Word: gaudio
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Dates: during 1940-1940
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...they might all have gone down in a sea of verbiage without the mood of pursuing doom running from scene to scene. For this, the bows may well go to Cameraman Tony Gaudio, whose slanting shadows and subdued photography make the tropic atmosphere more ominous than the leer of any villain...
...tone is there from the start when Gaudio's camera looks on the lifeless landscape of the rubber plantation. Moving slowly, it picks up the dripping of tapped rubber trees, a thatched hut filled with sleeping natives, another hut hung with drying rubber strips, glides beside a fence to where a pigeon is drowsing. The silence is heavy with long, sharp shadows. Suddenly a shot splits the still air, the pigeon flaps off, a figure staggers onto the porch of a house in the background...
...Gaudio's fine photography represents the kind of perfection that is automatically expected from the skilled, unpublicized, tight little fraternity which grinds Hollywood's cameras. Directors, actors, writers, producers are expected to falter and blunder now & then. But the cameraman's record must be faultless; he must go quietly about his business, supervising the lighting, arranging camera angles, advising the director on effective touches. He must operate his 425-lb. contraption of multi-lensed, cog-wheeled intricacies with as much dexterity as if it were a Leica. With shooting time costing $20 a minute and with...
Joseph Valentine (Guiseppe Valentino), who calls himself a "dago wop," has followed Deanna Durbin's cinema growth from a pup. Most great reputations in the business are built on subdued arty effects -the specialties of Toland, Gaudio and chunky Chinese James Wong Howe-but Valentine has won his colors with gaiety. The lilt he catches in the gait of Deanna Durbin swinging along, singing a song, is the difference between making a musical bright and fluffy or allowing it to settle like cold soufflé. Dark, athletic, with a Cupid's-bow mustache, Valentine is a leader...
Late in 1931, Tony Gaudio had a spat with Director Lewis Milestone during the filming of The Front Page, walked off the set in a huff. For a year he couldn't get a job or even an interview despite his standing as one of the top cameramen in town. When Brother Jack Warner, whom he calls "Mr. Warner Brothers," finally hired him to shoot screen tests, Tony discovered the cold shoulder came from a whispering campaign that his eyesight was failing-the kiss of death for any cameraman. The rumor finally dispelled, Tony is now well back...