Elwood Bredell(1902-1969)

Indiana-born, son of stage actress Mary Palmer Nields and silent screen actor Val Paul (1886-1962), 'Woody' Bredell began his career in films as a lab technician. He worked as a still photographer at RKO and Paramount (1931-34), later joining Universal, as director of photography, 1937-46; then under contract to Warner Brothers, 1947-49. Having served his apprenticeship under the tutelage of veteran cinematographers Arthur C. Miller and Charles Lang, he became an expert at using shadows and diffuse lighting to create expressionist-inspired, darkly sinister imagery for thrillers and films noir. Of particular note are Robert Siodmak's Les mains qui tuent (1944) and Les tueurs (1946); and Michael Curtizs Le crime était presque parfait (1947). These films are rightly hailed as among the best examples of the genre. Bredell also effectively captured the seedy side of life for Female Jungle (1955).

In stark contrast, Bredell was equally adept at painting richly textured romantic frames for big budget technicolor musical (Romance à Rio (1948)), or comedy (Vive Monsieur le maire! (1949)). One of his best films was the charismatic and cheerful Errol Flynn swashbuckler Les aventures de Don Juan (1948). Bosley Crowther of the New York Times described Bredell's lighting and color-photography as "technically superb" (December 25,1948).

'Woody' Bredell has been variously (and incorrectly) cited as English-born and deceased, but according to his granddaughter, he lived most of his life in or around Los Angeles. He was an avid fisherman, owner of a cabin cruiser moored near his home in Newport Beach. He died, aged 66, and is interred at Forest Lawn Memorial Park, Hollywood Hills.