The Epics - CAESAR AND CLEOPATRA , KHARTOUM plus some bonus matte shots: part eight in an ongoing series

Up until now I've been mainly concentrating upon the American matte departments contributions to 'The Epics', though a great many were made by British studios, with a surprisingly large volume output by Spanish and Italian studios as well.  Naturally my recent post on Mervyn LeRoy's QUO VADIS was a fine example of British matte talent at it's very best - the legendary Peter Ellenshaw - who's work was extraordinary and among the most convincing of all Roman adventures.  Today I will cover several films, although principally it'll be the 1945 Rank picture CAESAR AND CLEOPATRA, followed by a later UK epic with outstanding matte work, the 1965 Pinewood film KHARTOUM.   I'll endeavor to also add a section on the extraordinary matte painted effects largely unseen (by me at least) from a selection of  Italian and Spanish productions which may be unfamiliar to primarily English speaking film viewers.  

These latter mattes come courtesy of my good friend, 'the living, breathing encyclopaedia of Euro matte shots', Domingo Lizcano - who's website is not only heartily recommended but in fact mandatory reading (and that's an order!!)   http://galeon.com/artinmovies/indexFX.html

CAESAR AND CLEOPATRA  (1945)

The huge Rank film based on the George Bernard Shaw play was for me a major disappointment.  I loved PYGMALION, made by the same producers five or six years earlier - wonderfully witty and a total delight all the way.  I just can't get my head around Bernard Shaw meets Ben Hur.... it just didn't work, period.  Apparently a hugely expensive film with such bizarre cost over runs as bringing  a better looking and quality sand to Egypt (yes you read that right) "to ensure the right colour"!  The money however is up there on the screen with mighty sets and decor - so good in fact that I find it damned hard to distinguish the real from the matte in many situations, so some of these frames are really a best guess on my part.

The special photographic effects were carried out be the doyen of British painted mattes, Walter Percy Day, or 'Pop' Day to industry insiders.  Day was the originator of the matte process in England and France and stood, rightfully so, as the father of the matte shot process for decades.  As most people know Day was also the mentor (and hard taskmaster by all accounts) to a young fledgling matte artist named Peter Ellenshaw who himself would assume the mantle of matte master following day's retirement in the early fifties.

Day's mattes here are wonderful, that is of course if I've correctly identified the mattes and not huge sets.  It certainly looks as though the exteriors were considerable in scale, with a couple of shots possibly being miniatures for camera moves impossible on a painting.  So lets take a look back at some examples of Percy Day's amazing work....

Special Photographic Effects - Walter Percy Day

Special Effects Supervisor - Bill Warrington

Matte Photography Supervisor - Wally Veevers

Matte Camera Operator - Tom Day

Visual Effects Design - Arthur Day

Walter Percy Day - known in the industry as 'Pop' Day - stepfather and mentor to Peter Ellenshaw is shown here painting on Laurence Olivier's HENRY V in 1944 - the year before CAESAR AND CLEOPATRA

Percy Day's painted vista of the port of Alexandria (I vaguely recollect)

A series of frames pasted together by Domingo Lizcano to illustrate a severe tilt down on what I assume could be a miniature, or even an actual constructed set.  The shot is so good it's very hard to work out.  If it were a miniature then Bill Warrington would have had alot to do with this effect.

Probably a significant set construction with distant city being painted by Day (?)

A magnificent effects shot whereby I'm guessing the matte line runs along above the lion statues at left and across the frame at approximately that same level.  If so it is utterly superb in camerawork, painting and compositing.

I think it's the Alexandria Lighthouse for memory - possibly one of the wonders of the world and the Pop Day painting is beautifully integrated into the live action footage here by effects cameraman Wally Veevers.

One of the numerous shots possibly achieved for real with expensive sets, or maybe matte art??

Again, the light and perspective are so convincing I'd tend to go with a foreground miniature perhaps?

The same here - a jaw dropping visual effect that could possibly be a meticulously set up foreground miniature perfectly blended onto the outdoor set.  I really don't know, but the shot is so damned good, with even the fire perfectly scaled.  If it is a painted matte I can detect what looks like a soft split running midway along the brickwork of the wall, up and over the statue and across just above the heads of the furtherest away people.

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KHARTOUM  (1966)

The Charlton Heston starred bio pic of General Gordon is quite good, and was Mrs Heston's favourite work that Chuck did.  A badly miscast Laurence Olivier, in leftover OTHELLO black face as an Indian was a bit farcical, not to mention racially insensitive, but was the done thing back then for reasons I never fully comprehended.

Now KHARTOUM is a good showcase for some of the best ever matte shots painted by Pinewood mainstay Cliff Cully - a painter who had been in the matte department at that studio since the mid forties working under Les Bowie and Joan Suttie, and presumably alongside a young Albert Whitlock.

Cliff, who's long retired, did alot of mattework for Pinewood over the years, particularly in the sixties and seventies before going out on his own to form Westbury Design and Optical, an effects house specialising in mattes, miniatures and optical effects with Cully's son Neil as effects cameraman and other up and coming effects people on staff such as Steve Begg, Terry Adlam, Steven Archer and Leigh Took.  One of the best matte shows the company produced were the terrific paintings for the Clive Barker horror film NIGHT BREED in the late eighties.

Cliff's mattework here is in my opinion his best, with the beautiful wide painted views of the city from atop the sand dunes simply wonderful.  Around that time Cliff employed an assistant painter, Charles Stoneham, (pictured at right painting on Richard Attenborough's GANDHI) who also would paint on numerous British films right up to THE DARK CRYSTAL and BRITANNIA HOSPITAL in the eighties.

Culley's long time associate Roy Field would have photographed the mattes and carried out the compositing.  Roy too was a real trooper in the British film industry for decades on other big matte shows such as CHITTY CHITTY BANG BANG and culminating in an Oscar for the wonderful SUPERMAN - THE MOVIE in '79.
The picture at left, taken in 1967 in the Pinewood matte department shows Field manning the 65mm matte camera while Culley touches up one of his large glass paintings for CHITTY CHITTY BANG BANG.

With that brief summary out of the way I cheerfully present the matte shots from Basil Dearden's KHARTOUM

A magnificent Cliff Culley painted vista that beautifully sets the flavour of the times.

Culley's city with separate subtly blowing palm frond elements added in foreground.

The classic and erroneous cliched 'binocular' effect - though Cliff's River Nile is terrific.

A key battle sequence has several atmospheric skies added by Culley and Field.

Another angle on the battle matte.

A grand wide vantage point, superbly painted by Cliff, with on close moving examination what appears to be small slot gags in a few areas to suggest waving palm trees near the city wall.  I think KHARTOUM was a 70mm presentation and as Pinewood was set up for 65mm matte photography I'd assume the elements and paintings would have received the old Ultra Panavision  treatment.

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A selection of matte painted scenes from Italy and Spain

THE MINOTAUR - matte painted composite by Joseph Natanson

Matte artist Joseph Natanson

Almost all of these frames are from films I've never heard of and are from the exhaustive collection of Domingo Lizcano who has spent years collating just such effects shots.  These frames are quite diverse and not all are strictly from the genre of epic covered in earlier blogs of this series, but the shots are terrific and I really want to give these matte artists some exposure.  I had no idea until I found Domingo's special effects site some years ago just how many films were produced over the years in Italy and Spain in particular with often considerable numbers of matte shots and trick photography.

Some of these films illustrated below fall into the 'sword and sandal' or 'peplum' genre - a genre I'll be the first to admit I just cannot personally abide.  However the beautiful matte paintings seen in many of these easily warrant coverage here (and beyond this mere blog  and in an official book on the topic of old school European visual effects in my mind).

Emilio Ruiz del Rio - 'the maestro' in my book!

I'll admit to knowing nothing about any of these films and knowing just a little on the visual effects wizards who produced these great shots, mostly gleaned from Domingo.  Three names figure prominently in the matte shots of most Euro period films made from the 1940's through to the 1980's - those being premier Spanish matte painter and visual effects designer, the truly great Emilio Ruiz, an innovator par excellance with a extensive career in matte work. Another key name being Joseph (Jozef) Natanson - a Polish born fine artist who trained in matte art under Walter Percy Day at Shepperton in the 1940's, painting on numerous British films including THE RED SHOES up to around 1954.  Both Ruiz and Natanson passed away within the same timeframe as I recall, just a few years ago.

The third name largely associated with trick shots and matte art was Italian cult director Mario Bava.  I was surprised to learn that Bava executed mattes and glass shots on a great number of his own films, such as the wonderful DANGER DIABOLIK and even on Dario Argento's INFERNO.  There are some dazzling examples that follow of some of Bava's glass shots from some Roman sword and sandal epics.

So....enjoy

THE FURY OF ARCHILLES (1962) Joseph Natanson matte shot - It's quite possible that Natanson painted the similar mattes of a Greek fleet for HELEN OF TROY as he was involved on that Warner Bros release, though based at Cinecitta at the time as well.  Joseph also painted on the huge Fox film CLEOPATRA, with fellow artist Mary Bone, created one of the vast panoramas of ancient Alexandria.

Also from FURY OF ARCHILLES - painted by Joseph Natanson.

Natanson glass shot from FURY OF ARCHILLES.

A Joseph Natanson  matte shot from THE STORY OF JOSEPH AND HIS BRETHREN

A Natanson matte from the fifties historic bio pic film FRANCIS OF ASSISI

Another Joseph Natanson glass shot, this time from the film COLOSSUS AND THE AMAZON QUEEN

HEROD THE GREAT - city glass shot by Joseph Natanson

Emilio Ruiz practically invented the notion of using foreground flat two-dimensional panels of art applied more often that not to sheets of aluminium carefully positioned to merge reality and fantasy into hundreds (or thousands) of flawless trick shot composites throughout his very long and very distinguished film career. Among the notable genre films that feature Emilio's great trick work are Ray Harryhausen's wonderful GOLDEN VOYAGE OF SINBAD (1974).

Emilio Ruiz foreground matte art from the 1958 film THE WARRIOR AND THE SLAVE GIRL

Another Ruiz masterpiece - THE LAST DAYS OF POMPEII - a 1959 version I never knew about till now.

A story unlike any other I suspect, MEDUSA AGAINST THE SON OF HERCULES (1962) Ruiz glass shot.

Another painted Ruiz effect, from the same film.

Emilio's painted city gates and walls from above titiled 1963 film.

In addition to these probable hundreds of Italian and Spanish films, Emillio worked stateside too on a number of films, often for producer Dino DeLaurentiis, whom I suspect he knew from Dino's European days.  Some of the films Ruiz painted on or created amazing foreground miniatures were DUNE, the two CONAN films, RED SONYA (with his miniature  of the skeleton bridge integrated with an Albert Whitlock matte painting of a foreboding sky) plus many shows for Enzo Castellari such as THE INGLORIOUS BASTARDS and EAGLES OVER LONDON - Tarantino's favourite director.

I don't know how many trick shots Emilio did, but it must number the thousands, and as far as I know he was still working practically up till his death in 2008.

Another wonderful example of Emilio's eye for the visual effect - with these two shots from SHEHERAZADE

The Charlton Heston picture ANTONY AND CLEOPATRA - final effect on screen...

...and Emilio Ruiz' foreground painting awaiting alignment for the camera.

A wonderful demonstration of the skills that made Emilio Ruiz Spain's secret weapon and a leading visual effects artist.

A matte deceptively not belonging in the period under discussion, but included all the same as a great work in progress.

One of numerous matte shots created throughout the career of noted  Italian director and writer Mario Bava, with this shot from a film called THE GIANT OF MARATHON

Finally, three matte shots executed by director Mario Bava for the film NERO'S MISTRESS

I really only knew Bava by his Barbara Steele films and horror, so this aspect of Mario is quite a surprise to me.

The third of three glass shots Mario Bava did for NERO'S MISTRESS

The world of Charles Dickens as depicted with the painted matte

The literary world of English author and novelist Charles Dickens produced many a classic narrative so readily identifiable in English literature.  The high end Victorian era morals and manners often played side by side with the grimy, unwashed and often ugly side of life was so much a part of Dickensian London.  Among his timeless stories many feature film adaptations have been made, both in Hollywood and in the United Kingdom and I have selected a handful of these films to illustrate that vivid Dickensian flavour as translated into, for the most part, endearing classic films by David Lean, George Cukor, David O'Selznick and others.

I seem to have difficulty finding many of the Dickens film adaptations on DVD or VHS here, as much as I'd love to see them, some such as NICHOLAS NICKLEBY, THE PICKWICK PAPERS and A CHRISTMAS CAROL for example are impossible (for me) to get a hold of.  What I do have here today are several wonderful films that work as literary masterpieces such as David Lean's wonderful GREAT EXPECTATIONS and the exceptional Ronald Colman version of TALE OF TWO CITIES among others that and are so successful in utilising the art of matte painting to tell those timeless stories.

In the thirties young entrepreneur and budding movie mogul David O'Selznick produced some fine Dickens films at MGM - DAVID COPPERFIELD and the aforementioned TALE OF TWO CITIES.  Among the people Selznick had around him on these two films was the highly regarded visual consultant and montage exponent Slavko Vorkapich (pictured here).  Vorkapich, a Yugoslav immigrant was held in extremely high regard (and no doubt suspicion by some dyed in the wool studio heads) for his creativity in visual stylisation on many pictures of the thirties and forties - an era when the credit 'montages by' were commonplace in on screen credit rolls. Being European, Vorkapich had an entirely un-Hollywood approach and ideals.  Seen as an intellectual who saw 'film' as much more than a mere commercial enterprise but as a form of high art when properly handled (what those manipulative, greedy power brokers running studios thought of him I'd love to know).  Selznick himself used Vorkapich as often as possible on many films to transform the mundane into the memorable.  I believe the look of those two Selznick versions illustrated here are to a large extent the result of Slavko's input - probably as much or more so than resident chief art director Cedric Gibbons who by contractual arrangement had himself acknowleged on far more MGM pictures than he ever actually worked on.

So, first up is the 1935 MGM version of DAVID COPPERFIELD - directed by George Cukor.  No special effects credit but probably under the control of James Basevi who ran the effects dept before moving over to Goldwyn around 1936 or so with his associate A.Arnold Gillespie taking over the role at MGM.  Warren Newcombe was probably a matte painter then, though maybe not the supervisor yet.  The MGM matte department was large and capable with a number of matte painters on staff, though who exactly at this time is unknown - possibly Rufus Harrington who was painting glass shots around that time, the father and son team of Anton and Edgar Kiechle and Jack Robson.  I assume Emil Kosa snr was there then too, and perhaps even New Zealand expatriot Ted Withers may have been too, though it's just speculation.  I hope you enjoy these great shots.

**For more on the painters at MGM see Domingo Lizcano's wonderful site and history of the people behind the shots.  Very highly recommended.

Many fine matte shots are seen in this 1935 version.

I'm not 100% sure about the shot on the right but I am sure the frame at left is a combination of studio set and plate of the cliffs and ocean - possibly with some painted extension to the house as well.

More very nice painted mattes from DAVID COPPERFIELD

A splendid matte with no visible blend nor giveaway - probably a soft, carefully worked match up.

There's just something wonderfully poetic about the design of thirties mattes that I just love.

The typical 30's and 40's glass shot so commonly required - the classic opera house or ornate theatre.

I'd bet my socks that most of this homestead is painted in, with just the door, pathway and little else built.

In addition to the matte paintings, DAVID COPPERFIELD features an extraordinary storm sequence, accomplished with a variety of photographic effects.  The sea appears to be a whipped up tank deluge on a large scale and the people are flawlessly integrated into this frightening scene.  Extremely impressive on the screen, believe me with the only really comparable storm/tank/process shots I can compare being Hitchcock's FOREIGN CORRESPONDANT with visual effects by Paul Eagler..

More from the storm - with actors swept into the tide.  It's so damned good I watched it around a dozen times and still have trouble picking it apart.  It 'looks' like soft mattes are possibly used in the foreground 'sea' with beautifully composited large scale miniature tank seas  added beyond.  There are a number of cuts in this sequence with different views and it looks brilliant.  Of course, if James Basevi was involved I'd understand it as he did similar work a year later on John Ford's THE HURRICANE with equally terrifying results.

The superb 1936 film version of the timeless tale with stunning matte effects throughout.

This show as well as being a joy to watch in every respect features many delightful glass shots.

Regrettably these are only from VHS so some quality is lost, but still impressive effects work shines through.

The dreaded and hated Bastille (with painted Paris surrounding it) - as depicted by the MGM matte department.

More views of The Bastille, with split screened in guards (far right) with painted area and plate of extras below.

"They were the best of times, they were the worst of times"

The tide has turned, the people have spoken.... are things that much better?

The most atmospheric effects shot in the film (middle) - and one of the most haunting images of that historic period.

Ronald Colman faces his executioner - a dazzling effects sequence done in a continuous shot moving up the guillotine with period Paris beyond, complete with perspective shifts etc - the blade drops - the camera trucks in to the setting sun with the notion that things can only get better(?)  A very well executed (!) effects shot.

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David Lean's masterpiece, GREAT EXPECTATIONS (1946) - a superb telling, beautifully acted and stunningly shot by Guy Green.  Here are two conceptual sketches by art director  John Bryan, who along with lighting cameraman Green recieved Academy Awards for their work on this film.  The sketch at left is for visual effects purposes and is the layout for the matte shot which appears later in the film (see below)

Almost certainly painted matte set additions of olde London towne.

Although there was no special effects credit on the film some sourses state that esteemed British matte painter Walter Percy Day may have painted on this show, I'm not so sure as Day's profile was sufficiently high enough that he surely would have received credit here.  Some suggest that former Day protegee Les Bowie could have painted these shots and I tend to go along with that notion as Bowie was at Rank during that time, just starting out, as were fellow matte painters Albert Whitlock, Peter Melrose and Cliff Culley.  Culley may have had a hand in these too.  The above ballroom is generally regarded as Les Bowie's first glass shot.

The glass shot at left is the one I referred to above with John Bryan's production sketch.  The shot at right is interesting as it involves a pan and to me suggests a hanging miniature of the bow of the boat and foreground wharf pilings perhaps.

A beautiful painted coutroom at the Old Bailey with exciting use of perspective and expressionist light.

Again, exciting use of perspective and carefully modelled light in this exquisite painted view of the gallows at Tyburn.

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Onto another fine David Lean adaptation, though not quite as good as GREAT EXPECTATIONS, this 1948 version of OLIVER TWIST was interesting to those of us outside of the United States as that country had significant 'issues' with the portrayal of Fagin by Alec Guiness, somehow interpreted as anti-semetic or some such nonsense.  As a result the film was only ever exhibited Stateside in a heavily edited format for decades to appease certain groups I believe, which to the rest of the world is pretty laughable.  Anyway, the film, again photographed by Oscar winner and Lean collaborator Guy Green is a sight to behold and makes one hark back to an error when that film stock choice was so well utilised.  The opening set piece has extraordinary night sky effects, possibly a combination of soundstage backings, glass shots and maybe carefully lensed actual cloudscapes I'm guessing. 

The special effects credit 'Joan Suttie' and 'Stanley Grant' are a bit of a mystery to me I'm afraid.  Again Walter Percy Day has been documented in some places as being matte artist but again I feel that day would have received screen credit if he were involved.  I'd have to go along with fellow matte enthusiast Domingo Lizcano and agree that in most likelihood Les Bowie and maybe Cliff Culley would have been matte artists on this show again.  IMDB lists Joan Suttie as a matte painter on several British films and Stanley Grant as a matte cameraman.  I can assume from that that Suttie was one of Percy Day's numerous trainees, much like Judy Jordan.  It's unlikely that they were running the effects unit then as Bill Warrington surely was (for several decades).  A mystery.

Another wonderful pre-production sketch for an evocative visual effects shot by art director  John Bryan.

The shot at upper right I don't know if it's a glass shot, it's possibly a set.  The rest are effects shots I'm sure, with the lower left cloudscape being far to precise to John Bryan's sketch to be sheer chance by a second unit shoot.

Two variations on the same painted view of the slums around St Pauls.  Again, the perspective lines are extreme and lend an other-worldly feel to the proceedings which really works well I feel.

The shot at left I think is a set with the suns rays added by glass art probably.  The view at right is probably a forced perspective actual set, and like many others has that extraordinary 'twisted' look about it...no pun intended.

Another great John Bryan production sketch.

Now.... the joys of having established this blog of mine is the totally unexpected and often thrilling artifacts that are passed on to me by people with connections to the world of movie magic.  I was extremely fortunate recently to acquire a whole bunch of extremely rare, never seen before old matte shot log sheets from the old Rank special effects department.  Among the treasures within were some great, detailed accounts of the matte and miniature effects work from OLIVER TWIST with unique shot by shot breakdowns as illustrated above.  I've taken care to reproduce the full original log entry complete with the punch holes in the side (for those of us who cherish such antiquities.  A very special thanks to both Leigh Took, former associate of old time Rank matte painter Cliff Culley (who would have worked on this show with Bowie and maybe Whitlock as well) and to my friend Dennis Lowe for getting this material from Leigh for me in the first instance.  I can't thank these gents enough.

A direct frame enlargement of the final composite from the 35mm work print.

Another of these gems - with description suggesting a full painting was used here with a separate overlay ray element.

Once again, a print directly taken from the 1947 35mm work print... for your viewing pleasure.

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Dirk Bogarde was good in the 1958 Ralph Thomas version of TALE OF TWO CITIES at Pinewood, and the film overall was pretty good.  Not so for the matte effects which to my mind were just plain awful.  There were just the two matte paintings in the film (the lack of expansive period mattes made the film somewhat claustrophobic) and as we can see, these views of The Bastille just don't cut it!  Surprisingly poor design and execution for a big budget Rank film, these shots really let the whole show down.  No credit here but probably Cliff Culley.

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My final matte shot is the only other I could come up with, this being from a mid eighties version (possibly for television) of A CHRISTMAS CAROL.  The matte artist on this was Charles Stoneham, a former apprentice under Culley and closely associated with the effects of Roy Field and John Grant.