CL
Charles Lang
Additional Credits
Born March 27, 1902Died April 3, 1998 (96 years)
From Wikipedia, the free encyclopedia
Charles Bryant Lang, Jr., A.S.C. (born March 27, 1902, Bluff, Utah – died April 3, 1998, Santa Monica, California) was an American cinematographer.
Early in his career, he worked with the Akeley camera, a gyroscope-mounted "pancake" camera designed by Carl Akeley for outdoor action shots. Lang's first credits were as co-cinematographer on the silent films The Night Patrol (1926) and The Loves of Ricardo (1927).
After completing Tom Sawyer for Paramount Pictures in 1930, he continued working at the studio for more than twenty years. The style of lighting he introduced in A Farewell to Arms became heavily identified with all of Paramount's films during the 1930s and 1940s, though he occasionally worked for other studios, for instance on The Ghost and Mrs. Muir (1947).
In 1951, he began the second phase of his career, this time as a free-lance cinematographer.[1] His credits include The Big Heat (1953) with Glenn Ford and Lee Marvin, Sabrina (1954) with Humphrey Bogart and William Holden, Gunfight at the O.K. Corral (1957) with Burt Lancaster and Kirk Douglas, The Matchmaker (1958), Some Like It Hot (1959) with Marilyn Monroe and Jack Lemmon, The Magnificent Seven (1960) with Steve McQueen, One-Eyed Jacks (1961) with Marlon Brando, How the West Was Won (1962) in Cinerama, Charade (1963) with Cary Grant and Audrey Hepburn, Bob & Carol & Ted & Alice (1969), and Butterflies Are Free (1972).
Lang received a Lifetime Achievement Award from the American Society of Cinematographers in 1991, for a career which included at least 114 feature films.
Charles Bryant Lang, Jr., A.S.C. (born March 27, 1902, Bluff, Utah – died April 3, 1998, Santa Monica, California) was an American cinematographer.
Early in his career, he worked with the Akeley camera, a gyroscope-mounted "pancake" camera designed by Carl Akeley for outdoor action shots. Lang's first credits were as co-cinematographer on the silent films The Night Patrol (1926) and The Loves of Ricardo (1927).
After completing Tom Sawyer for Paramount Pictures in 1930, he continued working at the studio for more than twenty years. The style of lighting he introduced in A Farewell to Arms became heavily identified with all of Paramount's films during the 1930s and 1940s, though he occasionally worked for other studios, for instance on The Ghost and Mrs. Muir (1947).
In 1951, he began the second phase of his career, this time as a free-lance cinematographer.[1] His credits include The Big Heat (1953) with Glenn Ford and Lee Marvin, Sabrina (1954) with Humphrey Bogart and William Holden, Gunfight at the O.K. Corral (1957) with Burt Lancaster and Kirk Douglas, The Matchmaker (1958), Some Like It Hot (1959) with Marilyn Monroe and Jack Lemmon, The Magnificent Seven (1960) with Steve McQueen, One-Eyed Jacks (1961) with Marlon Brando, How the West Was Won (1962) in Cinerama, Charade (1963) with Cary Grant and Audrey Hepburn, Bob & Carol & Ted & Alice (1969), and Butterflies Are Free (1972).
Lang received a Lifetime Achievement Award from the American Society of Cinematographers in 1991, for a career which included at least 114 feature films.
Charles Lang Filmography
| 1999 | The 71st Annual Academy Awards · as Self - Memorial Tribute |
| 1995 | American Cinema (TV Series) · as Self |
| 1992 | Visions of Light · as Self |
| 1973 | 40 Carats · as Director Of Photography |
| 1972 | Butterflies Are Free · as Director Of Photography |
| 1971 | The Love Machine · as Director Of Photography |
| 1971 | Doctors' Wives · as Director Of Photography |
| 1970 | A Walk in the Spring Rain · as Director Of Photography |
| 1969 | Cactus Flower · as Director Of Photography |
| 1969 | How to Commit Marriage · as Director Of Photography |
| 1969 | Bob & Carol & Ted & Alice · as Director Of Photography |
| 1968 | The Stalking Moon · as Director Of Photography |
| 1968 | A Flea in Her Ear · as Director Of Photography |
| 1967 | Wait Until Dark · as Director Of Photography |
| 1967 | The Flim-Flam Man · as Director Of Photography |
| 1967 | Hotel · as Director Of Photography |
| 1966 | Not with My Wife, You Don't! · as Director Of Photography |
| 1966 | How to Steal a Million · as Director Of Photography |
| 1965 | Inside Daisy Clover · as Director Of Photography |
| 1964 | Sex and the Single Girl · as Director Of Photography |
| 1964 | Father Goose · as Director Of Photography |
| 1964 | Paris When It Sizzles · as Director Of Photography |
| 1963 | |
| 1963 | The Wheeler Dealers · as Director Of Photography |
| 1963 | Critic's Choice · as Director Of Photography |
| 1962 | A Girl Named Tamiko · as Director Of Photography |
| 1962 | How the West Was Won · as Director Of Photography |
| 1961 | Blue Hawaii · as Director Of Photography |
| 1961 | Summer and Smoke · as Director Of Photography |
| 1961 | One-Eyed Jacks · as Director Of Photography |
| 1960 | The Facts of Life · as Director Of Photography |
| 1960 | The Magnificent Seven · as Director Of Photography |
| 1960 | Song Without End · as Cinematographer |
| 1960 | Strangers When We Meet · as Director Of Photography |
| 1959 | Last Train from Gun Hill · as Director Of Photography |
| 1959 | Some Like It Hot · as Director Of Photography |
| 1958 | Separate Tables · as Director Of Photography |
| 1958 | The Matchmaker · as Director Of Photography |
| 1957 | Wild Is the Wind · as Director Of Photography |
| 1957 | Loving You · as Director Of Photography |
| 1957 | Gunfight at the O.K. Corral · as Director Of Photography |
| 1956 | The Rainmaker · as Director Of Photography |
| 1956 | Autumn Leaves · as Director Of Photography |
| 1956 | Zane Grey Theatre (TV Series) · as Cinematographer |
| 1956 | The Solid Gold Cadillac · as Director Of Photography |
| 1955 | Queen Bee · as Director Of Photography |
| 1955 | The Joseph Cotten Show: On Trial (TV Series) · as Cinematographer |
| 1955 | The Man from Laramie · as Director Of Photography |
| 1955 | Female on the Beach · as Director Of Photography |
| 1955 | The Long Gray Line · as Director Of Photography |
| 1954 | Phffft · as Director Of Photography |
| 1954 | Sabrina · as Director Of Photography |
| 1954 | It Should Happen to You · as Director Of Photography |
| 1953 | The Big Heat · as Director Of Photography |
| 1953 | The Revlon Mirror Theater (TV Series) · as Cinematographer |
| 1953 | Salome · as Director Of Photography |
| 1953 | General Electric Theater (TV Series) · as Director Of Photography |
| 1952 | Sudden Fear · as Director Of Photography |
| 1952 | The Atomic City · as Director Of Photography |
| 1952 | Aaron Slick from Punkin Crick · as Director Of Photography |
| 1951 | Red Mountain · as Director Of Photography |
| 1951 | Peking Express · as Director Of Photography |
| 1951 | Ace in the Hole · as Director Of Photography |
| 1951 | The Mating Season · as Director Of Photography |
| 1950 | Copper Canyon · as Director Of Photography |
| 1950 | Branded · as Director Of Photography |
| 1950 | September Affair · as Director Of Photography |
| 1950 | Fancy Pants · as Director Of Photography |
| 1949 | The Great Lover · as Director Of Photography |
| 1949 | Rope of Sand · as Director Of Photography |
| 1949 | My Own True Love · as Director Of Photography |
| 1948 | Miss Tatlock's Millions · as Director Of Photography |
| 1948 | A Foreign Affair · as Director Of Photography |
| 1947 | Where There's Life · as Director Of Photography |
| 1947 | Desert Fury · as Director Of Photography |
| 1947 | The Ghost and Mrs. Muir · as Director Of Photography |
| 1946 | Cross My Heart · as Director Of Photography |
| 1946 | Blue Skies · as Director Of Photography |
| 1946 | Miss Susie Slagle's · as Director Of Photography |
| 1945 | The Stork Club · as Director Of Photography |
| 1944 | Practically Yours · as Cinematographer |
| 1944 | Here Come the Waves · as Director Of Photography |
| 1944 | Frenchman's Creek · as Cinematographer |
| 1944 | The Uninvited · as Director Of Photography |
| 1944 | I Love a Soldier · as Director Of Photography |
| 1944 | Standing Room Only · as Director Of Photography |
| 1943 | True to Life · as Director Of Photography |
| 1943 | So Proudly We Hail! · as Director Of Photography |
| 1943 | No Time for Love · as Director Of Photography |
| 1942 | The Forest Rangers · as Director Of Photography |
| 1942 | Are Husbands Necessary? · as Director Of Photography |
| 1942 | The Lady Has Plans · as Director Of Photography |
| 1941 | Skylark · as Director Of Photography |
| 1941 | Sundown · as Director Of Photography |
| 1941 | Nothing But the Truth · as Director Of Photography |
| 1941 | The Shepherd of the Hills · as Director Of Photography |
| 1940 | Arise, My Love · as Director Of Photography |
| 1940 | The Ghost Breakers · as Director Of Photography |
| 1940 | Buck Benny Rides Again · as Director Of Photography |
| 1940 | Adventure in Diamonds · as Director Of Photography |
| 1939 | The Cat and the Canary · as Director Of Photography |
| 1939 | The Gracie Allen Murder Case · as Director Of Photography |
| 1939 | Midnight · as Director Of Photography |
| 1938 | Zaza · as Director Of Photography |
| 1938 | Spawn of the North · as Director Of Photography |
| 1938 | You and Me · as Director Of Photography |
| 1938 | Doctor Rhythm · as Cinematographer |
| 1937 | Tovarich · as Director Of Photography |
| 1937 | Angel · as Director Of Photography |
| 1937 | Souls at Sea · as Director Of Photography |
| 1936 | Desire · as Director Of Photography |
| 1935 | Peter Ibbetson · as Director Of Photography |
| 1935 | Mississippi · as Director Of Photography |
| 1935 | The Lives of a Bengal Lancer · as Director Of Photography |
| 1934 | Mrs. Wiggs of the Cabbage Patch · as Cinematographer |
| 1934 | She Loves Me Not · as Director Of Photography |
| 1934 | We're Not Dressing · as Director Of Photography |
| 1934 | Death Takes a Holiday · as Director Of Photography |
| 1933 | The Way to Love · as Director Of Photography |
| 1933 | Gambling Ship · as Director Of Photography |
| 1933 | A Bedtime Story · as Director Of Photography |
| 1933 | She Done Him Wrong · as Director Of Photography |
| 1932 | A Farewell to Arms · as Director Of Photography |
| 1932 | Devil and the Deep · as Director Of Photography |
| 1932 | Thunder Below · as Cinematographer |
| 1932 | No One Man · as Cinematographer |
| 1931 | Once a Lady · as Director Of Photography |
| 1931 | The Magnificent Lie · as Cinematographer |
| 1931 | Newly Rich · as Cinematographer |
| 1931 | The Vice Squad · as Director Of Photography |
| 1931 | Unfaithful · as Director Of Photography |
| 1930 | The Right to Love · as Director Of Photography |
| 1930 | Tom Sawyer · as Director Of Photography |
| 1930 | For the Defense · as Director Of Photography |
| 1930 | Anybody's Woman · as Director Of Photography |
| 1930 | Shadow of the Law · as Cinematographer |
| 1930 | The Light of Western Stars · as Director Of Photography |
| 1930 | Sarah and Son · as Director Of Photography |
| 1930 | Behind the Make-Up · as Director Of Photography |
| 1930 | Street of Chance · as Director Of Photography |
| 1930 | Seven Days Leave · as Director Of Photography |
| 1929 | Half Way to Heaven · as Cinematographer |
| 1928 | The Shopworn Angel · as Director Of Photography |