|
Robert Burks
Leslie Robert Burks A.S.C. (July 4, 1909 – May 11, 1968) was an American cinematographer known for his collaborations with Alfred Hitchcock. BiographyLeslie Robert Burks was born in Chino, California on July 4, 1909.[1] At the age of nineteen, he began working as a special effects technician at Warner Bro's Lab, the industry's largest special effects facility at the time.[2] Burks was promoted to assistant cameraman in 1929, operating cameraman in 1934, and special effects cinematographer in 1938. He was promoted to Director of Photography in 1944.[3] At age 35, Burks became one of the youngest fully accredited Directors of Photography in the industry.[3][4] Burks left Warner Bros. with Alfred Hitchcock in the fall of 1953 to join Paramount.[5] Burks' first director of photography credit was in Jammin' the Blues (1944), a short film featuring leading jazz musicians. Burks is known for his cinematography in several collaborations with the notorious director Alfred Hitchcock during the 1950s and 1960s.[2] In his twenty-five years as a DP, Burks worked on 55 features.[4] His notable credits include The Fountainhead, Beyond the Forest, The Glass Menagerie, The Spirit of St. Louis, The Music Man, and A Patch of Blue.[6] In 1968, Burks and his wife Elisabeth died in a fire at their home in Huntington Harbour, California. He was 58 years of age at the time of his death.[4][7] LegacyCinematographic styleBurks' cinematography is notable for its wide stylistic range. His ability to support a director's vision with techniques that remained largely unobtrusive to the viewer was a key strength.[1] Burks' background in special effects significantly influenced his meticulous pre-production planning. He was known for his extensive involvement in pre-production, unusual for cinematographers of his time, using miniature models of sets to plan lighting and camera setups.[3] This resulted in a reputation for accuracy and precision in often unconventional technical setups.[5] Film scholar Christopher Beach credits Burks' artistic risks for contributing to some of cinema's most visually striking films.[8] Burks received four Academy Award nominations, including for both best black and white and best color photography. His Oscar win was for To Catch a Thief, praised as "a magnificent example of VistaVision technique."[4] Byron Haskin, ASC, described Burks as "thoroughly excellent in every respect… [He is] honest, straightforward, resourceful and, in the true sense, a gentleman."[4] The Wrong Man (1956)Burks' cinematography in Hitchcock's The Wrong Man has been described as "bleakly neorealist," though its style is hard to categorize precisely, falling "somewhere between documentary realism and film noir, with elements of Italian neorealism and moments of modernist expressionism."[2] Hitchcock initially envisioned a highly realistic, location-shot film with a documentary feel, aligning with the film's true-story basis. However, the film ultimately involved both New York City location shooting (utilizing then-new portable Garnelite lamps) and Hollywood studio work. Burks innovatively lit the studio scenes to match the naturalism of the location footage.[9] Beyond consistent lighting, Burks' style in The Wrong Man was closely tied to the film's themes and mood. He frequently used cross-hatched shadows to "invoke the dominant theme of imprisonment… of crucifixion".[9] This was complemented by extreme camera angles and wide-angle lenses which, unusually for Burks, drew attention to themselves, adding a notable noir quality. These artistic choices diverged from Hitchcock's initial realist goal, demonstrating Burks' ability to capture the narrative mood through his photography.[9] The Birds (1963)The Birds heavily leveraged Burks' special effects background and is considered his greatest technical achievement. Of the film's over 1,500 shots (three times more than typical for the era), over 400 were trick or composite shots.[10] The film features numerous close-ups of Tippi Hedren, often using heavy diffusion and a lighting scheme including a frontal, slightly off-camera key light, a camera-side eyelight, and some backlight.[11] The realism of the birds presented a major challenge; initial mechanical models proved unsatisfactory. Burks proposed using real birds and special effects to create a more realistic effect. Collaborating with special effects editor Brad Hoffman, Burks used his expertise to manipulate existing bird footage. He spent over a year planning, shooting, reshooting, and overseeing special effects to achieve the film's final look.[10] Burks was involved in the technically demanding final scene of the Brenner's driveway, requiring 32 exposures and one of Whitlock's matte paintings.[10] Hitchcock commented, "If Bob Burks and the rest of us hadn't been technicians ourselves the film would have cost $5 million [instead of $3 million]." Brad Hoffman praised Burks' contribution, stating the film "never could have been made [without Burks]. It was his persistence in doing these shots over and over that made The Birds the classic it is today."[10] Marnie (1964)Marnie, the final Hitchcock-Burks collaboration, is often cited as Burks' greatest achievement. The film experimented with extreme colors and telephoto/wide-angle lenses, eliciting diverse reactions. Some praised its experimental nature while others found its radical style "audacious" and "visually clumsy." The film reflected the 1960s art cinema movement; James Morrison's International Directory of Films and Filmmakers considered its experimental style ahead of its time.[2] The film's color palette "avoids warm and bright colors, instead emphasizing subdued tones that would allow for the selective use of two primary colors: red and yellow."[12] This was effective in flashbacks, where desaturated tones evoked suppressed memories. Burks' camera work was more radical than previous efforts, alternating between "tightly framed compositions shot with 50mm fixed lenses and striking camera moves, including backward and forward zooms, elaborate tracking shots pans, crane shots, Dutch angles, and even the combination zoom and dolly shot."[12] As in The Birds, the film used extreme close-ups of Tippi Hedren. Hitchcock biographer Donald Spoto notes the director's instructions to Burks: "the camera was to come as close as possible, the lenses were almost to make love to her. For a scene in which she is kissed by Sean Connery, the close-up is so tight, the frame filled so fully with pressing lips, that the tone is virtually pornographic."[11] Burks and HitchcockBurks is best known for his collaboration with Alfred Hitchcock, serving as cinematographer on twelve of Hitchcock's films in the 1950s and 1960s.[13] Burks' special effects experience complemented Hitchcock's own interest in special effects.[3] Their partnership began with Hitchcock's 1951 Strangers on a Train, earning Burks his first Oscar nomination.[14] Their collaborations also included: I Confess (1953), Dial M For Murder (1954, 3-D, Warner Color), Rear Window (1954, Technicolor), To Catch a Thief (1955, VistaVision, Technicolor), The Trouble with Harry (1955, VistaVision, Technicolor), The Man Who Knew Too Much (1956, VistaVision, Technicolor), The Wrong Man (1956), Vertigo (1958, VistaVision, Technicolor), North by Northwest (1959, VistaVision, Technicolor), The Birds (1963, Technicolor), and Marnie (1964, Technicolor).[4] Hitchcock's expertise in special effects and his directorial style complemented Burks', enabling cinematographic experimentation, as his writing often suggested "unusual camera imagery."[4] Other collaboratorsBesides Hitchcock, Burks worked with several other directors on multiple projects:[2] Delmer Daves: To the Victor, A Kiss in the Dark, and Task Force Don Siegel: Hitler Lives! and Star in the Night King Vidor: The Fountainhead and Beyond the Forest Gordon Douglas: Come Fill the Cup, Mara Maru, and So This is Love (The Grace Moore Story) John Farrow: Hondo, The Boy from Oklahoma Robert Mulligan: The Rat Race and The Great Imposter Burks had a significant working relationship with operative cameraman Leonard J. South, who collaborated with him on all twelve Hitchcock films. Another Hitchcock collaborator, screenwriter John Michael Hayes, stated that Burks "gave Hitchcock marvelous ideas [and] contributed greatly to every picture [he shot] during those years."[15] Other important worksEarly in his career as a DP at Warner Bros., Burks worked with prominent directors on projects including Task Force (Delmer Daves, 1948), The Fountainhead (King Vidor, 1949), Beyond the Forest (Vidor, 1949), The Glass Menagerie (Irving Rapper, 1950), and The Enforcer (Bretaigne Windust and Raoul Walsh, 1950). His cinematography on The Fountainhead was recognized by the Motion Picture Academy as one of the ten best photographed black and white films of 1949.[3] FilmographyFilms as special effects photographer[2]
Films as cinematographer:[2]
Nominee - Best Black and White Photography Strangers on a Train 1951 Nominee - Best Color Photography Rear Window 1954 Winner - Best Color Photography To Catch a Thief 1955 Nominee - Best Black and White Photography A Patch of Blue 1965 References
External links and further reading
|
||||||||||||||||||||||
