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Charles G. Clarke(1899-1983)

  • Cinematographer
  • Camera and Electrical Department
  • Editor
IMDbProStarmeterSee rank
Ace cinematographer Charles G. Clarke was born on March 19, 1899, in Potter Valley, CA. He got into the film business in 1915 as an assistant cameraman at Universal Pictures. He served in the army overseas during World War One, and when he returned home got a job with the National Film Co. as an assistant cameraman. He was promoted to cinematographer on the serial The Son of Tarzan (1920). He worked steadily on virtually every type of film, from serials at the independents to big splashy musicals and epics at the major studios (he shot all of the China location footage and much of the studio work for MGM's La terre chinoise (1937), although he didn't get screen credit for it). He did much work for Fox Films in the 1930s, then went over to MGM for a few years. In 1938 he went back to Fox--now 20th Century-Fox--and, with few exceptions, stayed there for the rest of his career, working on everything from the studio's low-budget Mr. Moto and Charley Chan series pictures to action films (Guadalcanal (1943)) to folksy outdoor pictures (Jupiter (1945) and Smoky (1946)) to big CinemaScope musicals (La parade de la gloire (1952)). He died at his home in Beverly Hills, CA, in 1983.
BornMarch 10, 1899
DiedJuly 1, 1983(84)
BornMarch 10, 1899
DiedJuly 1, 1983(84)
IMDbProStarmeterSee rank
Add photos, demo reels
  • Nominated for 4 Oscars
    • 2 wins & 5 nominations total

Photos1

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Known for

Le Miracle sur la 34ème rue (1947)
Le Miracle sur la 34ème rue
7.9
  • Cinematographer(as Charles Clarke)
  • 1947
Jean Gabin and Ida Lupino in La péniche de l'amour (1942)
La péniche de l'amour
6.8
  • Cinematographer(as Charles Clarke)
  • 1942
Lynn Bari, Alice Faye, Jack Oakie, and John Payne in Hello Frisco, Hello (1943)
Hello Frisco, Hello
6.5
  • Cinematographer(as Charles Clarke)
  • 1943
Rory Calhoun, Coleen Gray, and Mark Stevens in Le conquérant des plaines (1949)
Le conquérant des plaines
5.2
  • Cinematographer
  • 1949

Credits

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IMDbPro

Cinematographer



  • Sigrid Holmquist (2010)
    Sigrid Holmquist
    Short
    • Cinematographer
    • 2010
  • Herschel Bernardi and Sue Ane Langdon in Arnie (1970)
    Arnie
    7.1
    TV Series
    • director of photography
    • 1970–1971
  • Stefan Arngrim, Gary Conway, Kurt Kasznar, Deanna Lund, Don Marshall, Don Matheson, and Heather Young in Land of the Giants (1968)
    Land of the Giants
    7.1
    TV Series
    • director of photography (as Charles Clarke)
    • 1968–1970
  • Peyton Place (1964)
    Peyton Place
    7.3
    TV Series
    • director of photography
    • 1967–1969
  • Fess Parker in Daniel Boone (1964)
    Daniel Boone
    7.3
    TV Series
    • Cinematographer (as Charles G. Clark)
    • 1966
  • Bruce Lee and Van Williams in Le Frelon vert (1966)
    Le Frelon vert
    7.3
    TV Series
    • director of photography
    • 1966
  • June Lockhart, Angela Cartwright, Mark Goddard, Jonathan Harris, Marta Kristen, Bill Mumy, Dick Tufeld, and Guy Williams in Perdus dans l'espace (1965)
    Perdus dans l'espace
    7.3
    TV Series
    • director of photography (as Charles Clarke)
    • 1966
  • Les lauriers sont coupés (1961)
    Les lauriers sont coupés
    5.9
    • director of photography
    • 1961
  • Eddie Albert, Dana Andrews, Jeanne Crain, and Eleanor Parker in Madison Avenue (1961)
    Madison Avenue
    5.8
    • director of photography
    • 1961
  • Elvis Presley, Barbara Eden, Steve Forrest, Dolores Del Río, and Rodolfo Acosta in Les rôdeurs de la plaine (1960)
    Les rôdeurs de la plaine
    6.5
    • director of photography
    • 1960
  • Le Vagabond des Bois Maudits (1959)
    Le Vagabond des Bois Maudits
    5.3
    • Cinematographer
    • 1959
  • Sal Mineo, Barbara Eden, Christine Carère, Barry Coe, Gary Crosby, and Terry Moore in Les Déchaînés (1959)
    Les Déchaînés
    5.4
    • Cinematographer
    • 1959
  • Qu'est-ce qui fait courir les filles? (1959)
    Qu'est-ce qui fait courir les filles?
    5.6
    • director of photography
    • 1959
  • Richard Egan and Don Murray in Duel dans la boue (1959)
    Duel dans la boue
    6.3
    • director of photography
    • 1959
  • Yul Brynner and Joanne Woodward in Le bruit et la fureur (1959)
    Le bruit et la fureur
    6.2
    • director of photography
    • 1959

Camera and Electrical Department



  • Le soleil se lève aussi (1957)
    Le soleil se lève aussi
    6.2
    • photographer: Spanish backgrounds (uncredited)
    • 1957
  • De Luxe Tour
    • director of photography: second unit
    • 1956
  • La dernière caravane (1956)
    La dernière caravane
    7.0
    • additional photographer (uncredited)
    • 1956
  • La mousson (1955)
    La mousson
    5.8
    • director of photography: second unit (uncredited)
    • 1955
  • La colline de l'adieu (1955)
    La colline de l'adieu
    6.4
    • director of photography: second unit (uncredited)
    • 1955
  • Les ponts de Toko-Ri (1954)
    Les ponts de Toko-Ri
    6.7
    • additional photography
    • aerial photography (uncredited)
    • 1954
  • Prince Vaillant (1954)
    Prince Vaillant
    6.2
    • location photographer (uncredited)
    • 1954
  • Le démon des eaux troubles (1954)
    Le démon des eaux troubles
    6.1
    • location photographer (uncredited)
    • 1954
  • Comment épouser un millionnaire (1953)
    Comment épouser un millionnaire
    6.8
    • location photographer (uncredited)
    • 1953
  • Robert Mitchum and Susan Hayward in La sorcière blanche (1953)
    La sorcière blanche
    6.1
    • director of photography: second unit
    • 1953
  • Gregory Peck, Susan Hayward, and Hildegard Knef in Les Neiges du Kilimandjaro (1952)
    Les Neiges du Kilimandjaro
    6.1
    • location photography
    • location photography: France, Egypt, Kenya (uncredited)
    • 1952
  • Gene Tierney, Danny Kaye, and Corinne Calvet in Sur la Riviera (1951)
    Sur la Riviera
    6.3
    • location photography: French Riviera (uncredited)
    • 1951
  • Claudette Colbert in Captives à Bornéo (1950)
    Captives à Bornéo
    7.2
    • director of photography: second unit (uncredited)
    • 1950
  • Le Miracle sur la 34ème rue (1947)
    Le Miracle sur la 34ème rue
    7.9
    • 2nd cameraman
    • 1947
  • Don Ameche and Joan Bennett in Girl Trouble (1942)
    Girl Trouble
    6.8
    • fill-in photographer (uncredited)
    • 1942

Editor



  • Sam De Grasse, Colleen Moore, Oliver Morosco, and Wheeler Oakman in Slippy McGee (1923)
    Slippy McGee
    • Editor
    • 1923
  • The Half Breed (1922)
    The Half Breed
    6.2
    • Editor (uncredited)
    • 1922

Personal details

Edit
  • Alternative names
    • Charles G. Clark
  • Height
    • 1.80 m
  • Born
    • March 10, 1899
    • Potter Valley, California, USA
  • Died
    • July 1, 1983
    • Beverly Hills, California, USA(undisclosed)
  • Spouse
    • Marian Nor Bowden1930 - July 1, 1983 (his death)
  • Other works
    Book: "Early Filmmaking in Los Angeles".
  • Publicity listings
    • 1 Print Biography
    • 1 Interview
    • 5 Articles

Did you know

Edit
  • Trivia
    In 1928 he and a crew were sent to Alaska to shoot some background footage for a film to be made about Eskimos. During their stay they became lost on the Arctic tundra and wandered with little food and water for ten days before they were finally spotted by a rescue plane. They was unable to sleep during that period, because of snow blindness and the fear that if they went to sleep they would freeze to death, and in his autobiography he stated that the experience so unnerved him that for the rest of his life he was never able to get a good night's sleep.
  • Quotes
    [about Will Rogers, whom Clarke worked with on several pictures] He had no respect for the marks on the floor, which are placed there as guides to proper lighting and focusing. The cinematographer, when doing a scene with Rogers, just had to hope for the best, for we never knew where he would land. He never said the same lines or did the same bit of business from take to take to take. Some of the older stage actors might have felt this was lack of discipline, but Will Rogers had a gift that few others possess: he had an uncanny wit and a sense of what amused people. He never pretended to be an actor and perhaps this was his greatest asset.
  • Salaries
      A Racing Romeo
      (1927)
      $275 /week

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