Best Cinematography 1949

1927/28 through 1997
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What constituted the best B&W and Color Cinematography of the 1949 Oscar nominnes?

Battleground (Paul Vogel)
2
13%
Champion (Franz Planer)
2
13%
Come to the Stable (Joseph LaShelle)
0
No votes
The Heiress (Leo Tover)
4
25%
Prince of Foxes (Leon Shamroy)
0
No votes
The Barkleys of Broadway (Harry Stradling, Sr.)
0
No votes
Jolson Sings Again (William E. Snyder)
0
No votes
Little Women (Robert H. Planck, Edgar Schoenbaum)
0
No votes
She Wore a Yellow Ribbon (Winton C. Hoch)
8
50%
Will James' Sand (Charles G. Clarke)
0
No votes
 
Total votes: 16

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Precious Doll
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Re: Best Cinematography 1949

Post by Precious Doll »

Big Magilla wrote:
I've never seen Will James' Sand aka just plain Sand.
I've seen Sand but unfortunately on not on a good enough print to make a judgement on its cinematography but it would be hard to imagine its better than She Wore a Yellow Ribbon which is easily the best shot film of 1949.

I voted for The Heiress for B&W.

Omissions (release date's may differ from Academy eligibility) include: The Third Man, The Red Pony, The Fountainhead, The Small Black Room & Intruder in the Dust.
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Best Cinematography 1949

Post by Big Magilla »

Black-and-White

I agree that the winner Battleground was the best of the nominees with The Heiress and Champion decent nominees, but where were the nominations for 12 o'clock High, The Bicycle Thief, Germany Year Zero, They Live by Night, White Heat and A Canterbury Tale?

Color

The winner, She Wore a Yellow Ribbon, was again the best of the nominees, but On the Town and 3 Godfathers (which Hoch photographed before Ribbon) were both better than The Barkleys of Broadway and Jolson Sings Again.

Little Women was nicely photographed but the film was overall a disappointment compared to the 1933 version which must have been seen by most, if not all, the voters at the time.

I've never seen Will James' Sand aka just plain Sand.
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