KF
Karl Freund
Director, Producer, Actor, Writer, Additional Credits
Born January 16, 1890Died May 3, 1969 (79 years)
From Wikipedia, the free encyclopedia.
Karl W. Freund, A.S.C. (January 16, 1890-May 3, 1969) was a cinematographer and film director. Born in Dvůr Králové (Königinhof), Bohemia, his career began in 1905 when, at age 15, he got a job as an assistant projectionist for a film company in Berlin where his family moved in 1901. He worked as a cinematographer on over 100 films, including the German Expressionist films The Golem (1920), The Last Laugh (1924) and Metropolis (1927). Freund emigrated to the United States in 1929 where he continued to shoot well remembered films such as Dracula (1931) and Key Largo (1948). He won an Academy Award for Best Cinematography for The Good Earth (1937).
In 1937, he went to Germany to bring his only daughter, Gerda Maria Freund, back to the United States, saving her from almost certain death in the concentration camps. Karl's ex-wife, Susette Freund (née Liepmannssohn), remained in Germany where she was interned at the Ravensbrück concentration camp and eventually taken in March, 1942 to Bernburg Euthanasia Center where she was murdered.
Between 1921 and 1935, Freund also directed ten films, of which the best known are probably The Mummy (1932) starring Boris Karloff, and his last film as director, Mad Love (1935) starring Peter Lorre. Freund's only known film as an actor is Carl Dreyer's Michael (1924) in which he has a cameo as a sycophantic art dealer who saves the tobacco ashes dropped by a famous painter. At the beginning of the 1950s, he was persuaded by Desi Arnaz at Desilu to be the cinematographer in 1951 for the televisions series I Love Lucy. Critics have credited Freund for the show's lustrous black and white cinematography, but more importantly, Freund designed the "flat lighting" system for shooting sitcoms that is still in use today. This system covers the set in light, thus eliminating shadows and allowing the use of three moving cameras without having to modify the lighting in-between shots. And where Freund did not invent the three camera shooting system, he did perfect it for use with film cameras in front of a live audience. Freund and his production team also worked on other sitcoms produced at/through Desilu such as "Our Miss Brooks".
Description above from the Wikipedia article Karl Freund, licensed under CC-BY-SA, full list of contributors on Wikipedia.
Karl W. Freund, A.S.C. (January 16, 1890-May 3, 1969) was a cinematographer and film director. Born in Dvůr Králové (Königinhof), Bohemia, his career began in 1905 when, at age 15, he got a job as an assistant projectionist for a film company in Berlin where his family moved in 1901. He worked as a cinematographer on over 100 films, including the German Expressionist films The Golem (1920), The Last Laugh (1924) and Metropolis (1927). Freund emigrated to the United States in 1929 where he continued to shoot well remembered films such as Dracula (1931) and Key Largo (1948). He won an Academy Award for Best Cinematography for The Good Earth (1937).
In 1937, he went to Germany to bring his only daughter, Gerda Maria Freund, back to the United States, saving her from almost certain death in the concentration camps. Karl's ex-wife, Susette Freund (née Liepmannssohn), remained in Germany where she was interned at the Ravensbrück concentration camp and eventually taken in March, 1942 to Bernburg Euthanasia Center where she was murdered.
Between 1921 and 1935, Freund also directed ten films, of which the best known are probably The Mummy (1932) starring Boris Karloff, and his last film as director, Mad Love (1935) starring Peter Lorre. Freund's only known film as an actor is Carl Dreyer's Michael (1924) in which he has a cameo as a sycophantic art dealer who saves the tobacco ashes dropped by a famous painter. At the beginning of the 1950s, he was persuaded by Desi Arnaz at Desilu to be the cinematographer in 1951 for the televisions series I Love Lucy. Critics have credited Freund for the show's lustrous black and white cinematography, but more importantly, Freund designed the "flat lighting" system for shooting sitcoms that is still in use today. This system covers the set in light, thus eliminating shadows and allowing the use of three moving cameras without having to modify the lighting in-between shots. And where Freund did not invent the three camera shooting system, he did perfect it for use with film cameras in front of a live audience. Freund and his production team also worked on other sitcoms produced at/through Desilu such as "Our Miss Brooks".
Description above from the Wikipedia article Karl Freund, licensed under CC-BY-SA, full list of contributors on Wikipedia.
Karl Freund Filmography
| 1935 | |
| 1934 | |
| 1933 | |
| 1932 | |
| 1928 | |
| 1928 | |
| 1928 | |
| 1928 | |
| 1928 | |
| 1928 | |
| 1928 | |
| 1928 | |
| 1928 |
| 1924 | Michael · as Leblanc - Art Dealer |
| 1914 |
| 1954 | December Bride (TV Series) · as Cinematographer |
| 1953 | I Love Lucy · as Director Of Photography |
| 1952 | Our Miss Brooks (TV Series) · as Cinematographer |
| 1951 | I Love Lucy (TV Series) · as Cinematographer |
| 1950 | Bright Leaf · as Director Of Photography |
| 1950 | Montana · as Director Of Photography |
| 1949 | South of St. Louis · as Director Of Photography |
| 1948 | The Decision of Christopher Blake · as Director Of Photography |
| 1948 | Key Largo · as Director Of Photography |
| 1948 | Wallflower · as Director Of Photography |
| 1947 | That Hagen Girl · as Director Of Photography |
| 1947 | This Time for Keeps · as Director Of Photography |
| 1946 | Undercurrent · as Director Of Photography |
| 1946 | Two Smart People · as Director Of Photography |
| 1946 | A Letter for Evie · as Director Of Photography |
| 1945 | Dangerous Partners · as Director Of Photography |
| 1945 | Without Love · as Director Of Photography |
| 1944 | The Thin Man Goes Home · as Director Of Photography |
| 1944 | The Seventh Cross · as Director Of Photography |
| 1943 | A Guy Named Joe · as Director Of Photography |
| 1943 | Cry 'Havoc' · as Director Of Photography |
| 1943 | Du Barry Was a Lady · as Director Of Photography |
| 1942 | A Yank at Eton · as Director Of Photography |
| 1942 | Tortilla Flat · as Director Of Photography |
| 1942 | The War Against Mrs. Hadley · as Director Of Photography |
| 1942 | The Affairs of Martha · as Director Of Photography |
| 1941 | The Chocolate Soldier · as Director Of Photography |
| 1941 | Blossoms in the Dust · as Director Of Photography |
| 1940 | Keeping Company · as Director Of Photography |
| 1940 | Florian · as Director Of Photography |
| 1940 | Pride and Prejudice · as Director Of Photography |
| 1940 | We Who Are Young · as Director Of Photography |
| 1940 | Green Hell · as Director Of Photography |
| 1940 | The Earl of Chicago · as Director Of Photography |
| 1939 | Balalaika · as Director Of Photography |
| 1939 | Barricade · as Director Of Photography |
| 1939 | Golden Boy · as Director Of Photography |
| 1939 | Rose of Washington Square · as Director Of Photography |
| 1939 | Tail Spin · as Director Of Photography |
| 1938 | Letter of Introduction · as Director Of Photography |
| 1938 | Port of Seven Seas · as Director Of Photography |
| 1938 | Three Comrades · as Director Of Photography |
| 1938 | Man-Proof · as Director Of Photography |
| 1937 | Conquest · as Director Of Photography |
| 1937 | Parnell · as Director Of Photography |
| 1937 | The Good Earth · as Director Of Photography |
| 1936 | Camille · as Director Of Photography |
| 1936 | The Great Ziegfeld · as Director Of Photography |
| 1933 | The Kiss Before the Mirror · as Director Of Photography |
| 1932 | Afraid to Talk · as Director Of Photography |
| 1932 | Back Street · as Director Of Photography |
| 1932 | Air Mail · as Director Of Photography |
| 1932 | Scandal for Sale · as Director Of Photography |
| 1932 | Murders in the Rue Morgue · as Director Of Photography |
| 1931 | Strictly Dishonorable · as Director Of Photography |
| 1931 | Personal Maid · as Director Of Photography |
| 1931 | Up for Murder · as Director Of Photography |
| 1931 | Bad Sister · as Director Of Photography |
| 1931 | Dracula · as Director Of Photography |
| 1931 | Dracula · as Co-Director |
| 1930 | The Lottery Bride · as Director Of Photography |
| 1930 | All Quiet on the Western Front · as Director Of Photography |
| 1929 | Miss Else · as Director Of Photography |
| 1928 | A Knight in London · as Director Of Photography |
| 1927 | Berlin: Symphony of Metropolis · as Director Of Photography |
| 1927 | Berlin: Symphony of Metropolis · as Author |
| 1927 | Metropolis · as Director Of Photography |
| 1926 | Manon Lescaut · as Director Of Photography |
| 1925 | Tartuffe · as Director Of Photography |
| 1925 | Variety · as Director Of Photography |
| 1924 | The Last Laugh · as Director Of Photography |
| 1924 | Michael · as Director Of Photography |
| 1924 | Finances of the Grand Duke · as Director Of Photography |
| 1922 | Lucrezia Borgia · as Director Of Photography |
| 1922 | Marizza · as Director Of Photography |
| 1922 | The Burning Soil · as Director Of Photography |
| 1921 | Torgus · as Director Of Photography |
| 1920 | The Head of Janus · as Director Of Photography |
| 1920 | Die Frau im Delphin, oder 30 Tage auf dem Meeresgrund · as Cinematographer |
| 1920 | The Golem · as Director Of Photography |
| 1920 | Der Schrecken im Hause Ardon · as Director Of Photography |
| 1920 | The Hunchback and the Dancer · as Director Of Photography |
| 1920 | The Spiders - Episode 2: The Diamond Ship · as Director Of Photography |
| 1920 | Das Dynamitduell · as Cinematographer |
| 1919 | Satanas · as Director Of Photography |
| 1919 | The Spiders - Episode 1: The Golden Sea · as Director Of Photography |
| 1919 | Emerald of Death · as Director Of Photography |
| 1919 | Die Entkleidete Braut · as Cinematographer |
| 1918 | Agnes Arnau und ihre drei Freier · as Director Of Photography |
| 1918 | Das Maskenfest des Lebens · as Director Of Photography |
| 1918 | Der tote Gast. Der Fall Rödern · as Cinematographer |
| 1917 | Die Claudi vom Geiserhof · as Director Of Photography |
| 1917 | Christa Hartungen · as Director Of Photography |
| 1917 | Der Liebesbrief der Königin · as Director Of Photography |
| 1916 | Bummelstudenten · as Director Of Photography |
| 1916 | Die weißen Rosen · as Director Of Photography |
| 1916 | Der Sekretär der Königin · as Cinematographer |
| 1916 | Die ewige Nacht · as Cinematographer |
| 1915 | Vordertreppe - Hintertreppe · as Cinematographer |
| 1914 | The Hound of the Baskervilles (1914) · as Director Of Photography |
| 1914 | Das Feuer · as Cinematographer |
| 1914 | Zapata's Gang · as Director Of Photography |
| 1914 | The Call of the Child · as Cinematographer |
| 1914 | Engelein · as Director Of Photography |
| 1913 | A Militant Suffragette · as Director Of Photography |