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Topic: Robert Krasker

	Robert Krasker (1)
		Krasker and Cooper in particular seemed to have been the most influenced by Perinal as was evident in all their future work.
		In 1941, Robert Krasker was entrusted with one of his first jobs as lighting cameraman, for a low-budget RKO thriller called The Saint Meets The Tiger, an enjoyable mystery starring Hugh Sinclair in the role of Leslie Charteris' super-sleuth.
		Krasker had shot the striking opening sequence in the graveyard and if it was on the basis of his work on that sequence that Lean sacked him then the incident takes on a decidedly peculiar air.
	www.britmovie.co.uk /features/guenzel/krasker00.html (1170 words)

	Robert Krasker - Films as cameraman:, Films as cinematographer:
		Robert Moss has written that Krasker was "one of the few men whose patient craftsmanship and innovative ideas matched Reed's." In The Third Man Krasker captured in fl-and-white the gloomy, corrupt decadence of postwar Vienna, where everything was for sale.
		In The Collector Krasker shot the exterior shots on location, while Robert Surtees was responsible for the interior studio shooting, but the division of labor produces a visual balance between the exterior greens and blues of freedom and the interior yellows, browns, and oranges associated with captivity.
		Krasker also shot the stalking sequence in which the victim is caught in the "frame" of her pursuer's rear-view mirror.
	www.filmreference.com /Writers-and-Production-Artists-Ja-Kr/Krasker-Robert.html (816 words)

	Robert Krasker (2)
		Robert Krasker's greatest photographic triumph is undoubtedly The Third Man, a work which earned him the Academy Award in 1949.
		Krasker was a key factor in its initial impact on contemporary audiences and upon its lasting impact since.
		From Robert Rossen's Alexander the Great, Krasker's first "epic" assignment, to Samuel Bronston's hugely enjoyable El Cid some years later, both magnificently photographed, the cameraman would show that that delicacy he learned years before under the great Perinal was not submerged by the need to create mere spectacle.
	www.britmovie.co.uk /features/guenzel/krasker01.html (611 words)

	Reference.com/Encyclopedia/Robert Krasker
		Robert Krasker (21 August, 1913 - 16 August, 1981) was a gifted Australian-born cinematographer, who worked on more than fifty films in his career.
		Krasker's work was strongly influenced by film noir and German Expressionism.
		Despite Krasker's brilliant and atmospheric work on Brief Encounter, Lean sacked him from his next film, Great Expectations, because he and Ronald Neame were unhappy with his handling of the marsh scenes.
	www.reference.com /browse/wiki/Robert_Krasker (173 words)

	Henry V (1944 film) - Wikipedia, the free encyclopedia
		We see, up on a balcony, two clergymen, The Archbishop of Cantebury (Felix Alymer), and the Bishop of Ely (Robert Helpmann) discussing the current affairs of state.
		Robert Helpmann was an Australian entertainer, who produced Ballet concerts.
		Asherson was a British Actress who was married to Robert Donat.
	en.wikipedia.org /wiki/Henry_V_(1944_film) (1901 words)

	100 Favorite British Films of the 20th Century
		Beautifully shot by cinematographer Robert Krasker (who won an Oscar for his work), the film is full of sequences that linger in the mind, while the acclaimed zither rendition of 'The Harry Lime Theme' by Anton Karas helps to create a rare, haunting movie atmosphere.
		Among the impressive cast are Robert Newton as Ancient Pistol, George Robey as Falstaff and Harcourt Williams as Charles VI.
		With a splendid script by Simon Beaufoy, the film established Robert Carlyle as a leading man and was a massive hit in the US as well as the UK, receiving four Oscar nominations and critical acclaim along the way.
	www.filmsite.org /brit100_1.html (2801 words)

	Best Shot Films of 1894-1949 (Site not responding. Last check: 2007-11-04)
		It was specially written by Graham Greene, produced by Alexander Korda and David O. Selznick, had additional dialogue by Orson Welles, and was photographed by legendary cameraman Robert Krasker.
		The picture was made almost entirely in Vienna, a city shattered by war, but it couldn't have been more smoothly done if it had been shot under studio conditions.
		Krasker was born in Perth, Australia, studied art in Paris, and learned the business at Korda's studio in London.
	www.theasc.com /magazine/mar99/best/m9.htm (547 words)

	David Lean - Brief Encounter (1945) \| Movie Review
		Krasker, who had Austrian and French parents, developed his technical skills in pre-war Germany as an exponent of German expressionism; its stark imagery, menacing shadows, strategic and economic use of lighting and low-angle camerawork later were to become the hallmark of Hollywood film noir.
		As Alec and Laura cross under the subway we see Krasker's skills in action - their shadows on the wall, enlarged and distorted, give advance notice of their appearance; a passing train pumps white-hot steam into the fl sky.
		The mood of tension and alienation created by Krasker extends to the faces of the couple as they walk sadly, wordlessly, to their last goodbye.
	www.leninimports.com /brief_encounter.html (3617 words)

	DVD Times - The Third Man
		The Oscar winning and arguably flawless cinematography by Robert Krasker gives the film a distinct characterisation, using tilted angles and the battered real-life scenery to create a crooked visual platform for a world of crooked characters.
		Krasker's contrasting use of dark fls and luminous whites perfectly juxtaposes the sense of optimism/pessimism brought on Europe by the war.
		If ever you needed proof that the Oscars are laughable in their proposed 'championing of cinematic excellence', then you only have to notice the fact that the film only won a single Oscar, and this was for its breathtaking cinematography.
	www.dvdtimes.co.uk /content.php?contentid=4975 (2280 words)

	ROBERT KRASKER
		'Robert Krasker's greatest photographic triumph is undoubtedly "The Third Man", a work which earned him the Academy Award in 1950.
		From Robert Rossen's "Alexander the Great", Krasker's first 'epic' assignment, to Samuel Bronston's hugely enjoyable "El Cid" some years later, both magnificently photographed, the cameraman would show that that delicacy he learned years before under the great Périnal was not submerged by the need to create mere spectacle.
		Much of the photography was done at night, by the first unit [under the supervision of Robert Krasker].
	www.cinematographers.nl /GreatDoPh/krasker.htm (1565 words)

	Odd Man Out
		Robert Krasker, the cameraman on Brief Encounter, was responsible for the film's striking photography, and William Alwyn contributed a memorable musical score, incorporating individual leitmotifs for three of the central characters.
		Compositions tend to be imbalanced and claustrophobic, with characters either cramped into enclosed interiors (as at Granny's) or rendered small by their surrounding environment (as in many of the night scenes).
		While such scenes as these, with their imaginative combination of real locations and expressive visual design, have retained an air of freshness, the film's resort to full-blooded expressionism in its subjective sequences has worn less well.
	www.filmreference.com /Films-No-Or/Odd-Man-Out.html (1114 words)

	thirdman
		The most chilling scene is where the shadowy figure of Lime meets Holly at the foot of the Ferris wheel in the empty amusement park, and Welles' seductive villain role abounds with an overwhelming charged charisma as he dispatches Holly's decency as a sign of weakness.
		Robert Krasker's expressionistic camera shots make the characters fit the mysteriously baroque view of the enticing desperation of the city, giving the city an uncanny look of fantasy while at the same time it catches its painfully realistic mood of despair.
		What keeps the grim Cold War mood jaunty is the catchy zither score by Anton Karas, that runs throughout as the film's alternate theme that this is only entertainment and acts as a lighthearted mood change to the gloomy backdrop.
	www.sover.net /~ozus/thirdman.htm (618 words)

	The Third Man
		As Martins and Lime ascend, Krasker wisely mixes shots both inside and outside the Ferris wheel car to convey the disorientation Martins is inevitably experiencing.
		Krasker’s use of low-key lighting, where key light is usually wrapped around a corner in the distance and juxtaposed against either an absent or a faintly subsiding backlight, is textbook noir and reminiscent of the work of another cinematographer churning out brilliant films noir with Anthony Mann during the same period, John Alton.
		Krasker’s camerawork also depicts the city of Vienna itself as a character, and the many high-angle and establishing shots of the city are deliberately paradoxical: architectural beauty is undermined by rubble and ruin.
	www.sensesofcinema.com /contents/cteq/06/38/third_man.html (1874 words)

	[No title]
		What he did contribute, famously, was the cuckoo clock speech in the ferris wheel scene.
		Of course Carol Reed and cinematopgrapher Robert Krasker may have been influenced by seeing earlier Welles films in the expressionistic style of their movie
		I think Reed and Krasker wanted to suggest a world that was morally topsy turvey and thrown off its bearings.
	discuss.washingtonpost.com /wp-srv/zforum/04/auto_050114_ansen.html (2064 words)

	Josh Becker: "The Winds of Fate" (page 6 of 6)
		Sir Robert leans out the window and points at the rutted dirt road running off to the right.
		Krasker sits in the cockpit and sees the people at the opposite end of the airfield.
		Krasker slams the throttle to full and the jet lurches forward.
	www.beckerfilms.com /WindsofFate-p6.htm (2175 words)

	Billy Budd featuring Robert Ryan & Peter Ustinov Movie and DVD page on ARTISTdirect
		Though Robert Ryan's portrayal of the evil Claggart is excellent, if a bit over-the-top, Terence Stamp's soulful performance as Billy is key to the story's emotional impact.
		Herman Melville's short novel -Billy Budd is adapted for the screen, distinguished by Robert Krasker's expressive fl-and-white cinematography and Peter Ustinov's crisp direction.
		Terence Stamp is Billy Budd, a seaman forced to serve in the British Navy during the war between England and France in 1797.
	www.artistdirect.com /nad/store/movies/title/0,,1797871,00.html (345 words)

	Billy Budd [videorecording] / a presentation of Lorimar ; screenplay by Peter Ustinov and DeWitt Bodeen ; produced and ... (Site not responding. Last check: 2007-11-04)
		Director of photography, Robert Krasker ; film editor, Jack Harris ; art director, Peter Murton ; technical advisor, Alan Villiers ; camera operator, John S. Harris ; music composed by Anthony Hopkins.
		Robert Ryan, Peter Ustinov, Melvyn Douglas, Terence Stamp.
		Movie version of the play by Louis Osborne Cox and Robert H. Chapman, based on the novel by Herman Melville: story of the clash between the young, innocent sailor, Billy Budd, and his corrupt superior, Claggart.
	voyager.uvm.edu /bibs/bid567566.html (152 words)

	A First Rate Movie the Second Time Around (Site not responding. Last check: 2007-11-04)
		With renowned writer Graham Greene's witty script, fantastic cinematography by Robert Krasker and an extremely hummable zither soundtrack by Anton Karas, The Third Man is the very model of a classic film noir.
		The restoration of Reed's original pace, which brings out the international flavor of Vienna as seen through the eyes of the monolingual American Martins, is a delightfully musical and disorienting confusion of language (at least, for those of us who can't understand German).
		Cinematographer Robert Krasker uses lots of angled shots, but somehow he keeps the photography down-to-earth, so that it is fresh and crisp and not at all cliché.
	archives.thedaily.washington.edu /1999/072899/NF5.Rthethirdm.html (661 words)

	Yellow Layer Failure, Vinegar Syndrome and Miscellaneous Musings by Robert A. Harris
		Robert Stephens (then married to Smith) was considered to be the actor most likely to fill the shoes of Laurence Olivier.
		He was a cinematographer and special effects supervisor who shot his final film (Chappaqua) in 1966.
		I wanted to make brief note of his career because Sony is about to release two films directed by Robert Rossen.
	www.thedigitalbits.com /articles/robertharris/harris080304.html (2826 words)

	The Quiet American (1958)
		The absurdities and ironies of his own desolation yield up this question, a little like the "sense of humour" that Greene himself said allowed him to believe in God.
		I am agnostic about Murphy's unsupple performance, but Redgrave is outstanding, Robert Krasker's monochrome cinematography is a thing of wonder, and Mankiewicz's direction is superb.
		Now there is a new version in the offing, currently at the test-screening stage, scripted by Christopher Hampton, with Michael Caine and Brendan Fraser in the lead roles.
	www.tedstrong.com /quietamerican1958.shtml (918 words)

	Playbill News: Bounce Original Cast Recording to Be Released on April 27
		Krasker, founder of the PS Classics label, is producing the Bounce disc for Nonesuch Records with Nonesuch president Robert Hurwitz.
		Krasker and Sondheim have collaborated before: Krasker produced cast recordings of Saturday Night, The Frogs and the New York Philharmonic's Sweeney Todd.
		The recording is sweetened by 12 added strings and more percussion, Krasker confirmed.
	www.playbill.com /news/article/84572.html (592 words)

	Wrap Shot April 1999 (Site not responding. Last check: 2007-11-04)
		The El Cid camera crew under the supervision of cinematographer Robert Krasker, BSC, frames an epic scene.
		Directed by Anthony Mann, and starring Charlton Heston as the legendary 11th-century leader who ousted the Moors from Spain, the $7 million production was beautifully photographed in Super Technirama 70 by Australian-born cameraman Robert Krasker, BSC.
		Aiding Krasker on the show was Manual Berenguer, ASC, who headed up the second unit.
	www.theasc.com /magazine/apr99/wrap (305 words)

	[No title]
		A wounded Irish revolutionary (James Mason at his near best) on the run in Belfast encounters a cross section of human responses--self-interest, indifference, empathy, and charity--in this arty 1946 English thriller directed by Carol Reed and adapted by F.L. Green and R.C. Sherriff from Green's novel.
		This may be Reed's most pretentious film, but it also happens to be one of his very best, beautifully capturing the poetry of a city at night (with fl-and-white cinematography by Robert Krasker that's within hailing distance of Gregg Toland and Stanley Cortez's work with Orson Welles).
		It also has a splendid cast--including Robert Newton, Kathleen Ryan, F.J. McCormick, Cyril Cusack, and Dan O'Herlihy--that wrings the utmost, and then some, out of the quasi-allegorical material.
	onfilm.chicagoreader.com /movies/capsules/6579_ODD_MAN_OUT (121 words)

	Carol Reed
		Reed worked with cinematographer Robert Krasker, author Graham Greene and Sir Alexander Korda to produce this signature work.
		Krasker won an Academy award for his work on the film.
		Robert F. Moss, The Films of Carol Reed, New York, Columbia University Press, 1987, p.
	www.sensesofcinema.com /contents/directors/03/reed.html (2583 words)

	The Third Man
		Does the name Robert Krasker mean anything to you?
		He was the Australian who won an Academy Award for photographing the legendary movie The Third Man in 1948.
		Robert Krasker's cinematography is exemplary, but it has to be stated that the primary creative force behind The Third Man was producer-director Carol Reed.
	sunday.ninemsn.com.au /sunday/film_reviews/article_126.asp?s=1 (969 words)

	Voyager: In Depth: The Third Man
		He never again caught the peculiar and vibrant visual stylizations, the special "look" which makes this film and the earlier Odd Man Out such a stunning experience.
		Together he and Greene -- and Welles, Cotten, Howard, Valli, Karas, Krasker, Korda and all the others -- created a portrait of postwar corruption and the death of idealism, that has lodged ever since in our collective consciousness.
		Together, they made a rich, moody masterpiece of guilt, love, and ambivalent redemption.
	www.dvduell.de /criterion_website/criterion/indepth-242.html (536 words)

	Robert Jones / Bio
		I found a further kinship with an unsung industrial photographer of the 1950s, O. Winston Link, whose chronicle of the last days of steam on the NandW Railway is one of the greatest artistic and technical achievements of the 20th century.
		And, to me, Robert Frank's The Americans is an artistic revolution of beautiful simplicity, quiet sadness and poignant dignity.
		It is the photographic counterpart to Alexis de Tocqueville's Democracy in America: America as seen through the discerning eyes of a sympathetic foreigner.
	home.flash.net /~park29/photos_bio.htm (1857 words)

	Billy Budd : Film Pantheon
		The reason to see this film is for Robert Ryan’s performance as John Claggart.
		It’s a good film when he’s not present, but a great one when he is. Terence Stamp, in his film debut, looks ridiculous in the blonde wig, but he’s so winning in the role that it doesn’t really matter.
		The only thing all these films have in common is that I found them entertaining.
	www.filmpantheon.com /?p=17 (197 words)

	Movie Club: 'The Third Man' - Arts Extra - Newsweek - MSNBC.com
		What he did contribute, famously, was the cuckoo clock speech in the Ferris wheel scene.
		Of course Carol Reed and cinematopgrapher Robert Krasker may have been influenced by seeing earlier Welles films in the expressionistic style of their movie
		I think Reed and Krasker wanted to suggest a world that was morally topsy turvey and thrown off its bearings.
	www.msnbc.msn.com /id/6725767 (2120 words)

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