philadelphia Story (George Cukor, 1940) excelled. Raymond plays his part with a pinched, rather prissy manner that hardly sits well with the fact that he's supposed to have been the best fullback at the University of Alabama. In fact, the character seems to have been coded as latently gay: Witness Lombard's reaction when Ann learns that he decorated his own very tasteful apartment. Much of the film skirts around matters forbidden by the Production Code, including whether the now-unmarried Smiths should sleep together, which a director like Lubitsch or Hawks would have treated with more wit and finesse than Hitchcock does. This was only his third film made in Hollywood, and it was his first with a completely American setting; the first two, Rebecca (1940) and Foreign Correspondent (1940), were set in Europe and England. His unfamiliarity with American idiom shows up particularly in his treatment of the Alabama football jock Jeff and his parents (Philip Merivale and Lucile Watson), proper Southerners who are shocked at the suggestion that Ann has been sleeping with David. But whenever Hitchcock is working with Lombard and Montgomery, especially using Lombard's great gift for uninhibited physical comedy, the movie comes to fitful life.
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