AS
Archie Stout
Additional Credits
Born March 30, 1886Died March 10, 1973 (86 years)
From Wikipedia, the free encyclopedia
Archie Stout (March 30, 1886 – March 10, 1973), A.S.C. was an American cinematographer whose career spanned from 1914 to 1954. He enjoyed a long and fruitful association with John Ford, working as second unit cinematographer on Fort Apache (1948), She Wore a Yellow Ribbon (1949) and The Quiet Man (1952), becoming the only 2nd unit cinematographer to receive an Academy Award. In a wide-ranging career, he also worked on such films as the original version of The Ten Commandments (1923) and several Hopalong Cassidy and Tarzan films. His last film was the airborne disaster movie The High and the Mighty in 1954. In 1914, Mack Sennett was filming a comedy with Louise Fazenda, and it required a scene with a pelican "nibbling at [Louise's] posterior". However, the state law in California required that a representative of the fish and game committee be present at all times when handling the pelican. Archie was game warden of the fish and game commission of California at the time, and was assigned to oversee the handling of a pelican. However, several days after the scene with the pelican, Stout continued to observe and speak to Mack Sennett and his lead cameraman, Fred Jackman, throughout the rest of the shoot. Jackman, taking a liking to Stout, and in need of background shots, asked if Stout would be interested in getting the shots for him. Stout eagerly agreed, and after a brief lesson on how the camera worked, went up into the High Sierras to get the shots. Once the film was developed, Jackman saw the potential in Stout's abilities and hired him immediately.
By the 1930s, Stout was "earning a reputation for outstanding outdoor photography" and was moving between director of photography positions and second unit jobs. He would go on to develop a strong professional relationship with actor John Wayne, shooting at least 25 of his films, most of which were westerns.
Stout eventually became a part of director John Ford's camera crew, handling second unit photography on Fort Apache (1948), She Wore a Yellow Ribbon (1949), Rio Grande (1950), Wagon Master (1950) and The Quiet Man (1952). Between his background with nature and his eye for exterior shots, Stout would go on to be "among the top dozen cinematographers associated with Westerns".
In an interview, Archie said in the first eight years of his career he "roughly made 300 pictures for Mack Sennett and the Christie boys". By the printing of the article, he would be shooting his 500th film. Although that is a staggering number of movies for a cinematographer, especially one well into his 50s, Archie was not too impressed with the number, saying that "in the old days a one-reeler was shot in two or three days, and as soon as you finished one you started right in with another".
Archie Stout (March 30, 1886 – March 10, 1973), A.S.C. was an American cinematographer whose career spanned from 1914 to 1954. He enjoyed a long and fruitful association with John Ford, working as second unit cinematographer on Fort Apache (1948), She Wore a Yellow Ribbon (1949) and The Quiet Man (1952), becoming the only 2nd unit cinematographer to receive an Academy Award. In a wide-ranging career, he also worked on such films as the original version of The Ten Commandments (1923) and several Hopalong Cassidy and Tarzan films. His last film was the airborne disaster movie The High and the Mighty in 1954. In 1914, Mack Sennett was filming a comedy with Louise Fazenda, and it required a scene with a pelican "nibbling at [Louise's] posterior". However, the state law in California required that a representative of the fish and game committee be present at all times when handling the pelican. Archie was game warden of the fish and game commission of California at the time, and was assigned to oversee the handling of a pelican. However, several days after the scene with the pelican, Stout continued to observe and speak to Mack Sennett and his lead cameraman, Fred Jackman, throughout the rest of the shoot. Jackman, taking a liking to Stout, and in need of background shots, asked if Stout would be interested in getting the shots for him. Stout eagerly agreed, and after a brief lesson on how the camera worked, went up into the High Sierras to get the shots. Once the film was developed, Jackman saw the potential in Stout's abilities and hired him immediately.
By the 1930s, Stout was "earning a reputation for outstanding outdoor photography" and was moving between director of photography positions and second unit jobs. He would go on to develop a strong professional relationship with actor John Wayne, shooting at least 25 of his films, most of which were westerns.
Stout eventually became a part of director John Ford's camera crew, handling second unit photography on Fort Apache (1948), She Wore a Yellow Ribbon (1949), Rio Grande (1950), Wagon Master (1950) and The Quiet Man (1952). Between his background with nature and his eye for exterior shots, Stout would go on to be "among the top dozen cinematographers associated with Westerns".
In an interview, Archie said in the first eight years of his career he "roughly made 300 pictures for Mack Sennett and the Christie boys". By the printing of the article, he would be shooting his 500th film. Although that is a staggering number of movies for a cinematographer, especially one well into his 50s, Archie was not too impressed with the number, saying that "in the old days a one-reeler was shot in two or three days, and as soon as you finished one you started right in with another".
Movies & Shows on Plex
Archie Stout Filmography
| 1953 | The 25th Annual Academy Awards · as Self - Winner For Cinematography Color Production |
| 1954 | The High and the Mighty · as Director Of Photography |
| 1953 | Hondo · as Director Of Photography |
| 1953 | Island in the Sky · as Director Of Photography |
| 1953 | Trouble Along the Way · as Director Of Photography |
| 1953 | The Sun Shines Bright · as Director Of Photography |
| 1952 | Big Jim McLain · as Director Of Photography |
| 1952 | The Quiet Man · as Second Unit Director Of Photography |
| 1951 | On the Loose · as Cinematographer |
| 1951 | Hard, Fast and Beautiful! · as Director Of Photography |
| 1950 | Outrage · as Director Of Photography |
| 1950 | Rio Grande · as Second Unit Director Of Photography |
| 1950 | Wagon Master · as Second Unit Director Of Photography |
| 1950 | Never Fear · as Director Of Photography |
| 1949 | She Wore a Yellow Ribbon · as Second Unit Director Of Photography |
| 1949 | Lust for Gold · as Director Of Photography |
| 1948 | Fort Apache · as Director Of Photography |
| 1947 | Tarzan and the Huntress · as Director Of Photography |
| 1947 | Angel and the Badman · as Director Of Photography |
| 1946 | Abilene Town · as Director Of Photography |
| 1945 | Captain Kidd · as Director Of Photography |
| 1945 | Story of G.I. Joe · as Director Of Photography |
| 1945 | Tarzan and the Amazons · as Director Of Photography |
| 1944 | Dark Waters · as Director Of Photography |
| 1944 | Alaska · as Cinematographer |
| 1944 | Summer Storm · as Director Of Photography |
| 1944 | It Happened Tomorrow · as Director Of Photography |
| 1940 | Texas Rangers Ride Again · as Director Of Photography |
| 1939 | Rulers of the Sea · as Director Of Photography |
| 1939 | Beau Geste · as Director Of Photography |
| 1939 | Mystery Plane · as Cinematographer |
| 1938 | Professor Beware · as Cinematographer |
| 1938 | The Adventures of Marco Polo · as Director Of Photography |
| 1937 | Hills of Old Wyoming · as Director Of Photography |
| 1937 | Borderland · as Director Of Photography |
| 1936 | Trail Dust · as Director Of Photography |
| 1936 | Conflict · as Cinematographer |
| 1936 | Hopalong Cassidy Returns · as Director Of Photography |
| 1936 | The Sea Spoilers · as Director Of Photography |
| 1936 | Three on the Trail · as Director Of Photography |
| 1936 | Call of the Prairie · as Director Of Photography |
| 1936 | Heart of the West · as Director Of Photography |
| 1935 | Bar 20 Rides Again · as Director Of Photography |
| 1935 | Lawless Range · as Director Of Photography |
| 1935 | The Eagle's Brood · as Director Of Photography |
| 1935 | Guns Along The Trail · as Director Of Photography |
| 1935 | Hop-a-Long Cassidy · as Director Of Photography |
| 1935 | Westward Ho · as Director Of Photography |
| 1935 | Paradise Canyon · as Director Of Photography |
| 1935 | The Dawn Rider · as Director Of Photography |
| 1935 | The Desert Trail · as Director Of Photography |
| 1935 | Rocky Mountain Mystery · as Director Of Photography |
| 1935 | Texas Terror · as Director Of Photography |
| 1934 | Sing Sing Nights · as Cinematographer |
| 1934 | 'Neath the Arizona Skies · as Director Of Photography |
| 1934 | Flirting with Danger · as Cinematographer |
| 1934 | The Lawless Frontier · as Director Of Photography |
| 1934 | The Trail Beyond · as Director Of Photography |
| 1934 | Happy Landing · as Cinematographer |
| 1934 | The Star Packer · as Director Of Photography |
| 1934 | Randy Rides Alone · as Director Of Photography |
| 1934 | Monte Carlo Nights · as Cinematographer |
| 1934 | The Man from Utah · as Director Of Photography |
| 1934 | Blue Steel · as Cinematographer |
| 1934 | The House of Mystery · as Cinematographer |
| 1934 | Mystery Liner · as Director Of Photography |
| 1934 | West of the Divide · as Director Of Photography |
| 1934 | The Lucky Texan · as Director Of Photography |
| 1934 | Sixteen Fathoms Deep · as Director Of Photography |
| 1933 | Sagebrush Trail · as Director Of Photography |
| 1933 | Riders of Destiny · as Director Of Photography |
| 1933 | Galloping Romeo · as Cinematographer |
| 1933 | Rainbow Ranch · as Director Of Photography |
| 1933 | Fighting Texans · as Cinematographer |
| 1933 | The Mysterious Rider · as Director Of Photography |
| 1932 | The Fighting Champ · as Cinematographer |
| 1932 | Lucky Larrigan · as Cinematographer |
| 1932 | Young Blood · as Cinematographer |
| 1932 | Texas Buddies · as Cinematographer |
| 1932 | Hidden Valley · as Cinematographer |
| 1932 | Heritage of the Desert · as Director Of Photography |
| 1932 | From Broadway to Cheyenne · as Cinematographer |
| 1932 | Klondike · as Cinematographer |
| 1932 | Son of Oklahoma · as Cinematographer |
| 1932 | Honor of the Mounted · as Cinematographer |
| 1932 | Flames · as Cinematographer |
| 1932 | Law of the North · as Director Of Photography |
| 1932 | Mason of the Mounted · as Cinematographer |
| 1932 | Riders of the Desert · as Cinematographer |
| 1932 | Vanishing Men · as Cinematographer |
| 1932 | Law of the West · as Director Of Photography |
| 1932 | Police Court · as Cinematographer |
| 1932 | Single-Handed Sanders · as Cinematographer |
| 1932 | Ghost City · as Director Of Photography |
| 1931 | The Law of the Sea · as Director Of Photography |
| 1931 | Forgotten Women · as Director Of Photography |
| 1931 | Near the Trail's End · as Cinematographer |
| 1931 | The Montana Kid · as Cinematographer |
| 1931 | Rider of the Plains · as Cinematographer |
| 1931 | God's Country and the Man · as Cinematographer |
| 1931 | Gun Smoke · as Director Of Photography |
| 1931 | The Conquering Horde · as Director Of Photography |
| 1931 | It Pays to Advertise · as Cinematographer |
| 1931 | The Sunrise Trail · as Director Of Photography |
| 1930 | Derelict · as Director Of Photography |
| 1930 | Headin' North · as Director Of Photography |
| 1930 | The Sea God · as Director Of Photography |
| 1930 | Manslaughter · as Director Of Photography |
| 1930 | The Return of Dr. Fu Manchu · as Director Of Photography |
| 1930 | The Benson Murder Case · as Director Of Photography |
| 1930 | Men Are Like That · as Director Of Photography |
| 1930 | Young Eagles · as Cinematographer |
| 1930 | Dangerous Paradise · as Director Of Photography |
| 1929 | Darkened Rooms · as Director Of Photography |
| 1923 | The Ten Commandments · as Cinematographer |