Charles B Lang

Director of photography, Lab assistant, Assistant cameraman
During a career that spanned over half a century, cinematographer Charles Lang worked with directors ranging from Dorothy Arzner ("Anybody's Woman" 1930) to George Cukor ("Zaza" 1939) to Anthony Mann ("The Man from ... Read more »
Born: 03/26/1902 in Bluff, Utah, USA

Filmography

Camera, Film, & Tape (115)

40 Carats 1972 (Movie)

(Director of Photography)

Butterflies Are Free 1972 (Movie)

(Director of Photography)

Doctors' Wives 1971 (Movie)

(Director of Photography)

A Walk in the Spring Rain 1970 (Movie)

(Director of Photography)

The Love Machine 1970 (Movie)

(Director of Photography)

Bob & Carol & Ted & Alice 1969 (Movie)

(Director of Photography)

Cactus Flower 1969 (Movie)

(Director of Photography)

How to Commit Marriage 1969 (Movie)

(Director of Photography)

A Flea in Her Ear 1968 (Movie)

(Director of Photography)

The Stalking Moon 1968 (Movie)

(Director of Photography)

Hotel 1967 (Movie)

(Director of Photography)

The Flim-Flam Man 1967 (Movie)

(Director of Photography)

Wait Until Dark 1967 (Movie)

(Director of Photography)

How to Steal a Million 1966 (Movie)

(Director of Photography)

Inside Daisy Clover 1966 (Movie)

(Director of Photography)

Not With My Wife, You Don't 1965 (Movie)

(Director of Photography)

Father Goose 1964 (Movie)

(Director of Photography)

Sex and the Single Girl 1964 (Movie)

(Director of Photography)

A Girl Named Tamiko 1963 (Movie)

(Director of Photography)

Charade 1963 (Movie)

(Director of Photography)

Critic's Choice 1962 (Movie)

(Director of Photography)

How the West Was Won 1962 (Movie)

(Director of Photography)

Paris When It Sizzles 1962 (Movie)

(Director of Photography)

The Wheeler Dealers 1962 (Movie)

(Director of Photography)

Blue Hawaii 1961 (Movie)

(Director of Photography)

Summer and Smoke 1961 (Movie)

(Director of Photography)

One-Eyed Jacks 1960 (Movie)

(Director of Photography)

Strangers When We Meet 1960 (Movie)

(Director of Photography)

The Facts of Life 1960 (Movie)

(Director of Photography)

The Magnificent Seven 1960 (Movie)

(Director of Photography)

Some Like It Hot 1959 (Movie)

(Director of Photography)

Last Train From Gun Hill 1958 (Movie)

(Director of Photography)

Separate Tables 1958 (Movie)

(Director of Photography)

The Matchmaker 1958 (Movie)

(Director of Photography)

Gunfight at the O.K. Corral 1957 (Movie)

(Director of Photography)

Loving You 1957 (Movie)

(Director of Photography)

Wild Is the Wind 1957 (Movie)

(Director of Photography)

Autumn Leaves 1956 (Movie)

(Director of Photography)

The Rainmaker 1956 (Movie)

(Director of Photography)

The Solid Gold Cadillac 1956 (Movie)

(Director of Photography)

Female on the Beach 1955 (Movie)

(Director of Photography)

Queen Bee 1955 (Movie)

(Director of Photography)

The Man From Laramie 1955 (Movie)

(Director of Photography)

Phffft! 1954 (Movie)

(Director of Photography)

Sabrina 1954 (Movie)

(Director of Photography)

It Should Happen to You 1953 (Movie)

(Director of Photography)

The Big Heat 1953 (Movie)

(Director of Photography)

Sudden Fear 1952 (Movie)

cinematography (Cinematographer)

Aaron Slick From Punkin Crick 1951 (Movie)

cinematography (Cinematographer)

The Big Carnival 1951 (Movie)

cinematography (Cinematographer)

Fancy Pants 1950 (Movie)

(Director of Photography)

The Great Lover 1949 (Movie)

(Director of Photography)

A Foreign Affair 1948 (Movie)

(Director of Photography)

The Ghost and Mrs. Muir 1947 (Movie)

(Director of Photography)

Where There's Life 1947 (Movie)

(Director of Photography)

No Time For Love 1942 (Movie)

(Photography)

Nothing But the Truth 1940 (Movie)

(Director of Photography)

The Shepherd of the Hills 1940 (Movie)

(Director of Photography)

The Ghost Breakers 1939 (Movie)

(Director of Photography)

Midnight 1938 (Movie)

(Director of Photography)

The Cat and the Canary 1938 (Movie)

(Director of Photography)

Zaza 1938 (Movie)

(Photography)

Souls at Sea 1936 (Movie)

(Photography)

Desire 1935 (Movie)

(Photography)

Lives of a Bengal Lancer 1934 (Movie)

(Photography)

Peter Ibbetson 1934 (Movie)

(Photography)

Death Takes a Holiday 1933 (Movie)

(Photography)

She Done Him Wrong 1932 (Movie)

(Photography)

A Farewell to Arms 1931 (Movie)

(Photography)

The Right to Love 1929 (Movie)

(Photography)

A Bedtime Story (Movie)

(Cinematographer)

Anybody's Woman (Movie)

(Cinematographer)

Arise, My Love (Movie)

(Cinematographer)

Blue Skies (Movie)

(Cinematographer)

Dancing on a Dime (Movie)

(Cinematographer)

Desert Fury (Movie)

(Cinematographer)

Doctor Rhythm (Movie)

(Cinematographer)

For the Defense (Movie)

(Cinematographer)

Gambling Ship (Movie)

(Cinematographer)

Here Come the Waves (Movie)

(Cinematographer)

Innocents of Paris (Movie)

(Cinematographer)

Miss Tatlock's Millions (Movie)

(Cinematographer)

Mississippi (Movie)

(Cinematographer)

Mrs. Wiggs of the Cabbage Patch (Movie)

(Cinematographer)

My Own True Love (Movie)

(Cinematographer)

No One Man (Movie)

(Cinematographer)

Practically Yours (Movie)

(Cinematographer)

Proudly We Hail (Movie)

(Cinematographer)

Red Mountain (Movie)

(Cinematographer)

Rope of Sand (Movie)

(Cinematographer)

Sarah and Son (Movie)

(Cinematographer)

September Affair (Movie)

(Cinematographer)

Seven Days Leave (Movie)

(Cinematographer)

Shadow of the Law (Movie)

(Cinematographer)

She Loves Me Not (Movie)

(Cinematographer)

Skylark (Movie)

(Cinematographer)

Spawn of the North (Movie)

(Cinematographer)

Standing Room Only (Movie)

(Cinematographer)

Street of Chance (Movie)

(Cinematographer)

The Atomic City (Movie)

(Cinematographer)

The Devil and the Deep (Movie)

(Cinematographer)

The Forest Rangers (Movie)

(Cinematographer)

The Gracie Allen Murder Case (Movie)

(Cinematographer)

The Lady Has Plans (Movie)

(Cinematographer)

The Light of Western Stars (Movie)

(Cinematographer)

The Magnificent Lie (Movie)

(Cinematographer)

The Mating Season (Movie)

(Cinematographer)

The Shopworn Angel (Movie)

(Cinematographer)

The Stork Club (Movie)

(Cinematographer)

The Unfaithful (Movie)

(Cinematographer)

The Way to Love (Movie)

(Cinematographer)

Thunder Below (Movie)

(Cinematographer)

Tomorrow and Tomorrow (Movie)

(Cinematographer)

Tovarich (Movie)

(Cinematographer)

You and Me (Movie)

(Cinematographer)
Sound (9)

Calling Philo Vance (Movie)

(Sound/Sound Designer)

George Washington Slept Here (Movie)

(Sound/Sound Designer)

Make Your Own Bed (Movie)

(Sound/Sound Designer)

Nora Prentiss (Movie)

(Sound/Sound Designer)

Pillow to Post (Movie)

(Sound/Sound Designer)

Secrets of an Actress (Movie)

(Sound/Sound Designer)

Springfield Rifle (Movie)

(Sound/Sound Designer)

The Adventures of Jane Arden (Movie)

(Sound/Sound Designer)

The Fighting 69th (Movie)

(Sound/Sound Designer)
Actor (2)

American Cinema 1994 - 1995 (TV Show)

Actor

Visions of Light: The Art of Cinematography 1993 (Movie)

Himself (Actor)

Biography

During a career that spanned over half a century, cinematographer Charles Lang worked with directors ranging from Dorothy Arzner ("Anybody's Woman" 1930) to George Cukor ("Zaza" 1939) to Anthony Mann ("The Man from Laramie" 1955) and Paul Mazursky ("Bob & Carol & Ted & Alice" 1969). One of the key talents responsible for the look of Paramount Studio's films during the 1930s and 40s, Lang helped establish the softer, romanticized side of the studio's ornate, glossy, vaguely European visual style. Some of Lang's best work features a supple use of camera movement and an atmospheric, translucent lighting which washes gently through interiors, most notably in such tender love stories and wispy light comedies as Frank Borzage's "A Farewell to Arms" (1932) and "Desire" (1936), Mitchell Leisen's "Cradle Song" (1933), Ernst Lubitsch's "Angel" (1937), and Henry Hathaway's stunning romantic fantasy, "Peter Ibbetson" (1935). Like most Hollywood cinematographers of the classical period, however, Lang worked in all genres, and his work included action epics ("Lives of a Bengal Lancer" 1935) as well as the more brittle, stinging comedy of such classics as Mae West's first starrer, "She Done Him Wrong" (1933) and Leisen's delightful "Midnight" (1939).

The latter film seems an appropriate transition to Lang's 40s style, which saw a deeper use of contrasts between light and darkness and a slightly sharper edge to some of the lighting effects. The delicate sensibility was still there as well, though, and the combination added a great deal to two "haunting" ghost dramas, "The Uninvited" (1944) and "The Ghost and Mrs. Muir" (1947), as well as to Billy Wilder's evocative portrait of postwar Berlin, "A Foreign Affair" (1948), with Marlene Dietrich crooning amidst blazes of light in smoky cafes.

Leaving Paramount in 1951, Lang showed that his talents could fit the moody, violent world of film noir when he collaborated with another Lang, Fritz, on the powerful crime classic, "The Big Heat" (1953). As color became increasingly prevalent in American film during the 50s Lang demonstrated a cool control of color tones in such films as "Gunfight at the O.K. Corral" (1957) and "Charade" (1963), while the muted color and deep focus cinematography were among the highlights of the offbeat, Marlon Brando-directed Western, "One-Eyed Jacks" (1961). Lang's work on Wilder's hilarious "Some Like It Hot" (1959) showed, however, that he had not forgotten how to evoke a bygone visual style in his work. He continued working until the early 70s ("Butterflies Are Free" 1972, "40 Carats" 1973), bequeathing to the cinema a rich, often poetic, legacy of visual artistry.

Relationships

Charles Lang

Father
worked for Realart Studios in the 1920s

Judith Lang

Daughter
survived him

Helen Parrish Actor

Wife

EDUCATION

Lincoln High School

Los Angeles , California

University of Southern California

Los Angeles , California
did not complete studies

Milestones

1992

Appeared in the documentary feature, "Visions of Light: The Art of Cinematography"

1973

Last feature film, "40 Carats"

1951

Left Paramount; began free-lancing

1940

Made first film in color, "The Shepherd of the Hills"

1927

First credit as cinematographer, "Ritzy"; disliked being first cameraman and returned to second-string work for a year

1926

Served as second cameraman on "The Night Patrol"

1925

Was put under contract at Paramount as a second cameraman(date approximate)

1923

Worked as an assistant cameraman for Preferred's productions of "Are You a Failure?" And "The Virginian"

1922

Realart Studios closed; did freelance work, including a stint as a still photographer for the Preferred Picture Corporation

1919

Left law school to work as an assistant in the laboratories of Realart Studios, where he father was a technician

Moved into film production; became an assistant to Realart's top cameraman, H. Kinley Martin, and later a second cameraman

Bonus Trivia

.

During the course of his career Lang was nominated for the Best Cinematography Oscar 18 times, the first for "The Right to Love" (1930/31) and the last for "Butterflies Are Free" (1972).

.

Over the course of his career Lang was variously credited as "Charles Lang", "Charles B. Lang", "Charles Lang, Jr." and "Charles B. Lang, Jr." He is not to be confused with character actor Charles Lang (born 1915), busiest in the 1940s; writer Charles Lang, who scripted "Captain Scarface" (1953) and several TV series of the 1950s; the Charles Lang who worked as an electrician on "Star Trek VI: The Undiscovered Country" (1991) or even sound engineeer Charles B. Lang, long with Warner Brothers.

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