Robert Kurrle

{{short description|American cinematographer}} {{Good article}} {{Infobox person | name = Robert Kurrle | image = RobertKurrle.1922.jpg | caption = Kurrle in 1922 | birth_date = {{birth date|1890|2|2}} | birth_place = [[Port Hueneme, California]], United States | death_date = {{death date and age|1932|10|27|1890|2|2}} | death_place = [[Hollywood, Los Angeles|Hollywood]], California, United States | birth_name = Robert Bard Kurrle | occupation = Cinematographer | spouse = | years_active = 1916–1932 }}

'''Robert Kurrle''' (February 2, 1890 – October 27, 1932), also known as '''Robert B. Kurrle''', was an American cinematographer during the [[silent film|silent]] and early [[sound film|talking film]] eras. Prior to entering the film industry, he was already experimenting with aerial photography. Considered a very prominent cinematographer, even his early work received notice and praise from both critics and other industry professionals. The advent of sound film did not abate his continued rise, and he became the top director of photography at [[Warner Brothers]] by 1932.

He shot 70 films over the sixteen years of his career, working with such prominent directors as William Wellman, Raoul Walsh, Michael Curtiz, Archie Mayo, and William Dieterle. He was a member of the [[American Society of Cinematographers]] by 1921, and he was also one of the inaugural members of the International Photographers branch of I.A.T.S.E. (International Alliance of Theatrical Stage Employees). In October 1932, at the height of his career, he suddenly fell ill after wrapping a film. Hospitalized, his condition quickly worsened and within a week he was dead of an infection to the brain.

==Early life== [[File:RobertKurrle.Cinematographer.December161916.jpg|thumb|left|Kurrle on the set in December 1916]] [[File:Robert Kurrle aerial photo of Oakland CA 1913.jpg|thumb|Aerial photograph of Oakland, CA by Kurrle in 1913.]] Born Robert Bard Kurrle in [[Port Hueneme, California]] on February 2, 1890, Kurrle had at least one sibling, Ernest W. Kurrle.<ref name=IP1 /> Prior to his entry into the film industry, Kurrle was already an innovative filmmaker. In 1909, flying in a [[Curtiss Aeroplane and Motor Company|Curtiss]] open cockpit bi-plane, he photographed the [[Panama Canal]] from the air.<ref>{{cite news | newspaper=The Film Daily | title=A Little From "Lots" | date=September 25, 1929 | page=11 | url=https://archive.org/stream/filmdaily4950newy#page/692/mode/2up/search/Kurrle}}</ref> In 1913, Kurrle would become the first photographer to take an aerial photograph of the city of Oakland, California. Describing the experience, Kurrle said "... we went along just as smoothly as if we were riding on velvet".<ref>{{cite news|title=Aviator Takes Air View of City, Oakland Snapped at Dizzy Height |url=https://www.newspapers.com/image/79654208/?terms=%22Robert%2BKurrle%22 |newspaper=Oakland Tribune |date=March 6, 1913 |page=13 |via = [[Newspapers.com]]|access-date = October 12, 2015}} {{Open access}}</ref>

==Film career==

===Metro years and freelancing=== Kurrle's first foray into the film industry was on the 1916 film, ''Her Great Price'', directed by [[Edwin Carewe]].<ref>{{cite web | url=http://www.afi.com/members/catalog/DetailView.aspx?s=&Movie=14145 | title=Her Great Price: Detail View | publisher=American Film Institute | access-date=November 11, 2014 | archive-url=https://web.archive.org/web/20141111174720/http://www.afi.com/members/catalog/DetailView.aspx?s=&Movie=14145 | archive-date= November 11, 2014}}</ref> He later collaborated with Carewe on a number of pictures during the 1920s. He began his career working for [[Metro Pictures]], where he stayed at until 1921. Metro was one of the film companies which merged in 1924 to form [[Metro-Goldwyn-Mayer]]. The quality of Kurrle's work was noticed even early in his career. His filming of 1919's ''[[Lion's Den (1919 film)|Lion's Den]]'' was called "spectacular".<ref>{{cite news | newspaper=Moving Picture World| title='Lion's Den Mekes Splendid Vehicle for Bert Lytell | date=May 17, 1919 | page=1062 | url=https://archive.org/stream/moving40chal#page/n527/mode/2up/search/Kurrle}}</ref> Kurrle's work the following year on ''The Right of Way'' was described by some as "... remarkable even in this day of almost perfect cinematography."<ref>{{cite news|title='Right of Way' Gilbert Parker's Famous Novel |url=https://www.newspapers.com/image/27034390/?terms=%22Robert%2BKurrle%22 |newspaper=The Ogden Standard-Examiner |date=May 3, 1920 |page=12 |via = [[Newspapers.com]]|access-date = October 12, 2015}} {{Open access}}</ref> By 1921, Kurrle was already a member of the [[American Society of Cinematographers]] (ASC).<ref>{{cite news | newspaper=American Cinematographer | title=Society Members | date=1921 | page=15 | url=https://archive.org/stream/americancinemato02amer#page/n29/mode/2up/search/Kurrle}}</ref> Early that year, he followed Carewe and left Metro to become a freelance cinematographer. Fifteen of the twenty-four films Kurrle worked on during 1921-27 were directed by Carewe. In 1922, while filming a Carewe picture, ''I Am the Law'', Kurrle successfully tested a new high-speed film from Eastman. The new film allowed interior filming with less lighting, reducing both equipment and staffing costs.<ref>{{cite news | newspaper=The Film Daily | title=Try Out "Super Speed" Stock | date=March 22, 1922 | page=2 | url=https://archive.org/stream/filmdaily1920newy#page/n595/mode/2up/search/Kurrle}}</ref>

[[File:KurrleOnSiteInAfrica.jpg|thumb|right|Kurlle (left) on location in the Sahara, 1924]] [[File:KurrleRobert.OnSiteInAfrica.1924.jpg|thumb|left|Robert Kurrle (left) and his assistant, Al Green on location in the Sahara during filming of 1924's ''A Son of the Sahara'']] Over the course of his career, Kurlle received numerous positive criticism and attention from other industry members and publications. He was highlighted in ''[[American Cinematographer]]'' on many occasions, the first time being in the 1922 edition, where he was called a "valued member" of the ASC.<ref>{{cite news | newspaper=American Cinematographer | title=Robert Kurlle | date=February 1, 1922 | page=36 | url=https://archive.org/stream/americancinemato02amer_0#page/n37/mode/2up/search/Kurrle}}</ref> When he was selected to man the camera for fellow ASC member [[Phil Rosen]]'s film, ''[[Abraham Lincoln (1924 film)|Abraham Lincoln]]'', a prominent industry magazine stated that Kurlle's career had been "brilliant" up to that point.<ref>{{cite news | newspaper=American Cinematographer | title=Rosen and Kurrle on Lincoln Picture | date=April 1923 | page=23 | url=https://archive.org/stream/americancinemato03amer#page/n77/mode/2up/search/Kurrle}}</ref> In July 1924, after Kurrle's return from north Africa where he shot ''A Son of the Sahara'', ''American Cinematographer'' called him "... a master of his profession."<ref>{{cite news | newspaper=American Cinematographer | title=Twelve Aces in Cinematographic Profession, Wizards in the Art of the Camera and Lens | date=July 1924 | page=13 | url=https://archive.org/stream/amento04asch#page/n183/mode/2up/search/Kurrle}}</ref>

For 1926's ''Wings of the Storm'', Kurrle's exterior shots in [[Mount Rainier National Park|Mt. Rainier National Park]] received positive comments from industry trade papers.<ref>{{cite news | newspaper=The Film Daily | title=Wings of the Storm | date=November 28, 1926 | page=13 | url=https://archive.org/stream/filmdaily3738newy#page/1330/mode/2up/search/Kurrle}}</ref> In 1927 Kurrle was lauded for his camerawork on the film adaptation of [[Leo Tolstoy|Tolstoy]]'s ''[[Resurrection (1927 film)|Resurrection]]'', which was directed by his long-term collaborator Carrewe.<ref>{{cite news | newspaper=American Cinematographer | title=In Camerafornia | date=April 1927 | page=6 | url=https://archive.org/stream/americancinemato07amer#page/n89/mode/2up/search/Kurrle}}</ref><ref>{{cite news | newspaper=The Film Daily | title=Resurrection | date=April 10, 1927 | page=6 | url=https://archive.org/stream/filmdaily3940newy#page/824/mode/2up/search/Kurrle}}</ref> The following year, in the first ever ''American Cinematographer'' poll of the top Hollywood directors, Kurrle was selected as one of the top 10 cinematographers in the industry.<ref>{{cite news | newspaper=American Cinematographer | title=Ten Best Cinematographers | date=August 1928 | page=39 | url=https://archive.org/stream/americancinemato08amer#page/n271/mode/2up/search/Kurrle}}</ref> That same year, 1928, his camera work on ''[[Sadie Thompson (film)|Sadie Thompson]]'', was lauded as "... beautifully done, and the settings are completely in the mood of the story".<ref>{{cite news|title=At the Theatres: At the Pelican |url=https://www.newspapers.com/image/93032829/?terms=%22Robert%2BKurrle%22 |newspaper=The Evening Herald |date=December 2, 1929 |page=12 |via = [[Newspapers.com]]|access-date = October 12, 2015}} {{Open access}}</ref>

===Universal and Warner Brothers=== [[File:KurrleRobertCareweEdwin.1929.jpg|thumb|left|Kurlle (behind the camera), and director Edwin Carewe (seated in front of the camera), filming a dusk scene in 1929's ''Evangeline'']] By 1928 Kurrle was being called a "camera ace", a reference not only to his skill behind the camera, but also to the fact that he was one of the few people in Hollywood to own their own plane.<ref>{{cite news | newspaper=The Film Daily | title=A Little From "Lots" | last=Wilk | first=Ralph | date=April 20, 1928 | page=7 | url=https://archive.org/stream/filmdaily4344newy#page/748/mode/2up/search/Kurrle}}</ref> In 1928 he worked exclusively with Universal Pictures, before returning to freelance the following year.<ref name=AFIF1>{{cite web | url=http://www.afi.com/members/catalog/SearchResult.aspx?s=&Type=PN&Tbl=&CatID=DATABIN_PHOTOGRAPHY&ID=132082&searchedFor=Robert_Kurrle_&SortType=ASC&SortCol=RELEASE_YEAR | publisher=American Film Institute | title=Robert Kurrle | access-date=November 11, 2014}}</ref><ref name=AFIF2>{{cite web | url=http://www.afi.com/members/catalog/SearchResult.aspx?s=&Type=PN&Tbl=&CatID=DATABIN_PHOTOGRAPHY&ID=132951&searchedFor=Robert_B._Kurrle_&SortType=ASC&SortCol=RELEASE_YEAR | publisher=American Film Institute | title=Robert B. Kurrle | access-date=November 11, 2014}}</ref> In mid-1930, Kurrle signed a contract with Warner Brothers. Over the next two years he rose to become their top cinematographer.<ref>{{cite news | newspaper=Variety | title=News From the Dailies | date=November 1, 1931 | page=36 | url=https://archive.org/stream/variety108-1932-11#page/n35/mode/2up/search/%22Robert+Kurrle%22}}</ref> During his sixteen-year career, he worked with such notable directors as [[John Ince (actor)|John Ince]], [[William A. Wellman|William Wellman]], [[Raoul Walsh]], [[Michael Curtiz]], [[Archie Mayo]], and [[William Dieterle]] (who directed the final film Kurrle photographed). In 1928 Kurrle was one of the inaugural members of the International Photographers branch of the International Alliance of Theatrical Stage Employees (I.A.T.S.E.).<ref name=IP1>{{cite news | newspaper=International Photographer | title=Sudden Death of Bob Kurrle Shocks Legion of Friends in Film Industry | date=November 1932 | page=29 | url=https://archive.org/stream/internationalpho04holl#page/n497/mode/2up/search/Kurrle}}</ref>

Even when the film was given less than stellar press, Kurrle's work was often praised, as in the case of the 1929 film ''Her Majesty, Love'', where it was noted, "The story is negligible, the cast, though capable, has nothing to do, and the direction is heavy handed and slow. But Robert Kurrle's cinematography is outstanding."<ref>{{cite news | newspaper=American Cinematographer | title=Concerning Cinematography: Her Majesty, Love | last=Stull | first=William |date=January 1932 | page=22 | url=https://archive.org/stream/americancinemato12amer#page/n23/mode/2up/search/Kurrle}}</ref> That same year, his camerawork on another Carewe film, an adaptation of [[Henry Wadsworth Longfellow|Longfellow]]'s ''[[Evangeline (1929 film)|Evangeline]]'', was deemed as "beautiful" by ''[[The Film Daily]]''.<ref>{{cite news | newspaper=The Film Daily | title=Evangeline | date=August 4, 1929 | page=8 | url=https://archive.org/stream/filmdaily4950newy#page/286/mode/2up/search/Kurrle}}</ref> The magazine also rated his photography as "excellent" for [[Merian Cooper]]'s version of the classic tale, ''[[The Four Feathers (1929 film)|The Four Feathers]]''.<ref>{{cite news | newspaper=The Film Daily | title=The Four Feathers | date=June 16, 1929 | page=8 | url=https://archive.org/stream/filmdaily4748newy#page/n1417/mode/2up/search/Kurrle}}</ref> There were times when his work only garnered average reviews in some papers, such as 1930's [[Hit the Deck (1930 film)|Hit the Deck]],<ref>{{cite news | newspaper=The Film Daily | title=Hit The Deck | date=January 19, 1930 | page=10 | url=https://archive.org/stream/filmdailyvolume55152newy#page/148/mode/2up/search/Kurrle}}</ref> while still gaining praise in others.<ref>{{cite news|title=Movie Sidelights |url=https://www.newspapers.com/image/21411631/?terms=%22Robert%2BKurrle%22 |newspaper=The Brownsville Herald |date=April 17, 1930 |page=16 |via = [[Newspapers.com]]|access-date = October 12, 2015}} {{Open access}}</ref>

Kurrle was behind the camera for [[Lloyd Bacon]]'s 1930 version of ''[[Moby Dick (1930 film)|Moby Dick]]'', for which his work received high praise, being called "... one of the three outstanding elements of the entire work."<ref>{{cite news | newspaper=International Photographer | title=Review-ettes | date=September 1930 | page=27 | url=https://archive.org/stream/internationalpho02holl#page/n675/mode/2up/search/Kurrle}}</ref> In 1931, his work on ''Resurrection'' was described as "... brilliant and sweeping". During 1932, Kurrle was the director of photography on ten feature films which were released that year. In September and October 1932, he worked on back to back films. The first was ''[[The Match King]]'', featuring [[Warren William]] and [[Lili Damita]], followed by ''[[Lawyer Man]]'', starring [[William Powell]] and [[Joan Blondell]].<ref>{{cite web | url=http://www.afi.com/members/catalog/DetailView.aspx?s=&Movie=1046 | title=The Match King: Detail View | publisher=American Film Institute | access-date= November 11, 2014 | archive-url=https://web.archive.org/web/20141111154326/http://www.afi.com/members/catalog/DetailView.aspx?s=&Movie=1046 | archive-date= November 11, 2014}}</ref><ref>{{cite web | url=http://www.afi.com/members/catalog/DetailView.aspx?s=&Movie=6342 | title=Lawyer Man: Detail View | publisher=American Film Institute | access-date= November 11, 2014 | archive-url=https://web.archive.org/web/20141111153321/http://www.afi.com/members/catalog/DetailView.aspx?s=&Movie=6342 | archive-date= November 11, 2014}}</ref> ''Lawyer Man'' was his final film.

==Death== [[File:RobertKurrle1932.jpg|thumb|right|Kurlle in 1932]] Following the completion of his work on ''Lawyer Man'', he went to the hospital for treatment of a persistent cold. This developed into a sinus infection, which further worsened into an infection in his brain. He remained in the hospital for over a week, fighting the infection, but eventually died from it. His death at the age of 42 on October 27, 1932, shocked the film industry.<ref>{{cite news | newspaper=Variety | title=Rare Brain Germ Kills Cameraman After Week | date=November 1, 1932 | page=47 | url=https://archive.org/stream/variety108-1932-11#page/n1/mode/2up/search/Kurrle}}</ref> Later it was reported that the infection was [[meningitis]].<ref name=IP1 /> The last two films he worked on were released posthumously. Upon his death, ''American Cinematographer'' said, "The Motion Picture Industry lost one of its greatest cinematographers and finest gentlemen ..."<ref>{{cite news | newspaper=American Cinematographer | title=Robert B. Kurrle Mourned | date=November 1932 | page=39 | url=https://archive.org/stream/americancinemato12amer#page/n571/mode/2up/search/Kurrle}}</ref>

His memorial service was held at The Little Church of the Flowers in [[Glendale, California]],<ref name=IP1 /> after which he was interred in [[Forest Lawn Memorial Park (Glendale)|Forest Lawn Memorial Park]], also in Glendale.

==Filmography==  (Per [[American Film Institute|AFI]] database)<ref name=AFIF1 /><ref name=AFIF2 />

{{div col|colwidth=22em}} *''Her Great Price'' (1916) *''[[Boston Blackie's Little Pal]]'' (1918) * ''[[Hitting the High Spots]]'' (1918) *''[[No Man's Land (1918 film)|No Man's Land]]'' (1918) *''The Trail to Yesterday'' (1918) *''[[Unexpected Places (1918 film)|Unexpected Places]]'' (1918) * ''[[Easy to Make Money]]'' (1919) *''[[Faith (1919 film)|Faith]]'' (1919) *''[[Blind Man's Eyes]]'' (1919) *''[[Blackie's Redemption]]'' (1919) *''[[The Lion's Den (1919 film)|The Lion's Den]]'' (1919) *''[[Lombardi, Ltd.]]'' (1919) * ''[[One-Thing-at-a-Time O'Day]]'' (1919) *''[[The Spender (1919 film)|The Spender]]'' (1919) *''[[Isobel; or the Trail's End]]'' (1920) *''[[The Right of Way (1920 film)|The Right of Way]]'' (1920) *''[[Rio Grande (1920 film)|Rio Grande]]'' (1920) *''[[Habit (1921 film)|Habit]]'' (1921) *''Her Mad Bargain'' (1921) *''[[The Invisible Fear]]'' (1921) * ''[[The Lure of Youth]]'' (1921) *''Playthings of Destiny'' (1921) *''[[I Am the Law (1922 film)|I Am the Law]]'' (1922) *''[[A Question of Honor (1922 film)|A Question of Honor]]'' (1922) *''[[Silver Wings (film)|Silver Wings]]'' (1922) *''[[All the Brothers Were Valiant (1923 film)|All the Brothers Were Valiant]]'' (1923) *''[[Abraham Lincoln (1924 film short)|Abraham Lincoln]]'' (1924) *''[[Madonna of the Streets (1924 film)|Madonna of the Streets]]'' (1924) *''[[A Son of the Sahara]]'' (1924) *''[[Joanna (1925 film)|Joanna]]'' (1925) *''[[The Lady Who Lied]]'' (1925) *''[[The Red Rider (1925 film)|The Red Rider]]'' (1925) *''[[Sackcloth and Scarlet]]'' (1925) *''[[Why Women Love]]'' (1925) *''[[High Steppers]]'' (1926) *''[[Pals First]]'' (1926) *''Wings of the Storm'' (1926) *''[[Breakfast at Sunrise]]'' (1927) *''[[Resurrection (1927 film)|Resurrection]]'' (1927) *''[[The Stolen Bride (1927 film)|The Stolen Bride]]'' (1927) *''[[The Tender Hour]]'' (1927) *''[[Ramona (1928 film)|Ramona]]'' (1928) *''[[Revenge (1928 film)|Revenge]]'' (1928) *''[[Sadie Thompson (film)|Sadie Thompson]]'' (1928) *''[[Evangeline (1929 film)|Evangeline]]'' (1929) *''[[The Four Feathers (1929 film)|The Four Feathers]]'' (1929) *''[[Rio Rita (1929 film)|Rio Rita]]'' (1929) *''[[Dancing Sweeties]]'' (1930) *''[[The Furies (1930 film)|The Furies]]'' (1930) *''[[Hit the Deck (1930 film)|Hit the Deck]]'' (1930) *''[[Maybe It's Love (1930 film)|Maybe It's Love]]'' (1930) *''[[Moby Dick (1930 film)|Moby Dick]]'' (1930) *''[[River's End (1930 film)|River's End]]'' (1930) *''[[God's Gift to Women]]'' (1931) *''Her Majesty Love'' (1931) *''[[Illicit (1931 film)|Illicit]]'' (1931) *''[[Resurrection (1931 American film)|Resurrection]]'' (1931) *''[[The Road to Singapore]]'' (1931) *''[[Smart Money (1931 film)|Smart Money]]'' (1931) *''[[The Crooked Circle (1932 film)|The Crooked Circle]]'' (1932) *''Crooner'' (1932) *''[[The Expert (1932 film)|The Expert]]'' (1932) *''[[High Pressure (film)|High Pressure]]'' (1932) *''[[Jewel Robbery]]'' (1932) *''[[Lawyer Man]]'' (1933) *''[[The Match King]]'' (1932) *''[[One Way Passage]]'' (1932) *''[[The Strange Love of Molly Louvain]]'' (1932) *''[[Winner Take All (1932 film)|Winner Take All]]'' (1932)

==References== {{Reflist|30em}}

{{DEFAULTSORT:Kurrle, Robert}} [[Category:American cinematographers]] [[Category:People from Port Hueneme, California]] [[Category:1890 births]] [[Category:1932 deaths]] [[Category:Burials at Forest Lawn Memorial Park (Glendale)]] [[Category:20th-century American people]]