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James Wong Howe
James Wong Howe
was a successful and distinguished Chinese American cinematographer. Howe
started his career as an assistant cameraperson and gradually established
himself as one of the most influential and sought after cinematographers in
Hollywood. A virtuoso in applying and exploiting shadows in films, Howe was one
of the pioneers in using deep-focus cinematography where distant places
remained under focus along with foreground of the scenes. His rich body of work
encompassed more than 130 films that he contributed to in a long career span of
over five decades. He worked with many eminent directors like Allan Dwan,
Samuel Fuller, John Cromwell, Sidney Lumet and William K. Howard. His excellent
work on cinematography saw him being nominated for the ‘Academy Awards’ ten
times. He won the award twice, first in 1956 for the film ‘The Rose Tattoo’ and
then for the 1963 film ‘Hud’. According to a survey of members of
‘International Cinematographers Guild’, Howe was considered one of history’s 10
most influential cinematographers. He became a member of the prestigious
‘American Society of Cinematographers’ and had the honour and right to add ASC
to his name.
Childhood & Early Life
· He was born
Wong Tung Jim on August 28, 1899, in Canton (present day Guangzhou), China.
That year his father immigrated to America to work on the ‘Northern Pacific
Railway’.
· In 1904, when
Howe was five-year-old, the family moved to America to join his father and
settled in Pasco, Washington. His father later opened a general store and
successfully ran it albeit facing discrimination from locals.
· Little Howe had
a rather unhappy childhood as he was also not spared of the biased and racist
remarks by neighbourhood children. He would often bribe them with candies from
his family store to let him play with them.
· He got his
first camera, a Kodak Brownie from ‘Pasco Drug’, when he was twelve.
· As a child he
dreamt of becoming a prize-fighter and following his father’s death, the teenager
shifted to Oregon where his uncle lived. For a while he pursued a career in
bantamweight boxing and obtained a record of five victories, two losses and one
draw.
· Thereafter he
shifted to San Francisco Bay area with the idea of joining aviation school but
due to fund crunch he moved south and reached Los Angeles.
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Career
§ In Los Angeles
he started working as a delivery boy of a commercial photographer. However he
was fired after being found developing passport photos for a friend in the
darkroom of the firm. To make a living he became a busboy at the ‘Beverly Hills
Hotel’.
§ One day by
chance he came across one of his ex-boxing mates who was taking a shot for
actor-director Mack Sennett in a city street. With the help of this friend he
got in touch with cinematographer Alvin Wyckoff and got a custodial job at the
‘Famous Players-Lasky Studios’ with a remuneration of $10 a week.
§ Once, when he
was asked to work as an extra clapper boy on the sets of the silent romantic
war film ‘The Little American’ (1917), which was being directed by Cecil B.
DeMille. He caught the attention of the director and DeMille kept him on and
later floated his career as an assistant cameraman.
§ Howe also used
to earn extra income by taking stills of Hollywood stars for their promotional
purpose. One such photograph took off his career as a cinematographer when he
captured a still of actress Mary Miles Minter. The speciality of the picture
was that Howe took her still while the actress was looking at a dark surface
which resulted in her otherwise blue eyes looking darker than usual.
§ Howe soon
became sought after by other blue-eyed actors, who insisted on taking him for
their shoots.
§ On the behest
of Minter, he became the lighting cameraman or the director of photography of
her next feature ‘Drums of Fate’ (1923).
§ Since 1923 all
through the epoch of silent film, Howe, who was also known as Jimmie in the
film circle, worked regularly as a director of photography. Some of the films
he worked in during that era were ‘The Trail of the Lonesome Pine’ (1923),
‘Mantrap’ (1926) and ‘Laugh, Clown, Laugh’ (1928).
§ He went to
China in 1928 and shot some location backgrounds to use in a movie about China
that he intended to direct. Although the movie was never completed, the footage
was used in the 1932 released American film ‘Shanghai Express’ directed by
Josef von Sternberg.
§ By the time he
returned to America, Hollywood was going through a major technological
transformation as silent movies were gradually being superseded by talkies or
sound pictures.
§ Initially Howe
like any other skilled cameraman of the silent film era faced challenges with
the new medium. After a short stint of unsuccessful endeavours, he was hired by
director-producer Howard Hawks for the latter’s film, ‘The Criminal Code’
(1931).
§ He once again
came to prominence as an ace cinematographer with his innovative work in the
William K. Howard directed American comedy film ‘Transatlantic’, which was
released on August 30, 1931. Once again he became one of the sought after
cinematographers in Hollywood and worked consistently on several movies.
§ In 1933 he
joined ‘MGM’ and became a virtuoso in his field for the 15 pictures he worked
for the media company. He shot two of the pictures namely ‘The Thin Man’ (1934)
and ‘Manhattan Melodrama’ (1934) in 18 days and 28
days respectively. His salary per week gradually rose to $500.
§ Thereafter he
worked with ‘Warner Bros’ and earned his first ‘Academy Award’ nomination for
his brilliant contribution in cinematography in the film ‘Algiers’ (1938).
After this successful collaboration, Jack L. Warner, the studio boss, signed
Howe to a 7 year contract that saw the latter contributing in around 26 movies
of the studio.
§ He was often
marked as a Chinese cameraman and faced restriction from becoming a citizen of
the US till cancellation of the ‘Chinese Exclusion Act’ in 1943.
§ Post the
‘Second World War’ and his end of contract with ‘Warner Bros.’, he went to
China for a documentary work. Although he was never a Communist, he found
himself to be grey-listed after returning to the US. For a while he and his
wife Sanora Babb, a ‘Communist Party’ member, relocated to Mexico.
§ Overcoming all
odds he again re-established himself as one of the leading American
cinematographers.
§ His great work
par is evident in films like ‘Algiers’ (1938), ‘Abe Lincoln in Illinois’
(1940), ‘King's Row’ (1942), ‘Air Force’ (1943), ‘The Rose Tattoo’ (1955), ‘The
Old Man and the Sea’ (1958), ‘Hud’ (1963), ‘Seconds’ (1966) and ‘Funny Lady’
(1975).
Awards &
Achievements
§ He won ‘Academy
Awards’ for two films, ‘The Rose Tattoo’ (1955) and ‘Hud’ (1963).
Personal Life
& Legacy
§ He met novelist
Sanora Babb before the ‘Second World War’ and they eventually got married in
Paris in 1937. However because of the anti-miscegenation laws, the marriage was
legally recognised in the US after over a decade in 1949.
§ He raised
Martin Fong as his godson after the latter moved to the US. Fong became a
cinematographer, director, film producer and actor.
§ On July 12,
1976, Howe passed away and was interred in Los Angeles’ ‘Pierce Bros. Westwood
Memorial Park’.
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