John Arnold

Portrait John Arnold
Director of Photography - USA
Born November 16, 1889 in New York, New York, USA
Died January 11, 1964 in Palm Springs, California, USA

Mini-Biography:
John Arnold was born on November 16, 1889 in New York, New York, USA. He was an American Director of Photography, known for Arena (1953), The Garden of Eden (1928), Dance Madness (1926), John Arnold's first movie on record is from 1914. John Arnold died on January 11, 1964 in Palm Springs, California, USA. His last motion picture on file dates from 1953.
Biographical Notes in German: Kameramann des amerikanischen Stummfilms, Ausbildung und Erfahrungs als Ingenieur. Erste Nennungen zu John Arnold finden sich in frühen Experimenten zum Tonfilm um 1907 mit dem Cameraphone-Verfahren, für welches zwei grosse Edison Phonographen verwendet wurden. "We made [the films] by selecting a good phonograph records, rehearsing the artist ... in unison with the record until his sychronization was passable, then photographing him." erinnerte sich Arnold 1929. Das aufwendige Verfahren führte allerdings nicht zu befriedigenden Ergebnissen.
Um 1913 findet sich John Arnolds Name bei Ramo Films mitunter im Zusammenhang mit technischen Verbesserungen für Trickaufnahmen. "John Arnold, who has been responsible for Ramo's excellent photography, has been experimenting with Mr. Physioc for several months and they both claim that the result of their labors will be in the exhibiting of trick pictures never befor attempted in cinematography (The New York Clipper, July 12, 1913, pg 12). Nach dem Umzug der Ramo Company nach Flushing - wegen verschärften feuerpolizeilichen Vorschriften musste das Studio an der 101st Street in Fort Lee geräumt werden - reduzierte Ramo die ständige Belegschaft auf den Regisseur George Gebhardt und Kameramann John Arnold.
Ende 1914 findet sich eine Notiz über seinen Wechsel als "Head Camera Man" zur Photo Life Film Corporation - von beiden Gesellschaften sind aber bislang zur zwei Titel belegt, bei welchen Arnold als Kameramann genannt ist, obwohl anzunehmen ist, dass er bei weiteren Filen von Regisseur Will S. Davis die Kamera führte.
Bei Edison beginnt er seine Zusammenarbeit mit dem Regisseur John H. Collins, wohl in "Children of Eve" 1915, bei dem auch Ned van Buren als Kameramann genannt wird. Hauotdarstellerin und Star des Films ist Viola Dana, die 18-jährige Ehefrau des Regisseurs und aufstrebender Stern bei der Edison. Die drei werden ein festes Team, zu dem auch die Schauspieler Robert Walker und Augustus Phillipps sowie Regieassistent Albert J. Kelley stossen. Es folgen ein halbes Dutzend Filme für Edison, bevor die neu gegründete Metro Film Corporation Viola Dana und ihr Team verpflichten. Angeblich soll Arnold erst nach intensiver Fürsprache von John Collins von den Metro Bossen akzeptiert worden sein, Jahre später wird er für Metro's Nachfolgegesellschaft MGM Chef des Kameradepartments werden.
Bei der Metro bleibt John Arnold - auch nach dem frühen Tod von John H. Collins - Viola Dana bevorzugter Kameramann, Danas Filmographie zählt insgesamt über fünfzig Titel, bei denen Arnold Kamera führte. Zu seinen bekanntesten Filmen - ohne Viola Dana - zählen "The Big Parade" mit John Gilbert und Renée Adorée (Regie: King Vidor, 1925) und "The Wind" mit Lillian Gish und Lars Hanson (Victor Sjöström, Regie 1928)
Ende der Zwanziger Jahre mit Beginn des Tonfilms beendete John Arnold seine Laufbahn als aktiver Kameramann, er stand nun dem Kameradepartment der Metro-Goldwyn-Mayer vor. Sein Name wird noch im Zusammenhang mit den Tricktechniken in "The Wizard of Oz" aus dem Jahre 1939 genannt und später in MGM's 3-D Metrovision Tri-Dee Technologie für "Arena" (1953) (lhg 2016)

John Arnold Filmography
1953: [06.19] Arena (Director of Photography: Metrovision Tri-Dee technology (/xx/) ), Directed by Richard Fleischer, with Gig Young, Jean Hagen, Polly Bergen,
1929: [08.03] Climbing the Golden Stairs (Director of Photography), Directed by Gus Edwards, with Charles King, , ,
1929: [] Broadway Melody (The Broadway Melody of 1929) (Director of Photography), Directed by Harry Beaumont, with Charles King, Anita Page, Bessie Love,
1929: [] Hollywood Revue of 1929 (Director of Photography), Directed by Charles Riesner, with Bessie Love, Buster Keaton, Lionel Barrymore,
1929: [02.02] Song of the Roses (Director of Photography),
1929: [01.05] Gus Edwards' Song Revue (Director of Photography),
1928: [11.23] The Wind (Director of Photography), Directed by Victor Sjöström, with Lillian Gish, Lars Hanson, Montagu Love,
1928: [11.11] Show People (Director of Photography), Directed by King Vidor, with , William Haines, Harry Gribbon,
1928: [09.28] The Cardboard Lover (Her Cardboard Lover) (Director of Photography), Directed by Robert Z. Leonard, with Marion Davies, Jetta Goudal, Nils Asther,
1928: [06.09] Detectives (Director of Photography), Directed by Chester M. Franklin, with Karl Dane, George K. Arthur, Marceline Day,
1928: [02.11] Rose-Marie (Rose Marie) (Director of Photography), Directed by Lucien Hubbard, with Joan Crawford, James Murray, House Peters,
1928: [02.04] The Garden of Eden (Director of Photography), Directed by Lewis Milestone, with Corinne Griffith, Louise Dresser, Lowell Sherman,
1927: [11.12] Becky (Director of Photography), Directed by John P. McCarthy, with Sally O'Neil, Owen Moore, Harry Crocker,
1927: [03.26] Mr. Wu (Director of Photography), Directed by William Nigh, with Lon Chaney, Louise Dresser, Renée Adorée,
1927: [03.05] Heaven on Earth (Director of Photography), Directed by Phil Rosen, with Renée Adorée, Conrad Nagel, Gwen Lee,
1927: [02.26] The Understanding Heart (Director of Photography), Directed by Jack Conway, with Joan Crawford, Rockliffe Fellowes, Ralph Bushman,
1927: [02.15] The Isle of June (Director of Photography), Directed by N. N.,
1927: [01.22] The Show (Director of Photography), Directed by Tod Browning, with John Gilbert, Renée Adorée, Lionel Barrymore,
1926: [12.20] The Fire Brigade (Director of Photography), Directed by William Nigh, with May McAvoy, Charles Ray, Holmes Herbert,
1926: [12.04] Love's Blindness (Director of Photography), Directed by John Francis Dillon, with Pauline Starke, Antonio Moreno, Lilyan Tashman,
1926: [05.24] Paris (Director of Photography), Directed by Edmund Goulding, with Charles Ray, Joan Crawford, Douglas Gilmore,
1926: [02.01] The Auction Block (Director of Photography), Directed by Hobart Henley, with Charles Ray, Eleanor Boardman, Sally O'Neil,
1926: [01.04] Dance Madness (Director of Photography), Directed by Robert Z. Leonard, with Conrad Nagel, , Douglas Gilmore,
1925: [12.27] Sally, Irene and Mary (Director of Photography), Directed by Edmund Goulding, with Constance Bennett, Joan Crawford, Sally O'Neil,
1925: [11.15] Bright Lights (Director of Photography), Directed by Robert Z. Leonard, with Charles Ray, Pauline Starke, Lilyan Tashman,
1925: [11.05] The Big Parade (Director of Photography), Directed by King Vidor, with John Gilbert, Renée Adorée, Hobart Bosworth,
1925: [09.20] Sun-Up (Director of Photography), Directed by Edmund Goulding, with Pauline Starke, Conrad Nagel, Lucille La Verne,
1925: [04.25] Proud Flesh (Director of Photography), Directed by King Vidor, with Eleanor Boardman, Pat O'Malley, Harrison Ford,
1925: [03.29] The Way of a Girl (Director of Photography), Directed by Robert G. Vignola, with Eleanor Boardman, Matt Moore, William Russell,
1924: [12.24] The Wife of the Centaur (Director of Photography), Directed by King Vidor, with Eleanor Boardman, John Gilbert, Aileen Pringle,
1924: [11.26] So This Is Marriage? (Director of Photography), Directed by Hobart Henley, with Eleanor Boardman, Conrad Nagel, Lew Cody,
1924: [11.03] Along Came Ruth (Director of Photography), Directed by Edward F. Cline, with Viola Dana, Walter Hiers, Tully Marshall,
1924: [09.01] Sinners in Silk (Director of Photography), Directed by Hobart Henley, with Eleanor Boardman, Adolphe Menjou, Conrad Nagel,
1924: [06.23] Revelation (Director of Photography), Directed by George D. Baker, with Viola Dana, Monte Blue, Marjorie Daw,
1924: [05.14] The Beauty Prize (Director of Photography), Directed by Lloyd Ingraham, with Viola Dana, Pat O'Malley, Eddie Phillips,
1924: [03.24] Don't Doubt Your Husband (Director of Photography), Directed by Harry Beaumont, with Viola Dana, Sada Cowan, Allan Forrest,
1924: [01.24] The Heart Bandit (Director of Photography), Directed by Oscar Apfel, with Viola Dana, Milton Sills, Gertrude Claire,
1923: [11.29] A Noise in Newboro (Director of Photography), Directed by Harry Beaumont, with Viola Dana, David Butler, Eva Novak,
1923: [11.20] In Search of a Thrill (Director of Photography), Directed by Oscar Apfel, with Viola Dana, Warner Baxter, Mabel Van Buren,
1923: [10.00] The Social Code (To Whom It May Concern) (Director of Photography), Directed by Oscar Apfel, with Viola Dana, Malcolm McGregor, Edna Flugrath,
1923: [09.17] Rouged Lips (Director of Photography), Directed by Harold M. Shaw, with Viola Dana, Tom Moore, ,
1923: [04.09] Her Fatal Millions (Director of Photography), Directed by William Beaudine, with Viola Dana, Huntley Gordon, Allan Forrest,
1923: [02.05] Crinoline and Romance (Director of Photography), Directed by Harry Beaumont, with Viola Dana, Claude Gillingwater, John Bowers,
1923: [01.18] The Fog (Director of Photography), Directed by Paul Powell, with Mildred Harris, Louise Fazenda, Louise Dresser,
1922: [11.20] Love in the Dark (Director of Photography), Directed by Harry Beaumont, with Viola Dana, Cullen Landis, Arline Pretty,
1922: [10.23] June Madness (Director of Photography), Directed by Harry Beaumont, with Viola Dana, Bryant Washburn, Gerald Pring,
1922: [06.25] The Five Dollar Baby (Director of Photography), Directed by Harry Beaumont, with Viola Dana, Ralph Lewis, Otto Hoffman,
1922: [06.12] They Like 'Em Rough (Director of Photography), Directed by Harry Beaumont, with Viola Dana, William Lawrence, Hardee Kirkland,
1922: [05.01] Seeing's Believing (Director of Photography), Directed by Harry Beaumont, with Viola Dana, Allan Forrest, Gertrude Astor,
1922: [04.30] Very Truly Yours (Director of Photography), Directed by Harry Beaumont, with Shirley Mason, Allan Forrest, Charles Clary,
1922: [03.06] Glass Houses (Director of Photography), Directed by Harry Beaumont, with Viola Dana, Gaston Glass, Helen Lynch,
1922: [01.09] Fourteenth Lover (Director of Photography), Directed by Harry Beaumont, with Viola Dana, Jack Mulhall, Theodore von Eltz,
1921: [10.23] There are no villains (Director of Photography), Directed by Bayard Veiller, with Viola Dana, Gaston Glass, Edward Cecil,
1921: [09.19] The Match-Breaker (Director of Photography), Directed by Dallas M. Fitzgerald, with Wedgwood Nowell, Viola Dana, Jack Perrin,
1921: [08.01] Life's Darn Funny (Director of Photography), Directed by Dallas M. Fitzgerald, with Viola Dana, , Eva Gordon,
1921: [06.16] Home Stuff (Director of Photography), Directed by Albert H. Kelley, with Viola Dana, Tom Gallery, Josephine Crowell,
1921: [03.28] Puppets of Fate (Sorrontina (Working title)) (Director of Photography), Directed by Dallas M. Fitzgerald, with Viola Dana, Francis McDonald, Jackie Saunders,
1921: [01.31] The Off-Shore Pirate (Director of Photography), Directed by Dallas M. Fitzgerald, with Viola Dana, Jack Mulhall, Edward Jobson,
1920: [12.27] Cinderella's Twin (Director of Photography), Directed by Dallas M. Fitzgerald, with Viola Dana, Wallace MacDonald, Ruth Stonehouse,
1920: [10.04] Blackmail (Director of Photography), Directed by Dallas M. Fitzgerald, with Viola Dana, Alfred Allen, ,
1920: [08.66] The Chorus Girl's Romance (Director of Photography), Directed by William C. Dowlan, with Viola Dana, , Phil Ainsworth,
1920: [04.00] Dangerous to Men (Director of Photography), Directed by William C. Dowlan, with Viola Dana, Milton Sills, Edward Connelly,
1920: [01.00] The Willow Tree (Director of Photography), Directed by Henry Otto, with Viola Dana, Edward Connelly, Pell Trenton,
1919: [10.25] Please get Married (Director of Photography), Directed by John Ince, with Viola Dana, Antrim Short, Margaret Campbell,
1919: [07.21] The Microbe (Director of Photography), Directed by Henry Otto, with Viola Dana, Kenneth Harlan, Arthur Maude,
1919: [06.09] Some Bride (Patricia (Working title)) (Director of Photography), Directed by Henry Otto, with Viola Dana, Irving Cummings, ,
1919: [05.04] The red lantern (Additional Camera), Directed by Albert Capellani, with Alla Nazimova, Margaret McWade, Virginia Ross,
1919: [04.21] False Evidence (Madelon of the Redwoods (Working title)) (Director of Photography), Directed by Edwin Carewe, with Viola Dana, Wheeler Oakman, Joe King,
1919: [03.31] The Parisian Tigress (Director of Photography), Directed by Herbert Blaché, with Viola Dana, Darrell Foss, Henry Kolker,
1919: [03.03] Satan Junior (Diana Ardway (Working title)) (Director of Photography), Directed by Herbert Blaché, John H. Collins, with Viola Dana, Milton Sills, Lila Leslie,
1919: [01.06] The Gold Cure (Oh, Annice! (Working title)) (Director of Photography), Directed by John H. Collins, with Viola Dana, Jack McGowan, Elsie MacLeod,
1918: [08.12] Flower of the Dusk (Director of Photography), Directed by John H. Collins, with Viola Dana, Guy Coombs, Howard Hall,
1918: [07.01] Opportunity (Director of Photography), Directed by John H. Collins, with Viola Dana, Hale Hamilton, Frank Currier,
1918: [06.03] The Only Road (Nita's Wooing (Working title)) (Director of Photography), Directed by Frank Reicher, with Viola Dana, Casson Ferguson, Edythe Chapman,
1918: [04.29] Riders of the Night (The Heart of Kentucky, The Night Riders (Working title)) (Director of Photography), Directed by John H. Collins, with Viola Dana, George Chesebro, Clifford Bruce,
1918: [03.25] Breakers Ahead (Director of Photography), Directed by Charles Brabin, with Viola Dana, Clifford Bruce, Mabel Van Buren,
1918: [02.18] A Weaver of Dreams (The House of Hearts (Working title)) (Director of Photography), Directed by John H. Collins, with Viola Dana, Clifford Bruce, Mildred Davis,
1918: [01.14] The Winding Trail (The Tiger Cat (Working title)) (Director of Photography), Directed by John H. Collins, with Viola Dana, Clifford Bruce, Hayward Mack,
1917: [12.10] Blue Jeans (Director of Photography), Directed by John H. Collins, with Viola Dana, Robert Walker, Sally Crute,
1917: [08.13] The Girl Without a Soul (Director of Photography), Directed by John H. Collins, with Viola Dana, Robert Walker, Fred C. Jones,
1917: [06.25] Aladdin's other lamp (Director of Photography), Directed by John H. Collins, with Viola Dana, Robert Walker, Augustus Phillips,
1917: [06.04] Lady Barnacle (Director of Photography), Directed by John H. Collins, with Viola Dana, Robert Walker, Augustus Phillips,
1917: [04.23] God's Law and Man's (The Purchase Price (Working title)) (Director of Photography), Directed by John H. Collins, with Viola Dana, Robert Walker, Augustus Phillips,
1917: [03.19] His father's son (Making Good (Working title), The great green eye (Working title)) (Director of Photography), Directed by George D. Baker, with Lionel Barrymore, Irene Howley, Frank Currier,
1917: [03.12] The Mortal Sin (Director of Photography), Directed by John H. Collins, with Viola Dana, Robert Walker, Augustus Phillips,
1917: [03.05] The Barricade (Director of Photography), Directed by Edwin Carewe, with , Frank Currier, Clifford Bruce,
1917: [01.22] Threads of Fate (Director of Photography), Directed by Eugene Nowland, with Viola Dana, Augustus Phillips, Richard Tucker,
1916: [11.13] The Cossack Whip (Director of Photography), Directed by John H. Collins, with Viola Dana, Grace Williams, Robert Walker,
1916: [10.30] The Gates of Eden (Director of Photography), Directed by John H. Collins, with Viola Dana, Augustus Phillips, Robert Walker,
1916: [08.28] The Upheaval (Director of Photography), Directed by Charles Horan, with Lionel Barrymore, Marguerite Skirvin, Franklyn Hanna,
1916: [07.10] The Quitter (Director of Photography), Directed by Charles Horan, with Lionel Barrymore, Marguerite Skirvin, Paul Everton,
1916: [02.01] Rosie O'Grady (His Sister's Champion (Working title)) (Director of Photography), Directed by John H. Collins, with Viola Dana, Tom Blake, James Harris,
1915: [11.10] Children of Eve (Fifty-Fifty Mamie, Katy (Working title)) (Director of Photography), Directed by John H. Collins, with Viola Dana, Robert Conness, Tom Blake,
1915: [01.20] The Avalanche (The Barrier Between) (Director of Photography), Directed by Will S. Davis, with Catherine Countiss, William H. Tooker, Sue Balfour,
1914: [12.28] Springtime (Director of Photography), Directed by Will S. Davis, with Florence Nash, Adele Ray, ,

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