TOD: I am very partial to the work of cinematographer Arthur C. Miller, who worked at Fox in the 1930s and 1940s on some of the most brilliantly photographed B/W films ever, including (but not limited to) "The Rains Came", "How Green Was My Valley", "The Mark of Zorro", "Brigham Young", "Son of Fury", "This Above All, "Immortal Sergeant", "Ox-Bow Incident," "The Song of Bernadette", "The Keys of the Kingdom", "Dragonwyck", "A Royal Scandal", "Anna and the King of Siam", "Gentleman's Agreement", "The Razor's Edge" and "A Letter to Three Wives." Miller was a master cinematographer who shot in sharp focus with deep blacks and glorious highlights which were often credited as a "Fox look". He also lent a special magic to Shirley Temple's screen image by lighting her blond curls from behind in several films.
Glorious color films I've enjoyed include "Blood and Sand", "The Red Shoes", "Black Narcissus" and many Freddie Young-shot films, including "Lawrence of Arabia" and "Ryan's Daughter." Leon Shamroy's cameras were magic, as well, in such glorious color productions as "Leave Her to Heaven", "The Black Swan", "The King and I" and "Cleopatra."
