"Rebecca" - Oscar nomination for Cosgroves' matte effects

Cosgrove recieved Oscar nominations for "GWTW" (1939), "REBECCA" (1940), "PRIDE OF THE YANKEES" (1942), "SINCE YOU WENT AWAY" (1944) and "SPELLBOUND" (1945).

Here are some very nice matte paintings, miniatures and split screen composites from Alfred Hitchcocks' wonderfully atmospheric Oscar winner for best picture "REBECCA" produced by David O'Selznick.

Enjoy


above - Manderlay possibly a matte painting in this view, or a combination miniature / painting composite.
It looks mostly painted to me.

Some of the many interior scenes requiring matte extensions to furnish ornate ceilings and chandeleirsKey matte artist was Albert Maxwell Simpson, an artist who had previously worked for Cosgrove on "GWTW" and whose paintings were in two of the 14 (!) special effects nominated films for 1940 - this and "Swiss Family Robinson" for RKO.

According to American Cinematographer magazine for scenes to include matte paintings by Al Simpson, Clarence Slifer provided art director Lyle Wheeler with 11"x14" photo blowups of shots for Wheeler to sketch in the desired effects. The matte artist used these as guides to apply upper walls, ceilings, chandeliers and architectural details to the partial exterior sets.

above - a beautiful composite shot with live action foreground, painted town, waterfront, hills and sky and possibly a seperate element of water combined.

A Clarence Slifer split screen composite with studio set and a seperately filmed Carmel location.
above - a rare artifact from "Rebecca' recently auctioned. Purported to be a matte painting though I wasn't able to find this particular shot/view in the film. It may be preproduction art due to use of colour artwork? Still a wonderful souveneir though.
The burning of Manderlay - some shots live action full size sets, some miniature and others optical composites of falling flaming debris and such using out takes from the burning of Atlanta sequence from "GWTW". A terrific sequence brilliantly photographed by George Barnes, Harry Stradling Sr, Lloyd Knechtel (another"Kong" optical fx veteran) and Clarence Slifer.
above - a photo of the Manderlay miniature on the effects stage at Selznick. This was an enormous miniature that almost filled the previously vacant stage and was used primarily for close ups and detail. A second miniature on a smaller scale which included surrounding countryside and winding roads was constructed on another stage.

"SINCE YOU WENT AWAY" Jack Cosgrove matte shots

The 4th of five Oscar nominations that Jack Cosgrove recieved throughout his career "SINCE YOU WENT AWAY" made in 1944 was another showcase for the matte artists' ability in expanding limited sets and wartime budget constraints to broaden the directors' canvas considerably.

A limited set, quite typical of the time where it was often simply left up to the matte painter to expand where neccessary - and invisibly to boot.

 The beautiful sky above I can't precisely say is a matte but my feeling is that IT IS.  A magnificent composition that many an art director or cinematographer would die for.  Skies and angry cloudscapes were a Cosgrove specialty in many films.

 As pointed out in Craig Barrons' book "The Invisible Art" wartime tightening of the belts meant that even props such as the jeeps and military trucks were also added by the matte painter in several shots.

The airforce base - entirely created with paint and backlit slot gags.

 Matte artist Jack Shaw painted these broad interior views adding to an extremely limited soundstage set.

Practically all painted with just the people in the original plate photography.  There is a curious matte line weave which almost suggests that the standing group at the rear were again added seperately?

 The wonderfully atmospheric hayride scene aided considerably by Cosgroves storm clouds approaching.

Matte painters on this show were Spencer Bagtatopolis,  Jack Shaw and Cosgrove himself.

 above - the magnificent hospital matte shot - one of the best in the film with a rare view of the original painting on masonite above which recently came up for auction.  If ever I could own a Cosgrove painting then this would be it.

Matte painter Spencer Bagtatopolis created this lovely shot which according to effects cinematographer Clarence Slifer was painted very quickly and perfectly matched the requirements of a great matte shot.

Two frames from Craig Barrons' wonderful book "The Invisible Art" which I include as they were shots I couldn't find in the DVD itself so maybe they hit the cutting room floor?  The shot with the jeep is fabricated and the truck on right is actually painted in by the matte artist(!!)

"DUEL IN THE SUN" - Jack Cosgrove & Clarence Slifer

As I have a large amount of great matte shot material from many Selznick productions I felt that a look back at "DUEL IN THE SUN" (1946) was in order. Other Selznick trick shots may follow in later posts. Enjoy :)

Another classic Selznick film with wonderful matte paintings supervised by Jack Cosgrove.
Made during the final years of Selznick International Studio (1946).
A trio of fine cameramen shot the picture - Lee Garmes, Ray Rennahan and Harold Rosson.


Some of Cosgroves' trademark dramatic painted skies - and some of his best ever work i.m.o.

Again Clarence Slifer was photographic effects director of photography.Nice cell animation lightning effects accentuating mood.

Classic split screen mattes to extend basic settings to a more dramatic composition and mood.Effects cameraman Slifer worked on the camera crew of Willis O'Briens' "KING KONG" and it's sequel among many other films. Early matte heavy productions for Selznick such as "THE PRISONER OF ZENDA" and "THE GARDEN OF ALLAH" benefitted from Slifers' technical acumen and camera savvy.


Another classic washed looking Cosgrove sky seen above - a beautiful effects shot.

I'm pretty sure just about ALL of the western town above is painted in - even the foreground buildings.

Upper right portion all painted by Jack Cosgrove.


The early stage of a vast and elaborate pullback engineered by Clarence Slifer on his aerial image optical printer. The shot starts in very close on an aerial image of Gregory Peck and Jennifer Jones faces then pulls out to reveal a totally fabricated mountain ledge, hills, valley and sunset - all manufactured in multi-plane in the Selznick special effects department.

The middle section of the grand pullback where midground and background appropriately shift in perspective during the camera move.

The end stage of the pullback with a subtle push IN to reveal the valley.

above - a paste up of the key frames from the superbly shot sequence that would have tied up Slifers' printer for quite some time I'm guessing.

The original Cosgrove matte painting used for the closing shot, or at least what is purported to be the matte.  I personally feel it's actually an oil sketch by either Cosgrove or the art director from which the final matte painting will be made, as it looks far too sketchy for a matte from that period where great detail was generally applied.

above - the Selznick photographic effects dept around the time "DUEL IN THE SUN" was produced. Left to right: Oscar Jarosch (engineer & machinist), Clarence Slifer (director of photography:special effects), Jack Shaw (matte painter), Harold Grigg (camera operator), Spencer Bagdatopolis (matte painter), Hans Ledeboer (matte painter) and Owen Marsh (camera assistant).

above - matte camera operator: Harold Grigg and director of effects photography Clarence Slifer