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Post by topbilled on Dec 18, 2022 2:18:19 GMT
I've been wanting to create a thread about this prolific art designer. His talent is evidenced in many 'A' pictures at RKO during the 1930s and early 1940s. After he left the studio in 1943, he moved over to Columbia. But he was back RKO in the mid-50s, during the studio's final years.
Anyone else a fan of his work..?
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Post by sepiatone on Dec 18, 2022 17:14:54 GMT
Some examples of his work or a partial filmography might help those of us whose only familiarity with art designer prolificity is GEDRIC GIBBONS.  Sepiatone |
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Post by topbilled on Dec 18, 2022 17:19:37 GMT
Some examples of his work or a partial filmography might help those of us whose only familiarity with art designer prolificity is GEDRIC GIBBONS. Sepiatone
Since it would be too long a list to post here, I will share the six RKO films for which he received an Oscar nomination. As well as the link for his complete filmography on the IMDb.
Oscar noms: THE GAY DIVORCEE (1934); TOP HAT (1935); CAREFREE (1938); LOVE AFFAIR (1939); MY FAVORITE WIFE (1940); and CITIZEN KANE (1941).
Filmography: www.imdb.com/name/nm0689026/?ref_=nv_sr_srsg_0 |
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Post by sepiatone on Dec 18, 2022 17:29:27 GMT
What this forum needs is a "thank you" response. So I guess I'll have to post it. Thank You, Top. And with just those few movies mentioned I have to say I also like his work. Sepiatone |
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Post by vannorden on Dec 24, 2022 2:06:45 GMT
Huge fan! Some say RKO possessed an unidentifiable style compared to the other big studies. I balk at that notion mainly due to RKO’s large-scale art department in the Van Nest Polglase and Carroll Clark era. For me, RKO stood out for its lavish modern set decor, concocting Art Deco, Neoclassical, and Streamline Moderne. They had what was known as the B.W.S. (Big White Set), as evident in the Fred and Ginger musicals, that created visual wit and arresting sharp contrasts in black-and-white decor, making them unrivaled in style and stark elegance. Additionally, I love Poglase's expressionistic contributions to The Stranger on the Third Floor, and his work at Columbia was equally stunning, especially the decadent couth of Gilda (1946).
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Post by topbilled on Dec 24, 2022 17:06:41 GMT
Huge fan! Some say RKO possessed an unidentifiable style compared to the other big studies. I balk at that notion mainly due to RKO’s large-scale art department in the Van Nest Polglase and Carroll Clark era. For me, RKO stood out for its lavish modern set decor, concocting Art Deco, Neoclassical, and Streamline Moderne. They had what was known as the B.W.S. (Big White Set), as evident in the Fred and Ginger musicals, that created visual wit and arresting sharp contrasts in black-and-white decor, making them unrivaled in style and stark elegance. Additionally, I love Poglase's expressionistic contributions to The Stranger on the Third Floor, and his work at Columbia was equally stunning, especially the decadent couth of Gilda (1946). |
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