I'll make this my final posting in the series dedicated to epic films, as I have so many other topics I wish to cover. I have terrific mattes from a number of Disney pictures, a pictorial on mattes and miniatures for Hollywood War Pictures, a look at RKO's Visual Effects Department, an in depth retrospective on the Shepperton Studios Matte Department and more still on the back burner.
This edition of my 'epic' coverage takes a look at some sensational matte painted effects from mostly lesser known films that fall way outside of the typical big budgeted Hollywood extravaganzas we usually associate with this particular genre. Today's posting is somewhat of a mixed bag, in as much as the first two films aren't really films at all - they were both made for television miniseries, although one did receive theatrical release in Europe under a different title. The first two 'films' in today's lineup are superb showcases of the artistry of Albert Whitlock and his tight knit team at Universal Studios.
Also on show here is a small sample of the work of Whitlock's former Disney mentor
Peter Ellenshaw and another of
Pop Day's former trainees,
Ivor Beddoes. For more on Beddoes' astonishing matte work in THE RED SHOES, click
here. Finally, I have some mysterious uncredited mattes from two big Anthony Mann historical shows, filmed in Spain and almost certainly painted by Spanish or Italian based effects artists, which are certainly worth a look. I've also somewhat belatedly added some great silent era matte effects by
Paul Detlefsen, Paul Grimm and
Ferdinand Pinney Earle in an effort to cover as many bases as possible.
MASADA (aka THE ANTAGONISTS) (1982)
MASADA was a five hour miniseries made by Universal in 1982 and shot on location in Israel. Outside of the United States this marathon show was re-cut down to a two hour feature and retitled THE ANTAGONISTS, which if you've seen the very long television version would indeed be a welcomed alternative (and a much more descriptive title). There are a considerable number of fine Whitlock matte shots in MASADA on which Al's long time assistant Syd Dutton shared all painting duties, with some paintings having the brushwork of both artists.
Whitlock's long time cameraman Bill Taylor composited the shots, some of which were elaborate pan and tilt moves from live action across to glass painted cityscapes with additional fire elements added.
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| An extraordinary matte composite revealed on screen with a complicated not to mention impressive camera move |
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| The inferno blazes - entirely created on the matte stand in Whitlock's department with extensive painted city detail, artificially manufactured flame and smoke effect overlays and actors on a blue screen stage. |
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| There are many mattes of differing views of the desert encampment and the gradual stages of construction of the huge ramp which will eventually reach the summit of the mountain though I have only included some key examples here. |
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| The view at right is a wide panning shot with massed army - in part costumed extras while the rest are painted. |
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| Upper left - a terrific Albert Whitlock night painting of Rome with, interestingly, a very Ellenshaw-esque looking sky - the likes of which may be seen frequently in so many Disney shows such as DAVY CROCKETT and THE ABSENT MINDED PROFESSOR - both of which Whitlock worked on alongside Ellenshaw. |
A.D (ADDIS DOMINI) (1985)
I've not managed to see this television film unfortunately, partly due to the near impossible availability of the film in any official format, thus I most grateful to Thomas Thiemeyer for these very rare frames from what appears to be outstanding Whitlock matte work. The tele-film is noteworthy for being the recipient of Best Special Visual Effects Emmy 1985 - a nice swansong for Whitlock who would officially retire from Universal shortly thereafter although he kept active for the next eight or so years as far as his health would permit, providing consultation and hands on brush work for a number of Illusion Arts films such as COMING TO AMERICA, NEVER ENDING STORY 2, THE GATE and GREMLINS 2 to name a few. It was gratifying to see not only Whitlock receive the Emmy, but also most of his unit as well: Bill Taylor, Syd Dutton, Dennis Glouner, Lynn Ledgerwood, Larry Schuler and Mark Whitlock
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| Photo real matte shots of ancient Rome.... who says oils on glass aren't as convincing as a CG recreation? |
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| More sensational Emmy award winning matte shots from A.D (ADDIS DOMINI) |
SPARTACUS (1960)
I realised almost too late that I had previously omitted one of the greatest single epic movie matte shots of all time... Peter Ellenshaw's magnificent glass shot of Rome from Stanley Kubrick's SPARTACUS (1960). Now, the fascinating thing here is that both Ellenshaw and Whitlock had a hand in creating this wonderful matte as some sort of very unusual Disney rescue mission. At that time Disney didn't provide services to other studios, so just how this single shot came about I'm unsure. According to Craig Barron, "Whitlock started this painting but for whatever reason was unable to finish it - whereby Ellenshaw took it over and completed it. It certainly has an Ellenshaw look and feel to it". The common opinion is that despite the colourful history it is in fact Peter's painting. Whitlock himself was quoted as saying that it was common at Disney for Ellenshaw to rework or improve upon the paintings of the other artists.
When interviewed for the book The Invisible Art Ellenshaw told Barron of being badgered repeatedly by Kubrick with his nightly 3.00am phone calls just to see how the Rome painting was coming along! Many years later Kubrick wrote to Ellenshaw on another matter and specifically made mention of Peter's SPARTACUS painting and just how delighted he had been with it.
Contrary to popular belief, SPARTACUS had more than just the one matte shown here - in fact there are around a dozen other matte shots in it, though none as spectacular as Peter's solitary contribution, completed by
Russell Lawsen, Universal's resident matte painter. Most of Lawsen's SPARTACUS mattes may be seen in my retrospective tribute to the artist
here.
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| Peter Ellenshaw's great SPARTACUS shot being admired by it's proud creator, with pictures of painted detail, live action plate with the same group of extras duplicated twice to fill out the crowd and the finished composite. |
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| Former ILM staffers, matte artist Chris Evans and cameraman Craig Barron reflect on Ellenshaw's masterful handling of paint and light in the great SPARTACUS glass shot during a special evening at the A.M.P.A.S |
THE LONGSHIPS (1964)
Ivor Beddoes was an interesting fellow - a former ballet dancer turned sketch artist turned matte painter turned conceptual artist. Beddoes was taught the intricacies of matte painting by British master
Walter Percy Day and painted on two Michael Powell pictures BLACK NARCISSUS (1947) and
THE RED SHOES (1948) and thereafter one of
Wally Veevers painters at Shepperton in the fifties. Beddoes left to do freelance matte and illustration work on films such as ATTILA THE HUN and the first two SUPERMAN films. Beddoes passed away just a few years ago
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| These matte shots are really very convincing with beautiful matching of light and hue. |
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| THE LONGSHIPS - directed by noted British lighting cameraman Jack Cardiff with mattes painted by Ivor Beddoes. |
FALL OF THE ROMAN EMPIRE (1964)
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| The Sophia Loren - Samuel L.Bronston epic featured this uncredited though well executed tilt down matte shot. |
EL CID (1961)
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| Another uncredited matte painted ceiling, this being from the Charlton Heston picture EL CID. Both this FALL OF THE ROMAN EMPIRE and EL CID were directed by Anthony Mann and shot in Europe suggesting fx work completed there. |
DANCER OF THE NILE (1923)
I've written a little previously on my silent era BEN HUR posting about pioneering matte painter and epic visionary
Ferdinand Pinney Earle and his contributions to what we know as matte painting. Earle was without a doubt one of the two guiding lights in the development of this process - the other light being Earle's industry compeditor
Norman Dawn. The two were, by all accounts arch rivals in seeking ownership of the glass painting process and fought many a battle in the courtrooms in an effort to decide one way or the other.
These examples are from one of Earle's big biblical productions, directed and produced as far as I'm aware, by Earle himself. To the best of my knowledge, DANCER OF THE NILE is one of those many 'lost' films from Hollywood's infancy, with just still images surviving. In my extensive
Tribute to Warner Bros Stage 5 effects unit blog I covered the work of
Paul Detlefsen, one of the industry's most experienced matte painters. To recap, Detlefsen got his start in matte art through Earle on another lost film THE RUBAIYAT OF OMAR KHAYYAM (also 1923) and continued his apprenticeship on this film, DANCER OF THE NILE and continued on with a long and illustrious career both in matte work and later in popular fine art.
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| A scene from DANCER OF THE NILE with the entire scene a Detlefsen painting except the 'wedge' of live action. |
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| Once again, a beautiful full frame Paul Detlefsen glass painting with minimal live action. |
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| DANCER OF THE NILE extensive Detlefsen matte art. |
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| An extremely rare photograph of the actual Detlefsen glass painting with the assistant director and a cast member posing up front. I am quite surprised at the sheer size of this matte as most of that era were very small, which makes me wonder if it was indeed a painting intended as an in camera glass shot as opposed to a composite matte shot? |
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| Visionary matte artist and film maker Ferdinand Pinney Earle preparing one of the dozens of matte paintings for his film THE RUBAIYAT OF OMAR KHAYYAM (1923) |
NOAH'S ARK (1929)
I briefly touched upon NOAH'S ARK in my
Warner Bros tribute, though have included another rare frame here. I've not seen the film, though would love to if the matte shots and the odd old clip are anything to go by.
Paul Grimm was matte painter on this and many other silent era films, having started in the industry like so many others as scenic backing painter as early as 1919. Although he lived until 1974 Grimm had had enough of the moving picture industry and retired just a few years after sound came in, leaving for good in 1932 to pursue a living as a fine artist who's works still fetch good prices.
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| Classic use of the age old in camera glass shot to add tops to partially constructed sets. |
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| An iconic image from the silent era of grand, hopelessly over expensive productions and screen magic. |
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| Another terrific Paul Grimm glass painting from Michael Curtiz' NOAH'S ARK (1929) |
THE TEN COMMANDMENTS (1923)
I don't have any photographic effects shots from the first TEN COMMANDMENTS - only these old articles from Popular Mechanics magazine from 1923 which spell out the processes used to part the Red Sea the first time around.
Roy Pomeroy was photographic effects chief on this show with
Fred Moran as his assistant. The numerous travelling matte composites were supervised and carried out by
Frank Williams - the leader in such technology at the time - in fact the
only avenue for composite photography as far as I'm aware. For more on Williams, visit my blog on the silent film SUNRISE.
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| Sorry about the quality - it's all I have. I'm told that the final result resembled two enormous mounds of quivering jelly. |
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| UPDATE!... some frames from the original Roy Pomeroy orchestrated Red Sea set piece from the old film! Actually, upon viewing the sequence clip I can say that I was very impressed with the manner of execution. |
RICHARD THE LION HEARTED (1927)
The final silent era glass shot, and in fact the last entry for the Epic films series, is this terrific uncredited glass painting from the silent Douglas Fairbanks adventure RICHARD THE LION HEARTED.
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| I have no information as to who did this shot - possibly Ferdinand Earle, Paul Grimm, Paul Detlefsen or Conrad Tritchler - all of whom painted during the silent era. No idea really, but enjoy it anyway. |
I've always had a soft spot for this film ever since seeing it on it's first release, which in itself was something of a compromise with my older cousin who didn't want to see such a kiddie film and much preferred to see THE BATTLE OF BRITAIN which happened to be showing just across the street! What to do? My Auntie decided that the only outcome which would suit both defiant kids was for the three of us to catch the 11.00am screening of THE LOVE BUG at the magnificent 2200 seater Civic theatre, and afterward to cross the road to see BATTLE OF BRITAIN at the 2.00pm session at the almost as magnificent St James theatre, Auckland. 
Anyone familiar with my blogs will know how I feel about the work of Peter Ellenshaw. The master matte painter and production designer was semi-retired for a period from the late sixties and much of the seventies so that he could pursue his fine art career. Throughout this period to a large extent matte painting duties were handled by studio matte department head Alan Maley with long time departmental associates Jim Fetherolf and Constantine Ganakes on staff. Ellenshaw did come back to work on THE LOVE BUG as conceptual designer of all of the effects shots and, as matte painter to work through the sheer number of matte effects required.
Disney had always been near pathologically gung ho on shooting huge percentages of their sixties and seventies films on soundstages and integrating background action in post production via their refined yellow screen process -though I've never quite understood why? Pictures like the later ISLAND AT THE TOP OF THE WORLD (1974) is nothing but sodium and painted matte shots! THE LOVE BUG, as mentioned above, contained a record number of sodium shots, not only for the auto racing background plates but also practically every scene which takes place outdoors involving dialogue. This was so common in Disney's comedies and one can just gasp at the volume of shots thrown at Eustace Lycett and Bob Broughton on each production. In an interview Lycett said "..by using travelling mattes we were able to avoid, almost entirely, taking the principal actors on location. We had two scenes with Dean Jones in San Francisco and a couple with the principals at the Paramount ranch, otherwise all of the first unit photography was done all right here on the lot". When asked about the shooting of the plates, Lycett commented ..."There were so many backgrounds required that I personally went along on each location to supervise and record the background data on each shot so that we could correctly match the foreground action when we shot here on the sodium stage. We also set up a closed circuit TV system on the stage so that we could run the backgrounds on monitors and cue the actors and crew while shooting. This picture ended up with around 350 travelling matte shots and close to 50 painted matte shots, which was a record for us at the time".
