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Charles G. Clarke(1899-1983)

  • Cinematographer
  • Camera and Electrical Department
  • Editor
IMDbProStarmeterSee rank
Ace cinematographer Charles G. Clarke was born on March 19, 1899, in Potter Valley, CA. He got into the film business in 1915 as an assistant cameraman at Universal Pictures. He served in the army overseas during World War One, and when he returned home got a job with the National Film Co. as an assistant cameraman. He was promoted to cinematographer on the serial The Son of Tarzan (1920). He worked steadily on virtually every type of film, from serials at the independents to big splashy musicals and epics at the major studios (he shot all of the China location footage and much of the studio work for MGM's The Good Earth (1937), although he didn't get screen credit for it). He did much work for Fox Films in the 1930s, then went over to MGM for a few years. In 1938 he went back to Fox--now 20th Century-Fox--and, with few exceptions, stayed there for the rest of his career, working on everything from the studio's low-budget Mr. Moto and Charley Chan series pictures to action films (Guadalcanal Diary (1943)) to folksy outdoor pictures (Thunderhead: Son of Flicka (1945) and Smoky (1946)) to big CinemaScope musicals (Stars and Stripes Forever (1952)). He died at his home in Beverly Hills, CA, in 1983.
BornMarch 10, 1899
DiedJuly 1, 1983(84)
BornMarch 10, 1899
DiedJuly 1, 1983(84)
IMDbProStarmeterSee rank
Add photos, demo reels
  • Nominated for 4 Oscars
    • 2 wins & 5 nominations total

Photos1

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Known for

Maureen O'Hara, Natalie Wood, Edmund Gwenn, and John Payne in Miracle on 34th Street (1947)
Miracle on 34th Street
7.9
  • Cinematographer(as Charles Clarke)
  • 1947
Jean Gabin and Ida Lupino in Moontide (1942)
Moontide
6.8
  • Cinematographer(as Charles Clarke)
  • 1942
Rory Calhoun, Coleen Gray, and Mark Stevens in Sand (1949)
Sand
5.2
  • Cinematographer
  • 1949
Lynn Bari, Alice Faye, Jack Oakie, and John Payne in Hello Frisco, Hello (1943)
Hello Frisco, Hello
6.5
  • Cinematographer(as Charles Clarke)
  • 1943

Credits

IMDbPro

Cinematographer



  • Sigrid Holmquist (2010)
    Sigrid Holmquist
    Short
    • Cinematographer
    • 2010
  • Herschel Bernardi and Sue Ane Langdon in Arnie (1970)
    Arnie
    7.0
    TV Series
    • director of photography
    • 1970–1971
  • Stefan Arngrim, Gary Conway, Kurt Kasznar, Deanna Lund, Don Marshall, Don Matheson, and Heather Young in Land of the Giants (1968)
    Land of the Giants
    7.1
    TV Series
    • director of photography (as Charles Clarke)
    • 1968–1970
  • Peyton Place (1964)
    Peyton Place
    7.3
    TV Series
    • director of photography
    • 1967–1969
  • Fess Parker in Daniel Boone (1964)
    Daniel Boone
    7.3
    TV Series
    • Cinematographer (as Charles G. Clark)
    • 1966
  • Bruce Lee and Van Williams in The Green Hornet (1966)
    The Green Hornet
    7.3
    TV Series
    • director of photography
    • 1966
  • June Lockhart, Angela Cartwright, Mark Goddard, Jonathan Harris, Marta Kristen, Bill Mumy, Dick Tufeld, and Guy Williams in Lost in Space (1965)
    Lost in Space
    7.3
    TV Series
    • director of photography (as Charles Clarke)
    • 1966
  • Return to Peyton Place (1961)
    Return to Peyton Place
    5.9
    • director of photography
    • 1961
  • Eddie Albert, Dana Andrews, Jeanne Crain, and Eleanor Parker in Madison Avenue (1961)
    Madison Avenue
    5.9
    • director of photography
    • 1961
  • Elvis Presley, Barbara Eden, Steve Forrest, Dolores Del Río, and Rodolfo Acosta in Flaming Star (1960)
    Flaming Star
    6.5
    • director of photography
    • 1960
  • Hound-Dog Man (1959)
    Hound-Dog Man
    5.3
    • Cinematographer
    • 1959
  • Sal Mineo, Barbara Eden, Christine Carère, Barry Coe, Gary Crosby, and Terry Moore in A Private's Affair (1959)
    A Private's Affair
    5.3
    • Cinematographer
    • 1959
  • Holiday for Lovers (1959)
    Holiday for Lovers
    5.6
    • director of photography
    • 1959
  • Yul Brynner and Joanne Woodward in The Sound and the Fury (1959)
    The Sound and the Fury
    6.2
    • director of photography
    • 1959
  • These Thousand Hills (1959)
    These Thousand Hills
    6.3
    • director of photography
    • 1959

Camera and Electrical Department



  • The Sun Also Rises (1957)
    The Sun Also Rises
    6.2
    • photographer: Spanish backgrounds (uncredited)
    • 1957
  • De Luxe Tour
    • director of photography: second unit
    • 1956
  • The Last Wagon (1956)
    The Last Wagon
    7.0
    • additional photographer (uncredited)
    • 1956
  • The Rains of Ranchipur (1955)
    The Rains of Ranchipur
    5.8
    • director of photography: second unit (uncredited)
    • 1955
  • Love Is a Many-Splendored Thing (1955)
    Love Is a Many-Splendored Thing
    6.4
    • director of photography: second unit (uncredited)
    • 1955
  • The Bridges at Toko-Ri (1954)
    The Bridges at Toko-Ri
    6.7
    • aerial photography
    • additional photography (uncredited)
    • 1954
  • Prince Valiant (1954)
    Prince Valiant
    6.2
    • location photographer (uncredited)
    • 1954
  • Hell and High Water (1954)
    Hell and High Water
    6.1
    • location photographer (uncredited)
    • 1954
  • How to Marry a Millionaire (1953)
    How to Marry a Millionaire
    6.8
    • location photographer (uncredited)
    • 1953
  • Robert Mitchum and Susan Hayward in White Witch Doctor (1953)
    White Witch Doctor
    6.1
    • director of photography: second unit
    • 1953
  • Gregory Peck, Ava Gardner, and Susan Hayward in The Snows of Kilimanjaro (1952)
    The Snows of Kilimanjaro
    6.1
    • location photography
    • location photography: France, Egypt, Kenya (uncredited)
    • 1952
  • Gene Tierney, Danny Kaye, and Corinne Calvet in On the Riviera (1951)
    On the Riviera
    6.3
    • location photography: French Riviera (uncredited)
    • 1951
  • Claudette Colbert in Three Came Home (1950)
    Three Came Home
    7.3
    • director of photography: second unit (uncredited)
    • 1950
  • Maureen O'Hara, Natalie Wood, Edmund Gwenn, and John Payne in Miracle on 34th Street (1947)
    Miracle on 34th Street
    7.9
    • 2nd cameraman
    • 1947
  • Don Ameche and Joan Bennett in Girl Trouble (1942)
    Girl Trouble
    6.7
    • fill-in photographer (uncredited)
    • 1942

Editor



  • Sam De Grasse, Colleen Moore, Oliver Morosco, and Wheeler Oakman in Slippy McGee (1923)
    Slippy McGee
    • Editor
    • 1923
  • The Half Breed (1922)
    The Half Breed
    • Editor (uncredited)
    • 1922

Personal details

  • Alternative names
    • Charles G. Clark
  • Height
    • 5′ 11″ (1.80 m)
  • Born
    • March 10, 1899
    • Potter Valley, California, USA
  • Died
    • July 1, 1983
    • Beverly Hills, California, USA(undisclosed)
  • Spouse
    • Marian Nor Bowden1930 - July 1, 1983 (his death)
  • Other works
    Book: "Early Filmmaking in Los Angeles".
  • Publicity listings
    • 1 Print Biography
    • 1 Interview
    • 5 Articles

Did you know

  • Trivia
    In 1928 he and a crew were sent to Alaska to shoot some background footage for a film to be made about Eskimos. During their stay they became lost on the Arctic tundra and wandered with little food and water for ten days before they were finally spotted by a rescue plane. They was unable to sleep during that period, because of snow blindness and the fear that if they went to sleep they would freeze to death, and in his autobiography he stated that the experience so unnerved him that for the rest of his life he was never able to get a good night's sleep.
  • Quotes
    [about Will Rogers, whom Clarke worked with on several pictures] He had no respect for the marks on the floor, which are placed there as guides to proper lighting and focusing. The cinematographer, when doing a scene with Rogers, just had to hope for the best, for we never knew where he would land. He never said the same lines or did the same bit of business from take to take to take. Some of the older stage actors might have felt this was lack of discipline, but Will Rogers had a gift that few others possess: he had an uncanny wit and a sense of what amused people. He never pretended to be an actor and perhaps this was his greatest asset.
  • Salaries
      A Racing Romeo
      (1927)
      $275 /week

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