American Cinematographer - March 1985 - 39

shot the

served him well when he returned

Niles, California, for two-and-a-half

ous

popular Broncho Billy Anderson Westerns at
years, then joined
the American ("Flying A") company at Santa Barbara for
several years. His work gained greater attention when he
photographed a number of highly praised pictures di¬
rected by King Vidor, including The Jack Knife Man
(1920), The Family Flonor (1920), Poor Relations (1919)
and The Other Half (1919). Cosmopolitan, the Hearst
syndicate producing company then aligned with Goldwyn, brought him to New York to photograph Marion
Davies' glossy, expensive pictures, such as Enchantment
(1921) and Janice Meredith (1925). After six years he
joined MGM in California for another five years, then
began free lancing at most of the major studios.
During the 1930s, possibly because
of a labor-management dispute, he found himself rele¬
gated to the so-called Poverty Row companies, indepen¬
dent producers who made pictures quickly and cheaply
on rented sets and relied upon the speed and compe¬
tence of men like Morgan for their existence. Except for
an occasional large-scale production such as Charlie
Chaplin's Modern Times (1936), he spent a decade mak¬
ing "quickies" for scale, surviving the Depression the
hard way. By the end of the decade, most of the small¬
time companies had gone under and Morgan opened a
portrait studio. His ability to shoot fast and efficiently

to photograph numer¬
Jungle Jim features for
Columbia during the late 1940s and early 1950s. A heart

Sam Katzman serials and

attack forced his retirement in 1956.
Gabbo does not showcase
skills

at

their best

-

the cards

were

Morgan's
him.

stacked against
to capture the

Lighting usually is too generalized
dra¬
possibilies of the theme and the static camera is
debilitating. The stage production sequences were shot
in Multicolor, a process which tendered the screen
garish in a film of generally subdued visual effect. The
bipack two-color system enabled extraction of tones
from orange and blue, resembling the later and better
known Cinecolor. (Even Technicolor was a two-color
process at that time, its range of hues being derived from
red and green elements.) Other Multicolor films in¬
cluded Fox Movietone Follies of 1929, parts of Hell's
Angels (1930), and the animated cartoon, Goofy Goat
(1931). The company's chief owner and vice president
was Howard Hughes, who used the Multicolor plant in
Hollywood as his California headquarters after the pro¬
cess was discontinued in 1932. (Existing prints and vid¬
eotapes of Gabbo are entirely in black and white).
matic

Stroheim dominates the

cast

with

Compson's bittersweet portrayal of a girl whose
faded love for Gabbo resurfaces as a motherly concern
ease.

Gabbo often must
express

himself

through his dummy,
Otto.

March 1985

American

Cinematographer

37



American Cinematographer - March 1985

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