Texas Jewish Post (Fort Worth, Tex.), Vol. 24, No. 18, Ed. 1 Thursday, April 30, 1970 Page: 7 of 20
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Your Support Of
Texas Jewish Post
Advertisers Is Appreciated
PASSOVER GREETINGS
FUQUA’S
COFFEE SHOP
700 PENNSYLVANIA
ED 2-2452
FOR A SUCCESSFUL PARTY
IT'S DELECTABLE FOOD FROM
Alexander’s
Catering Service
3504 Prevost
732-4961
PASSOVER GREETINGS
May Your Seder Be
Joyous
T. E. Mercer
Distributing Co.
TARRANT COUNTY
We Extend Best
Wishes For A
Joyous
assoifer
TAKE THE FAMILY
OUT TO DINE
TONIGHT AT
sFood SEAFOODS
CHARCOAL MOILED STEAKS
5716 CAMP BOWIE
At west end of Expressway
re©-3943
of'Di
mere
Club"
Karl Freund: Movie
Innovator And Artist
By Herbert G. Luft
Karl Freund, who passed from the scene last year at
the age of 79, was active in motion pictures longer than
any other film-maker here or abroad. His career spanned
a period of more than 60 years, with some 500 major
screen credits as cameraman, director, inventor and
innovator.
But Freund was not only a
great motion picture man—he
was a proud Jew. In Hollywood
in 1933, he was the first one in
the film industry to demand the
boycott of German pictures.
Five years earlier, while still in
Germany, he was one the origi-
nal signers, together with Al-
bert Einstein and Thomas
Mann, of the anti-Fascist mani-
festo.
Freund photographed the
German film “Der Golem” in
1919. Some five years ago, he
went back to Prague to visit his
since-deceased brother, who
lived at the Judenfriedhof,
close to the grave of the mythi-
cal . Rabbi jloew of “Golem”
fame.
Born Jan. 16, 1890, in Koeni-
ginhof, Bohemia—then part of
the Austro-Hungarian empire
and now Czechoslovakia—
Freund’s interest in mechanics
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led him to approach the Duskus
Film Company, Berlin, in 1905
for a job as a projection assis-
tant. In 1907 he got his first
opportunity to turn a camera
crank-handle,- for the filming of
two features.
In 1908 Freund became a
newsreel cameraman for Pathe
Freres, Berlin. He was later
given the chance to photograph
and record a talking picture for
Messter Films starring Enrico
Caruso.
A few years later Freund
began a long association with
director F.W. Murnau that re-
sulted in some of Germany’s
masterpieces of the silent era.
While making “The Arc,” he
had a member of the cast, Ger-
trude Hoffman, began a mar-
riage that was to endure for
almost half a century.
The collaboration of Freund,
producer Erich Pommer, direc-
tor Murnau, writer Carl Mayer
and star Emil Jannings turned
out one of the rarest examples
of collective art in the cinema
with “The Last Laugh” (1924).
In that picture, the camera it-
self became a participant.
Freund tied his photographic
gear around his chest, and the
background suddenly was sway-
ing about the actor instead of
vice versa. Mounting the camera
on a flexible mobile unit,
Freund gave it unlimited scope,
spying into every nook and cor-
ner, across halls and doorways,
from the hotel elevator down
to the basement men’s room.
Freund went to Hollywood
on a Universal contract in 1930,
but before he got his first full-
!*;
scale assignment, he was called
in by owner Carl Laemmle to
create a satisfactory ending for
Lewis Milestone’s World War 1
epic, “All Quiet on the Western
Front.” The dramatic “butter-
fly” sequence, in which the
German soldier (Lew Ayres), on
the eve of the Armistice,
reaches up longingly from the
trenches and is shot by the
enemy, was devised on the spur
of the moment by Freund.
Subsequently Freund photo-
graphed such films as E.A. Du-
pont’s “Variety”; Frtiz Lange’s
“Metropolis”; “Dracula,” with
Bela Lugosi; “Bad Sister,” Bette
Davis’ cinema debut; “The
Murders in the Rue Morgue,”
with Lugosi; Fannie Hurst’s
“Back Street”; the Greta Garbo-
Robert Taylor “Camille”: the
Paul Muni-Luise Rainer “The
Good Earth”; the Garbo-Charles
Boyer “Conquest”; “Rose of
Washington Square”; “Golden
Boy,” which made William Hol-
den a star; the Greer Garson-
Laurence Olivier “Pride and
Prejudice”; John Steinbeck’s
“Tortilla Flat”; Spencer Tracy’s
“A Guy Named Joe” and “The
Seventh Cross.”
The rotund Mr. Freund then
concentrated on research, which
had grown from a hobby to a
life's ambition. He plunged into
the commercial aspects of his
Photo Research Corporation,
acquiring patent rights to an ex-
posure meter now known world-
wide as the “Norwood director."
Freund also developed the Spec-
tra three-color meter and color
densitometer. For “I Love
Lucy,” which premiered in
1951, he pioneered a three-
camera set-up that allowed more
&
tat
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Rabbi Levi Olan
Guest Speaker
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Freund won an Academy
Award for his cinematography
of “The Good Earth,” 1937, plus
nominations for “The Chocolate
Soldier” and “Blossoms in the
Dust,” both 1941.
In 1946 he worked with Lu-
cille Ball and the late John
Hodiak on “Two Smart People.”
Neither Miss Ball nor Papa
Freund realized then that one
day they would collaborate on
one of Hollywood’s most suc-
cessful television series, “I
Love Lucy.”
In 1947 the cinematographer
moved over to Warner Bro-
thers, ending his feature film
career in 1950 following a ma-
jor achievement in the shooting
of John Huston’s “Key Largo,”
starring Humphrey Bogart and
Edward G. Robinson.
RABBI LEVI OLAN
Rabbi Levi A. Olan of Temple
Emanuel, Dallas will be the guest
speaker at the B’nai B’rith Man of
the Year Dinner according to Her-
bert Berkowitz, president of the
L. F. Shanblum Lodge. “Rabbi
Olan is one of the most sought after
speakers in the country and we in
Fort Worth are thrilled to have him
with us”, said Berkowitz.
The dinner, to be held Sunday
May 17, at Green Oaks Inn will
include the installation of the
lodge’s 1970 officers and directors
and will conclude with the announce-
ment of the 1969 Fort Worth Jewish
Man of the Year. The final decision
will be announced when an envelope
is opened and the choice of the
Secret Committee made known.
Tickets and reservations may be
made by calling Allen Wexler at
924-1765 or the program chair-
man, Herbert Paul at 923-6028.
Tickets are S7.50 per plate.
flexibility in editing and im-
proved photographic quality.
Harvey Cox, Manager
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PAGE 7 FORT WORTH THURSDAY, APRIL 30, 1970 TEXAS JEWISH POST
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Wisch, J. A. Texas Jewish Post (Fort Worth, Tex.), Vol. 24, No. 18, Ed. 1 Thursday, April 30, 1970, newspaper, April 30, 1970; Fort Worth, Texas. (https://texashistory.unt.edu/ark:/67531/metapth753279/m1/7/: accessed July 17, 2024), University of North Texas Libraries, The Portal to Texas History, https://texashistory.unt.edu; .