HW
Harry J. Wild
Additional Credits
Born July 5, 1901Died February 24, 1961 (59 years)
Harry J. Wild, A.S.C. (July 5, 1901 - February 24, 1961) was a film and television cinematographer. Wild worked at RKO Pictures studios from 1931 through the 1950s. In total Wild was involved in 91 major film projects and two extended television series.
In 1931, he began his career and was hired as second cameraman and operator on nine projects, most notably Fred Niblo's Young Donovan'a Kid (1931). In 1936, Wild shot his first feature, Wallace Fox's sports drama The Big Game. Two years later he shared an Academy Award nomination for the Republic Pictures film Army Girl (1938).
According to film critic Spencer Selby, Wild was a prolific film noir cinematographer, shooting 13 of them, including: Dmytryk's Murder, My Sweet (1944), Johnny Angel (1945), Nocturne (1946), the Jean Renoir-directed The Woman on the Beach (1947), They Won't Believe Me (1947), and others. He was also, in the early 1950s, Jane Russell's cinematographer; he worked on seven of her movies as an actress, three of which were released by other studios: His Kind of Woman (1951) and Son of Paleface (1952) for Paramount, and, his most widely seen movie, Gentlemen Prefer Blondes (1953) for Twentieth Century-Fox.
In 1931, he began his career and was hired as second cameraman and operator on nine projects, most notably Fred Niblo's Young Donovan'a Kid (1931). In 1936, Wild shot his first feature, Wallace Fox's sports drama The Big Game. Two years later he shared an Academy Award nomination for the Republic Pictures film Army Girl (1938).
According to film critic Spencer Selby, Wild was a prolific film noir cinematographer, shooting 13 of them, including: Dmytryk's Murder, My Sweet (1944), Johnny Angel (1945), Nocturne (1946), the Jean Renoir-directed The Woman on the Beach (1947), They Won't Believe Me (1947), and others. He was also, in the early 1950s, Jane Russell's cinematographer; he worked on seven of her movies as an actress, three of which were released by other studios: His Kind of Woman (1951) and Son of Paleface (1952) for Paramount, and, his most widely seen movie, Gentlemen Prefer Blondes (1953) for Twentieth Century-Fox.
Harry J. Wild Filmography
| 1961 | The Gertrude Berg Show (TV Series) · as Cinematographer |
| 1960 | The Law and Mr. Jones (TV Series) · as Cinematographer |
| 1960 | Stagecoach West (TV Series) · as Cinematographer |
| 1960 | Dante (TV Series) · as Cinematographer |
| 1960 | Michael Shayne (TV Series) · as Cinematographer |
| 1959 | The Twilight Zone (TV Series) · as Director Of Photography |
| 1959 | Law of the Plainsman (TV Series) · as Director Of Photography |
| 1959 | Black Saddle (TV Series) · as Director Of Photography |
| 1958 | Westinghouse Desilu Playhouse (TV Series) · as Cinematographer |
| 1958 | Wanted: Dead or Alive (TV Series) · as Cinematographer |
| 1957 | Panic (TV Series) · as Cinematographer |
| 1956 | Richard Diamond, Private Detective (TV Series) · as Cinematographer |
| 1956 | The Conqueror · as Director Of Photography |
| 1955 | Top of the World · as Director Of Photography |
| 1955 | Underwater! · as Director Of Photography |
| 1955 | Stage 7 (TV Series) · as Cinematographer |
| 1955 | The Star and the Story (TV Series) · as Cinematographer |
| 1955 | The Bob Cummings Show (TV Series) · as Cinematographer |
| 1953 | She Couldn't Say No · as Director Of Photography |
| 1953 | The French Line · as Director Of Photography |
| 1953 | Gentlemen Prefer Blondes · as Director Of Photography |
| 1953 | Affair with a Stranger · as Director Of Photography |
| 1952 | Four Star Playhouse (TV Series) · as Cinematographer |
| 1952 | Son of Paleface · as Director Of Photography |
| 1952 | Macao · as Director Of Photography |
| 1952 | The Las Vegas Story · as Director Of Photography |
| 1951 | Two Tickets to Broadway · as Director Of Photography |
| 1951 | His Kind of Woman · as Director Of Photography |
| 1951 | My Forbidden Past · as Director Of Photography |
| 1950 | Gambling House · as Director Of Photography |
| 1950 | Walk Softly, Stranger · as Director Of Photography |
| 1950 | Born to Be Bad · as Additional Director Of Photography |
| 1949 | The Threat · as Director Of Photography |
| 1949 | Easy Living · as Director Of Photography |
| 1949 | Strange Bargain · as Director Of Photography |
| 1949 | The Big Steal · as Director Of Photography |
| 1948 | Station West · as Director Of Photography |
| 1948 | |
| 1947 | Tycoon · as Director Of Photography |
| 1947 | They Won't Believe Me · as Director Of Photography |
| 1947 | The Woman on the Beach · as Director Of Photography |
| 1946 | The Falcon's Adventure · as Director Of Photography |
| 1946 | Nocturne · as Director Of Photography |
| 1946 | Till the End of Time · as Director Of Photography |
| 1945 | Johnny Angel · as Director Of Photography |
| 1945 | Cornered · as Director Of Photography |
| 1945 | First Yank Into Tokyo · as Director Of Photography |
| 1945 | West of the Pecos · as Director Of Photography |
| 1945 | Radio Stars on Parade · as Director Of Photography |
| 1945 | Wanderer of the Wasteland · as Director Of Photography |
| 1944 | |
| 1944 | Murder, My Sweet · as Director Of Photography |
| 1944 | Mademoiselle Fifi · as Director Of Photography |
| 1944 | The Falcon Out West · as Director Of Photography |
| 1943 | Tarzan's Desert Mystery · as Director Of Photography |
| 1943 | Rookies in Burma · as Director Of Photography |
| 1943 | Stage Door Canteen · as Director Of Photography |
| 1943 | So This Is Washington · as Director Of Photography |
| 1943 | Tarzan Triumphs · as Director Of Photography |
| 1943 | It's All True · as Cinematographer |
| 1942 | Come on Danger · as Director Of Photography |
| 1942 | Land of the Open Range · as Director Of Photography |
| 1942 | Riding the Wind · as Director Of Photography |
| 1942 | Valley of the Sun · as Director Of Photography |
| 1941 | Dude Cowboy · as Director Of Photography |
| 1941 | The Bandit Trail · as Director Of Photography |
| 1941 | Six-Gun Gold · as Director Of Photography |
| 1941 | Cyclone on Horseback · as Director Of Photography |
| 1941 | Robbers of the Range · as Director Of Photography |
| 1940 | The Saint in Palm Springs · as Director Of Photography |
| 1940 | The Fargo Kid · as Director Of Photography |
| 1940 | Laddie · as Director Of Photography |
| 1940 | Wagon Train · as Director Of Photography |
| 1940 | Millionaires in Prison · as Director Of Photography |
| 1940 | Prairie Law · as Cinematographer |
| 1940 | Bullet Code · as Director Of Photography |
| 1940 | Slightly at Sea · as Cinematographer |
| 1940 | Legion of the Lawless · as Director Of Photography |
| 1939 | The Marshal of Mesa City · as Director Of Photography |
| 1939 | The Fighting Gringo · as Director Of Photography |
| 1939 | Timber Stampede · as Director Of Photography |
| 1939 | Racketeers of the Range · as Director Of Photography |
| 1939 | The Rookie Cop · as Director Of Photography |
| 1939 | Trouble in Sundown · as Director Of Photography |
| 1939 | Maid to Order · as Cinematographer |
| 1939 | Arizona Legion · as Director Of Photography |
| 1938 | Lawless Valley · as Director Of Photography |
| 1938 | The Renegade Ranger · as Cinematographer |
| 1938 | Painted Desert · as Director Of Photography |
| 1938 | Army Girl · as Director Of Photography |
| 1937 | Lady Behave! · as Cinematographer |
| 1937 | Portia on Trial · as Cinematographer |
| 1937 | Don't Tell the Wife · as Director Of Photography |
| 1937 | Racing Lady · as Cinematographer |
| 1936 | The Big Game · as Director Of Photography |