Joseph LaShelle(1900-1989)
- Cinematographer
- Camera and Electrical Department
Trained as an electrical engineer, Joseph LaShelle entered the film
industry as a lab assistant with Paramount in 1920 in order to finance
entry to Stanford University. Having worked his way up to
superintendent of the Paramount printing room after three years, he
decided to stay on. By 1925, he was being mentored by the veteran
cinematographer
Charles G. Clarke under whose
auspices he gained valuable experience behind the camera. Subsequently,
LaShelle worked as camera operator for Metropolitan Studios, Pathe and
Fox in the
1930s, often in collaboration with Arthur C. Miller.
In the wake of a decade-long apprenticeship, he was promoted to full
director of photography in 1943, from there on gaining a reputation as
one of Hollywood's foremost stylists. His chief talent lay in his
ability to employ lighting, decor, close-ups and clever camera angles
to convey a grainy realistic, natural look, especially vital to the
ambience of films noirs.
Another aspect of LaShelle's artistry lay in suggesting a bigger budget than was sometimes in play. This was notably the case with Laura (1944), for which he won his only Oscar. Virtually every scene takes place indoors, without significant exterior footage beyond a few basic studio shots. In the absence of streets and traffic, LaShelle nonetheless succeeded in creating a believable Park Avenue jet-set, replete with elegant apartments and swank restaurants. He did much of his best work under contract at 20th Century Fox (1943-1954) and for expert directors like Martin Ritt (Les feux de l'été (1958)), Otto Preminger ("Laura", Mark Dixon, détective (1950) and Billy Wilder (La garçonnière (1960), La grande combine (1966)). He retired in 1969 and died of natural causes twenty years later, aged 89.
Another aspect of LaShelle's artistry lay in suggesting a bigger budget than was sometimes in play. This was notably the case with Laura (1944), for which he won his only Oscar. Virtually every scene takes place indoors, without significant exterior footage beyond a few basic studio shots. In the absence of streets and traffic, LaShelle nonetheless succeeded in creating a believable Park Avenue jet-set, replete with elegant apartments and swank restaurants. He did much of his best work under contract at 20th Century Fox (1943-1954) and for expert directors like Martin Ritt (Les feux de l'été (1958)), Otto Preminger ("Laura", Mark Dixon, détective (1950) and Billy Wilder (La garçonnière (1960), La grande combine (1966)). He retired in 1969 and died of natural causes twenty years later, aged 89.
