512:, Welles and Toland (among others) insisted that Welles gave lighting instructions that fall normally under the director of photography's responsibility. Many of the transitions in the film are done as lighting cues on set (such as the transition at the opening of the film from the outside of Xanadu into Kane's bedroom for his death), where lights are dimmed up and down on stage. Apparently, Welles was unaware that one could achieve the effects optically on a film so he instructed the crew to dim the lights as they would have done on a theater production, which led to the unique dissolves. Different areas of the frame dissolve at different times, based on the lighting cue. However, the visuals were truly a collaboration, as Toland contributed great amounts of technical expertise that Welles needed so that he could achieve his vision. Years later, Welles acknowledged: "Toland was advising him on camera placement and lighting effects secretly so the young director would not be embarrassed in front of the highly experienced crew."
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741:— an indication of the high esteem the director held for his cameraman — Welles also gave him a cameo in the film as the reporter who is slow to ask questions when Kane returns from Europe. Welles called Toland: "the greatest gift any director—young or old—could ever, ever have. And he never tried to impress on us that he was performing miracles. He just went ahead and performed them. I was calling on him to do things only a beginner could be ignorant enough to think anybody could ever do, and there he was,
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proud. It was a shot of a face three inches from the lens, filling one-third of the left side of the frame. Three feet from the lens, in the center of the foreground, was another face, and then, over a hundred yards away was the rear wall of the studio, showing telephone wires and architectural details. Everything was in focus, from three inches to infinity".
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Ogle, Patrick “Technological and
Aesthetic Influences Upon the Development of Deep Focus Cinematography in the United States,” Screen vol. 13, no. 1, Spring 1972. p. 95-96. Among the many technical advances discussed by Ogle in his article is the “Vard” opticoating system, where chemicals are applied
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But Toland strongly disliked this technique, since he felt he was "duping," (i.e. a copy of a copy) thereby lowering the quality of his shots. Thus other shots (like the shot of Susan
Alexander Kane's bedroom after her suicide attempt, with a glass in the foreground and Kane entering the room in the
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In Toland's lighting schemes, shadow became a much more compelling tool, both dramatically and pictorially, to separate the foreground from the background and so to create space within a two-dimensional frame while keeping all of the picture in focus. According to Toland, this visual style was more
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came to my office and said, "I want to work in your picture. My name is Toland." And I said, "Why do you, Mr. Toland?" And he said, "Because you've never made a picture. You don't know what cannot be done." So I said, "But I really don't! Can you tell me?" And said, "There's nothing to it." And
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For instance, both movies contain shots that create an artificial lighting situation such that a character is lit in the background and walks or runs through dark areas to the foreground, where his arrival triggers, off-screen, a light not on before. The result is so visually dramatic because a
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Just before his death, he was concentrating on the "ultimate focus" lens to make near and far objects equally distinct. "Just before he died he had worked out a new lens with which he had made spectacular shots. He carried in his wallet a strip of film taken with this lens, of which he was very
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Sets, both interiors and exteriors, were lit mostly from the floor instead of from the rafters high above. A radical departure from
Hollywood's traditional lighting, this technique also took much longer to execute, thus contributing significantly to production costs. However, the effect was
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Both directors, Welles as well as Ford, put Toland's credit as cinematographer on screen at the same time as their own credit as director (director/producer in Welles's case), an unusual and conspicuously generous tribute; in both films, Toland's credit was also the same size as the
821:(1943). This documentary of the attack on Pearl Harbor, which Toland co-directed with John Ford, is so realistic in its restaged footage that many today mistake it for actual attack footage. This 82-minute film was trimmed by censors into a 20-minute version, which took the
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to allow a wider range of movement, especially from low angles. ″It was Toland who devised a remote-control system for focusing his camera lens without having to get in the way of the camera operator who would now be free to pan and tilt the camera."
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character moves, only barely visible, through vast pools of shadow, only to exit the shadow very close to the camera, where his whole face is suddenly completely lit. This use of much more shadow than light, soon one of the main techniques of
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Cinematographers", the panel was asked to name two or three other cinematographers, living or dead, who had influenced their work or whom they considered to be the best of the best. Each panel member cited Gregg Toland first.
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before the United States' entry into World War II, Toland was recruited to work in the agency's film unit. Toland was commissioned as a lieutenant in the Navy's camera department, which led to his only work as a director,
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Lens apertures employed on most productions were usually within the f/2.3 to f/3.5 range; Toland shot his scenes in between f/8 and f/16. This was possible because several elements of technology came together at once: the
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to the lenses enabling an increase in speed such that the lens can be further stopped down, creating more depth of field. Developed at
Caltech with the input of Toland, they were scarce before their use in
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so ceilings would be visible in the frame by stretching bleached muslin to stand in as a ceiling, allowing placement of the microphone closer to the action without being seen in frame. He also modified the
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of 100. Toland had worked closely with a Kodak representative during the stock's creation before its release in
October 1938, and was one of the first cinematographers using it heavily on set.
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to separate the various planes on the screen, creating an impression of space as well as stressing what mattered in the frame by leaving the rest (the foreground or background) out of focus.
638:, a device which Dunn improved upon over the years, which explains why foreground and background are both in focus even though the lenses and film stock used in 1941 could not allow for such
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Corp BNCs which were made before the World War II embargo on the manufacture of new production cameras (excepting those intended for the U.S. Army Signal Corps and U.S. allies).
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performed no greater function than that of forcing people to focus, much in the fashion of Toland’s camera, on all the elements that constituted the reality of the times.
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The results of a survey conducted in 2003 by the
International Cinematographers Guild placed Toland in the top ten of history's most influential cinematographers.
541:(1940), Toland leaned more heavily on back-projection to create his deep focus compositions, such as the shot of the island women singing to entice the men of the
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strikingly more realistic, since light sources placed closer to the characters allowed softer lighting, which lights placed far above the set could not produce.
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light was beginning to be used. By utilizing these lights with the faster stock, Toland was able to achieve apertures previously unattainable on a stage shoot.
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Toland got his start in the film industry at the age of 15, working as an office boy at the Fox studio. He became an assistant cameraman a year later.
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is similar to many of Welles's other films, and hence should be considered the director's work. Nevertheless, the Welles movies that most resemble
590:, the cameras and coated lenses used were of Toland's own design working in conjunction with engineers from Caltech. His lenses were treated with
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Wallace, Roger Dale “Gregg Toland—His
Contributions to Cinema,” University Microfilms International, Ann Arbor, 1976. p. 35
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774:'s photographs, achieving a rare (for Hollywood) gritty and realist look. For one of his final projects, Toland turned to
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495:, Welles told the story of how he met Toland, whom Welles considered "the greatest cameraman who ever lived". Although
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three strip process, which required the development of more powerful lights, had been developed and the more powerful
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Toland's techniques were revolutionary in the art of cinematography. Cinematographers before him used a shallow
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Dale, Wallace Roger “Gregg Toland—His
Contributions to Cinema,” University Microfilms International, 1976 p. 48
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comparable with what the eyes see in real life since vision blurs what is not looked at rather than what is.
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790:(also 1946), his deep focus cinematography served to highlight all the aspects of the characters' lives.
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was Welles's first feature, it was Toland—whom Welles already knew by reputation—who sought out Welles:
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Toland had already had experience with heavy in-camera compositing, and many of the shots in
346:(1928), one of two available 400W bulbs burned out, leaving only a single bulb for lighting.
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2574:"Top 10 Most Influential Cinematographers Voted on by Camera Guild," October 16, 2003.
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s visual brilliance was due primarily to Toland's contributions, rather than director
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Mitchell, George: “A Great
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630:. Although these looked like they were using deep focus, they were actually a
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is his most highly regarded achievement, his style was much more varied. For
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257:(both, 1940). He is also known for his work as a director of photography for
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363:(1939). He worked with many of the leading directors of his era, including
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look similar in composition and dynamics to a number of shots in Ford's
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of two different shots. Some of these shots were composited with an
450:'. Many Welles scholars, however, maintain that the visual style of
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2258:"Top 10 Most Influential Cinematographers Voted on by Camera Guild"
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702:, especially during low-key lighting sequences described above.
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429:(1941); the camera appears to be one of the very few brand-new
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752:, "The Cameraman", by Hilton Als (June 19, 2006, p. 46).
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Toland was the subject of an "Annals of
Hollywood" article in
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to reduce glare and increase light transmission. He used the
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background) were in-camera composites, meaning the film was
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Innovative use of lighting and techniques such as deep focus
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During the 1930s, Toland became the youngest cameraman in
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213:(May 29, 1904 – September 28, 1948) was an American
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The main way to achieve deep focus was closing down the
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Roosevelt's Secret War: FDR and World War II Espionage.
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Both films allowed lenses at times to distort faces in
650:—another technique that Linwood Dunn improved upon.
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2347:"Gregg Toland (1904 - 1948) - Find A Grave Memorial"
622:
Gregg Toland collaborated on a number of shots with
2284:"ICG Announces Top 10 Influential Cinematographers"
737:In addition to sharing a title card with Toland on
733:, the director, because Welles felt he deserved it.
217:known for his innovative use of techniques such as
823:Academy Award for Best Documentary (Short Subject)
504:gave me a day-and-a-half lesson—and he was right!
3447:
2372:"Orson Welles Talks About Making 'Citizen Kane'"
221:, examples of which can be found in his work on
901:cinematographer of European ending directed by
694:share a number of other striking similarities:
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343:The Life and Death of 9413: a Hollywood Extra
2211:assembled a distinguished panel composed of
825:, and was released in its entirety in 1991.
618:Optical print shots and in-camera composites
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3471:Best Cinematographer Academy Award winners
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29:
2606:Internet Encyclopedia of Cinematographers
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800:Office of the Coordinator of Information
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402:at the age of 44. He is interred in the
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1081:co-cinematographer with George Barnes
1040:co-cinematographer with George Barnes
3476:Burials at Hollywood Forever Cemetery
2657:Academy Award for Best Cinematography
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2382:from the original on October 12, 2021
357:, winning only once, for his work on
355:Academy Award for Best Cinematography
2112:Best Cinematography, Black-and-White
476:) were shot by Toland collaborators
312:International Cinematographers Guild
16:American cinematographer (1904–1948)
2504:P. 111 in Persico, Joseph E. 2001.
1606:co-cinematographer with David Abel
13:
2235:and others. Called "Dialogue With
553:Deep focus and lighting techniques
14:
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770:(1940), he took inspiration from
729:, placing Toland on same card as
3481:People from Charleston, Illinois
2207:The 2006 Los Angeles edition of
1914:co-director and cinematographer
723:The final ending title card for
557:Toland innovated extensively on
326:, on May 29, 1904, to Jennie, a
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3486:Deaths from coronary thrombosis
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2508:New York: Random House. 536 pp.
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2544:"New York Times: December 7th"
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2491:Wallace, p. 154. “Obviously,
2370:Cavett, Dick (May 14, 1970).
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437:Some film historians believe
77:Los Angeles, California, U.S.
2619:The Motion Picture Cameraman
2290:. 2014-06-09. Archived from
860:The Life and Death of 9413:
804:Office of Strategic Services
423:and Gregg Toland at work on
398:, on September 28, 1948, of
394:Toland died in his sleep in
7:
2583:Retrieved January 28, 2011.
2471:Bogdanovich, Peter (1998).
1924:The Best Years of Our Lives
808:Central Intelligence Agency
794:Service during World War II
787:The Best Years of Our Lives
778:film. Made for Disney, the
238:The Best Years of Our Lives
120:The Best Years of Our Lives
10:
3502:
516:Cinematography innovations
406:in Hollywood, California.
404:Hollywood Forever Cemetery
304:, and won for his work on
3466:American cinematographers
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3125:
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2621:article written by Toland
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2180:Documentary Short Subject
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1218:The Washington Masquerade
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812:Franklin Delano Roosevelt
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461:The Magnificent Ambersons
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28:
21:
2579:January 9, 2014, at the
2546:. Movies & TV Dept.
2130:Intermezzo: A Love Story
1596:History Is Made at Night
1564:co-cinematographer with
1060:co-cinematographer with
1015:co-cinematographer with
924:co-cinematographer with
876:co-cinematographer with
2523:Internet Movie Database
2519:"Gregg Toland - Awards"
2288:Creative Planet Network
2186:December 7th: The Movie
1690:The Cowboy and the Lady
491:In a 1970 interview on
396:Los Angeles, California
2552:. 2011. Archived from
2336:#8, Summer 1949, p. 09
2029:Awards and nominations
734:
506:
434:
1958:The Kid from Brooklyn
1762:They Shall Have Music
756:Other important works
722:
680:, heavily influenced
501:
419:
3070:Pasqualino De Santis
2691:Willard Van der Veer
2477:(Revised ed.).
2474:This is Orson Welles
2147:The Long Voyage Home
1800:The Long Voyage Home
1387:Forsaking All Others
1114:A. Edward Sutherland
834:As a cinematographer
802:(predecessor to the
688:The Long Voyage Home
670:The Long Voyage Home
659:The Long Voyage Home
538:The Long Voyage Home
493:The Dick Cavett Show
324:Charleston, Illinois
254:The Long Voyage Home
168: 1934;
132:The Long Voyage Home
59:Charleston, Illinois
35:Gregg Toland in 1947
2851:Joseph A. Valentine
2264:on October 19, 2003
2090:Best Cinematography
2066:Best Cinematography
1781:The Grapes of Wrath
1652:The Goldwyn Follies
1411:Richard Boleslawski
903:Richard Boleslawski
767:The Grapes of Wrath
400:coronary thrombosis
322:Toland was born in
302:Best Cinematography
248:The Grapes of Wrath
211:Gregg Wesley Toland
126:The Grapes of Wrath
45:Gregg Wesley Toland
3416:Erik Messerschmidt
3344:Anthony Dod Mantle
3237:Philippe Rousselot
2611:2008-12-04 at the
2549:The New York Times
2441:Gone with the Wind
2351:www.findagrave.com
1337:George Fitzmaurice
1237:The Kid from Spain
1132:George Fitzmaurice
1078:George Fitzmaurice
1073:One Heavenly Night
1037:George Fitzmaurice
994:George Fitzmaurice
895:Erich Von Stroheim
735:
580:light transmission
435:
373:Erich von Stroheim
296:Toland earned six
70:September 28, 1948
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3434:Hoyte van Hoytema
3362:Robert Richardson
3332:Guillermo Navarro
3320:Robert Richardson
3267:Russell Carpenter
3231:Robert Richardson
3157:Geoffrey Unsworth
3106:Fred J. Koenekamp
3094:Geoffrey Unsworth
2980:William C. Mellor
2974:Joseph Ruttenberg
2954:Joseph Ruttenberg
2938:Milton R. Krasner
2896:William C. Mellor
2779:Joseph Ruttenberg
2739:Joseph Ruttenberg
2229:Russell Carpenter
2197:
2196:
2118:Wuthering Heights
2026:
2025:
1977:The Bishop's Wife
1941:Song of the South
1726:Wuthering Heights
1516:The Road to Glory
1499:The Wedding Night
1423:Public Hero No. 1
1127:The Unholy Garden
1032:The Devil to Pay!
1011:Thornton Freeland
862:A Hollywood Extra
810:) was created by
781:Song of the South
360:Wuthering Heights
307:Wuthering Heights
290:The Bishop's Wife
284:Song of the South
260:Wuthering Heights
208:
207:
138:Wuthering Heights
91:Years active
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3386:Emmanuel Lubezki
3380:Emmanuel Lubezki
3374:Emmanuel Lubezki
3207:Vittorio Storaro
3167:Vittorio Storaro
3161:Ghislain Cloquet
3151:Vittorio Storaro
3145:NĂ©stor Almendros
2855:William V. Skall
2819:Arthur C. Miller
2789:Arthur C. Miller
2769:Arthur C. Miller
2687:Joseph T. Rucker
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1964:Norman Z. McLeod
1870:The Little Foxes
1677:Alfred L. Werker
1622:John G. Blystone
1616:Woman Chases Man
1374:Rouben Mamoulian
1188:William Dieterle
1144:Tonight or Never
943:F. Richard Jones
937:Bulldog Drummond
838:
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678:low-key lighting
626:cinematographer
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300:nominations for
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3243:Janusz Kamiński
3219:Freddie Francis
3139:Vilmos Zsigmond
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3110:Joseph F. Biroc
3038:Harry Stradling
3034:Walter Lassally
3024:James Wong Howe
3000:Eugen SchĂĽfftan
2990:Freddie Francis
2944:James Wong Howe
2884:
2847:William Daniels
2809:Harry Stradling
2799:Joseph LaShelle
2659:
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1560:
1554:Come and Get It
1448:Sidney Franklin
1429:J. Walter Ruben
1355:George B. Seitz
1336:
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1254:The Masquerader
920:Edmund Goulding
900:
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636:optical printer
628:Linwood G. Dunn
624:special-effects
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508:While shooting
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2315:. May 25, 2022
2313:"Gregg Toland"
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661:
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640:depth of field
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2556:on 2011-05-20
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2408:on 2008-12-04
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2294:on 2017-09-07
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1818:
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1814:The Westerner
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1577:Beloved Enemy
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1561:William Wyler
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1368:We Live Again
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926:George Barnes
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904:
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886:
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869:
868:Robert Florey
866:
864:
863:
857:
854:
853:
849:
846:
843:
840:
839:
836:
835:
826:
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689:
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673:
671:
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660:
656:
651:
649:
648:exposed twice
643:
641:
637:
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629:
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615:
613:
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603:
601:
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593:
592:Vard Opticoat
589:
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582:, and faster
581:
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539:
534:
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523:
513:
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498:
494:
489:
487:
483:
482:Russell Metty
479:
475:
474:
473:Touch of Evil
469:
468:
463:
462:
457:
453:
449:
442:
441:
432:
428:
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418:
412:
407:
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397:
392:
388:
386:
385:William Wyler
382:
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366:
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331:
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298:Academy Award
294:
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286:
285:
280:
279:
274:
273:
268:
267:
266:The Westerner
262:
261:
256:
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244:
240:
239:
234:
233:William Wyler
230:
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199:
177:
176:
155:Helen Barclay
150:
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105:
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69:
65:
60:
43:
39:
32:
27:
20:
3428:James Friend
3422:Greig Fraser
3314:Russell Boyd
3295:2001–present
3213:Peter Biziou
3201:Chris Menges
3195:David Watkin
3189:Chris Menges
3183:Sven Nykvist
3100:Sven Nykvist
3028:Leon Shamroy
2948:Robert Burks
2928:Loyal Griggs
2918:Archie Stout
2900:Alfred Gilks
2841:Jack Cardiff
2813:Leon Shamroy
2803:Leon Shamroy
2783:Leon Shamroy
2753:Ray Rennahan
2745:Gregg Toland
2744:
2709:Charles Lang
2697:Floyd Crosby
2618:
2597:Gregg Toland
2569:
2558:. Retrieved
2554:the original
2547:
2538:
2526:. Retrieved
2522:
2513:
2505:
2500:
2492:
2487:
2472:
2466:
2457:
2448:
2443:in theatres.
2440:
2436:
2430:
2421:
2410:. Retrieved
2406:the original
2396:
2384:. Retrieved
2375:
2365:
2354:. Retrieved
2350:
2341:
2333:
2328:
2317:. Retrieved
2307:
2296:. Retrieved
2292:the original
2287:
2278:
2268:February 26,
2266:. Retrieved
2262:the original
2252:
2213:Owen Roizman
2208:
2206:
2203:
2184:
2164:Citizen Kane
2162:
2145:
2128:
2116:
2094:
2070:
2033:
2032:
2011:
2001:Howard Hawks
1994:
1983:Henry Koster
1975:
1956:
1946:Harve Foster
1939:
1922:
1909:Gregg Toland
1904:December 7th
1902:
1892:Howard Hawks
1887:Ball of Fire
1885:
1868:
1857:Orson Welles
1851:Citizen Kane
1849:
1829:
1812:
1798:
1779:
1760:
1741:
1724:
1705:
1695:H. C. Potter
1688:
1669:
1650:
1633:
1614:
1594:
1583:H. C. Potter
1575:
1566:Rudolph Maté
1559:Howard Hawks
1552:
1533:
1522:Howard Hawks
1514:
1497:
1478:
1459:
1440:
1421:
1404:
1385:
1366:
1347:
1326:
1315:Frank Tuttle
1307:
1297:Mervyn LeRoy
1290:
1273:The Nuisance
1271:
1252:
1235:
1216:
1199:
1180:
1161:
1150:Mervyn LeRoy
1142:
1125:
1106:
1091:Street Scene
1089:
1071:
1048:
1030:
1021:Ray Rennahan
1003:
986:
969:
952:
935:
912:
887:
858:
833:
832:
818:December 7th
816:
797:
785:
779:
765:
762:Citizen Kane
761:
759:
749:
747:
742:
738:
736:
731:Orson Welles
726:Citizen Kane
724:
692:Citizen Kane
691:
687:
686:
674:
669:
665:
663:
658:
655:Citizen Kane
654:
644:
621:
604:
588:Citizen Kane
587:
573:
559:Citizen Kane
558:
556:
547:Citizen Kane
546:
543:SS Glencairn
542:
536:
530:
526:
519:
509:
507:
502:
497:Citizen Kane
496:
492:
490:
471:
467:The Stranger
465:
459:
456:Citizen Kane
455:
451:
448:Orson Welles
440:Citizen Kane
438:
436:
426:Citizen Kane
424:
421:Orson Welles
411:Citizen Kane
410:
393:
389:
381:Orson Welles
369:Howard Hawks
358:
348:
341:
335:
332:
321:
305:
295:
288:
282:
276:
272:Ball of Fire
270:
264:
258:
252:
246:
241:(1946), and
236:
228:Citizen Kane
226:
223:Orson Welles
210:
209:
136:
130:
124:
118:
114:Citizen Kane
112:
108:Notable work
72:(1948-09-28)
55:May 29, 1904
23:Gregg Toland
3461:1948 deaths
3456:1904 births
3350:Mauro Fiore
3308:Conrad Hall
3279:Conrad Hall
3225:Dean Semler
3116:John Alcott
2970:Sam Leavitt
2733:Karl Freund
2727:Tony Gaudio
2675:Karl Struss
2386:January 23,
2221:Daryn Okada
2019:Irving Reis
2013:Enchantment
1768:Archie Mayo
1535:These Three
1486:Karl Freund
1279:Jack Conway
1242:Leo McCarey
1206:Ray Enright
1169:Ray Enright
1056:Leo McCarey
889:Queen Kelly
829:Filmography
776:Technicolor
710:director's.
608:technicolor
338:chiaroscuro
328:housekeeper
287:(1946) and
3450:Categories
3326:Dion Beebe
3261:John Seale
2904:John Alton
2703:Lee Garmes
2560:2008-05-26
2493:Best Years
2412:2006-06-08
2356:2016-02-27
2319:2022-01-07
2298:2017-12-21
2244:References
2169:Nominated
2152:Nominated
2135:Nominated
2101:Nominated
1831:The Outlaw
1707:Intermezzo
1504:King Vidor
1349:Lazy River
1182:Man Wanted
1108:Palmy Days
1097:King Vidor
1050:Indiscreet
1017:Lee Garmes
899:uncredited
878:Paul Ivano
612:Carbon Arc
600:film speed
584:film stock
377:King Vidor
278:The Outlaw
219:deep focus
83:Occupation
51:1904-05-29
3285:Peter Pau
3255:John Toll
3249:John Toll
3126:1976–2000
3058:Ted Moore
2889:1951–1975
2837:Guy Green
2664:1928–1950
2528:March 30,
2077:Nominated
2046:Category
1911:John Ford
1787:John Ford
1671:Kidnapped
1163:Play Girl
971:Condemned
798:When the
760:Although
682:film noir
632:composite
533:John Ford
365:John Ford
351:Hollywood
314:in 2003.
243:John Ford
94:1926–1948
2793:Hal Mohr
2721:Hal Mohr
2609:Archived
2577:Archived
2380:Archived
2334:Sequence
2209:CineGear
2096:Dead End
1749:Sam Wood
1635:Dead End
1480:Mad Love
1461:Splendor
1062:Ray June
1005:Whoopee!
847:Director
700:close-up
576:aperture
293:(1947).
281:(1943),
275:(1941),
269:(1940),
263:(1939),
231:(1941),
201:Children
2376:YouTube
2052:Result
1743:Raffles
988:Raffles
745:them."
194:
186:
174:
162:
158:
145:Spouses
3436:(2023)
3430:(2022)
3424:(2021)
3418:(2020)
3412:(2019)
3406:(2018)
3400:(2017)
3394:(2016)
3388:(2015)
3382:(2014)
3376:(2013)
3370:(2012)
3364:(2011)
3358:(2010)
3352:(2009)
3346:(2008)
3340:(2007)
3334:(2006)
3328:(2005)
3322:(2004)
3316:(2003)
3310:(2002)
3304:(2001)
3287:(2000)
3281:(1999)
3275:(1998)
3269:(1997)
3263:(1996)
3257:(1995)
3251:(1994)
3245:(1993)
3239:(1992)
3233:(1991)
3227:(1990)
3221:(1989)
3215:(1988)
3209:(1987)
3203:(1986)
3197:(1985)
3191:(1984)
3185:(1983)
3179:(1982)
3169:(1981)
3163:(1980)
3153:(1979)
3147:(1978)
3141:(1977)
3135:(1976)
3118:(1975)
3112:(1974)
3102:(1973)
3096:(1972)
3090:(1971)
3084:(1970)
3078:(1969)
3072:(1968)
3066:(1967)
3060:(1966)
3050:(1965)
3040:(1964)
3030:(1963)
3020:(1962)
3006:(1961)
2996:(1960)
2986:(1959)
2976:(1958)
2966:(1957)
2960:(1956)
2950:(1955)
2940:(1954)
2930:(1953)
2920:(1952)
2906:(1951)
2881:(1950)
2871:(1949)
2861:(1948)
2857:, and
2843:(1947)
2833:(1946)
2829:, and
2815:(1945)
2805:(1944)
2795:(1943)
2785:(1942)
2775:(1941)
2765:(1940)
2755:(1939)
2741:(1938)
2735:(1937)
2729:(1936)
2723:(1935)
2717:(1934)
2711:(1933)
2705:(1932)
2699:(1931)
2693:(1930)
2683:(1929)
2677:(1928)
2200:Legacy
850:Notes
715:Credit
470:, and
318:Career
251:, and
61:, U.S.
2055:Ref.
2049:Film
2043:Year
844:Title
743:doing
596:Kodak
586:. On
444:'
188:(
184:
164:(
160:
3175:and
3159:and
3108:and
3012:and
2916:and
2902:and
2751:and
2689:and
2673:and
2601:IMDb
2530:2020
2437:Kane
2388:2022
2270:2020
2175:1943
2158:1941
2141:1940
2123:Won
2107:1939
2085:1937
2061:1935
2008:1948
1991:1948
1972:1947
1953:1946
1936:1946
1919:1946
1899:1943
1882:1941
1865:1941
1846:1941
1826:1940
1809:1940
1795:1940
1776:1940
1757:1939
1738:1939
1721:1939
1702:1939
1685:1938
1666:1938
1647:1938
1630:1937
1611:1937
1591:1937
1572:1936
1549:1936
1530:1936
1511:1936
1494:1935
1475:1935
1456:1935
1437:1935
1418:1935
1401:1935
1382:1934
1363:1934
1344:1934
1328:Nana
1323:1934
1304:1933
1287:1933
1268:1933
1249:1933
1232:1932
1213:1932
1196:1932
1177:1932
1158:1932
1139:1931
1122:1931
1103:1931
1086:1931
1068:1931
1045:1931
1027:1930
1019:and
1000:1930
983:1930
966:1929
949:1929
932:1929
909:1929
884:1929
855:1928
841:Year
739:Kane
690:and
666:Kane
657:and
531:For
510:Kane
484:(at
480:and
452:Kane
383:and
170:div.
67:Died
41:Born
2599:at
2237:ASC
2191:Won
642:.
549:.
535:'s
488:).
486:RKO
245:'s
235:'s
3452::
3056:/
3046:/
3036:/
3026:/
3016:/
3002:/
2992:/
2982:/
2972:/
2956:/
2946:/
2936:/
2926:/
2912:/
2898:/
2877:/
2867:/
2853:,
2849:/
2839:/
2825:,
2821:/
2811:/
2801:/
2791:/
2781:/
2771:/
2761:/
2747:/
2521:.
2378:.
2374:.
2349:.
2286:.
2231:,
2227:,
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684:.
672:.
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387:.
379:,
375:,
371:,
367:,
225:'
190:m.
166:m.
2649:e
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2563:.
2532:.
2481:.
2415:.
2390:.
2359:.
2322:.
2301:.
2272:.
458:(
204:3
53:)
49:(
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