Camera · geboren 1890-01-16 · Königinhof, Bohemia, Czech Republic
Karl Freund
From Wikipedia, the free encyclopedia. Karl W. Freund, A.S.C. (January 16, 1890-May 3, 1969) was a cinematographer and film director. Born in Dvůr Králové (Königinhof), Bohemia, his career began in 1905 when, at age 15, he got a job as an assistant projectionist for a film company in Berlin where his family moved in 1901. He worked as a cinematographer on over 100 films, including the German Expressionist films The Golem (1920), The Last Laugh (1924) and Metropolis (1927). Freund emigrated to the United States in 1929 where he continued to shoot well remembered films such as Dracula (1931) and Key Largo (1948). He won an Academy Award for Best Cinematography for The Good Earth (1937). In 1937, he went to Germany to bring his only daughter, Gerda Maria Freund, back to the United States, saving her from almost certain death in the concentration camps. Karl's ex-wife, Susette Freund (née Liepmannssohn), remained in Germany where she was interned at the Ravensbrück concentration camp and eventually taken in March, 1942 to Bernburg Euthanasia Center where she was murdered. Between 1921 and 1935, Freund also directed ten films, of which the best known are probably The Mummy (1932) starring Boris Karloff, and his last film as director, Mad Love (1935) starring Peter Lorre. Freund's only known film as an actor is Carl Dreyer's Michael (1924) in which he has a cameo as a sycophantic art dealer who saves the tobacco ashes dropped by a famous painter. At the beginning of the 1950s, he was persuaded by Desi Arnaz at Desilu to be the cinematographer in 1951 for the televisions series I Love Lucy. Critics have credited Freund for the show's lustrous black and white cinematography, but more importantly, Freund designed the "flat lighting" system for shooting sitcoms that is still in use today. This system covers the set in light, thus eliminating shadows and allowing the use of three moving cameras without having to modify the lighting in-between shots. And where Freund did not invent the three camera shooting system, he did perfect it for use with film cameras in front of a live audience. Freund and his production team also worked on other sitcoms produced at/through Desilu such as "Our Miss Brooks". Description above from the Wikipedia article Karl Freund, licensed under CC-BY-SA, full list of contributors on Wikipedia.
Bekannt aus
- Metropolis (1927) – Director of Photography
- Dracula (1931) – Director of Photography
- Im Westen nichts Neues (1930) – Director of Photography
- Die Mumie (1932) – Director
- Gangster in Key Largo (1948) – Director of Photography
- Der letzte Mann (1924) – Director of Photography
- Der Golem, wie er in die Welt kam (1920) – Director of Photography
- Die Kameliendame (1936) – Director of Photography
- Stolz und Vorurteil (1940) – Director of Photography
- Mord in der Rue Morgue (1932) – Director of Photography
- Der große Ziegfeld (1936) – Director of Photography
- Berlin, Die Sinfonie der Großstadt (1927) – Director of Photography
- Mad Love (1935) – Director
- Der dünne Mann kehrt heim (1944) – Director of Photography
- Die gute Erde (1937) – Director of Photography
- Herr Tartüff (1926) – Director of Photography
- Michael (1924) – LeBlanc - Art Dealer
- Der unbekannte Geliebte (1946) – Director of Photography
- Kampf in den Wolken (1944) – Director of Photography
- Das siebte Kreuz (1944) – Director of Photography
- Die Spinnen, 1. Teil - Der Goldene See (1919) – Director of Photography
- Varieté (1925) – Director of Photography
- Three Comrades (1938) – Director of Photography
- Blüten im Staub (1941) – Director of Photography
- Golden Boy (1939) – Director of Photography
- Die Spinnen, 2. Teil - Das Brillantenschiff (1920) – Director of Photography
- Zu klug für die Liebe (1945) – Director of Photography
- Die Finanzen des Großherzogs (1924) – Director of Photography
- Tortilla Flat (1942) – Director of Photography
- Comrade X (1940) – Camera Operator
- Der brennende Acker (1922) – Director of Photography
- The Bad Sister (1931) – Director of Photography
- Maria Waleska (1937) – Director of Photography
- Zwischen zwei Frauen (1950) – Director of Photography
- Konterbande - Südlich von St. Louis (1949) – Director of Photography
- The Kiss Before the Mirror (1933) – Director of Photography
- Du Barry Was a Lady (1943) – Director of Photography
- Montana (1950) – Director of Photography
- Cry 'Havoc' (1943) – Director of Photography
- Die grüne Hölle (1940) – Director of Photography