James Wong Howe

He was a professional boxer during his teenage years, and later began his career in the film industry as an assistant to Cecil B. Howe pioneered the use of wide-angle lenses and low-key lighting, as well as the use of the crab dolly. Despite the success of his professional life, Howe faced significant racial discrimination in his private life. He became an American citizen only after the repeal of the Chinese Exclusion Act in 1943, and due to anti-miscegenation laws, his marriage to Sanora Babb, a white woman, was not legally recognized in the state of California until 1948. Howe earned 10 nominations for the Academy Award for Best Cinematography, winning twice, once for The Rose Tattoo (1955), and once more for Hud (1963). He also received Oscar nominations for Algiers (1938), Abe Lincoln in Illinois (1940), Kings Row (1942), The North Star (1943), Air Force (1943), The Old Man and the Sea (1958), Seconds (1966), and Funny Lady (1975). He was selected as one of the 10 most influential cinematographers in a survey of the members of the International Cinematographers Guild.

• Name — James Wong Howe • Birth Name — Wong Tung Jim • Born — 28 August 1899 • Birthplace — Taishan, Guangdong, China • Died — 12 July 1976 • Place of death — Los Angeles, California, U.S. • Occupation — * Cinematographer • film director • Years Active — 1917–1975 • Spouse — (marriage not recognized in California until 1948)

Howe was born Wong Tung Jim in Taishan, Canton Province (now Guangdong), Qing China in 1899. His father Wong Howe moved to America that year to work on the Northern Pacific Railway and in 1904 sent for his family. The Howes settled in Pasco, Washington, where they owned a general store. A Brownie camera, said to have been bought at Pasco Drug (a now-closed city landmark) when he was a child, sparked an early interest in photography. After his father's death, the teenaged Howe moved to Oregon to live with his uncle and briefly considered (1915–16) a career as a bantamweight boxer. After compiling a record of 5 wins, 2 losses and a draw, Howe moved to the San Francisco Bay Area in hopes of attending aviation school but ran out of money and went south to Los Angeles. Once there, Howe took several odd jobs, including work as a commercial photographer's delivery boy and as a busboy at the Beverly Hills Hotel.

After a chance encounter with a former boxing colleague who was photographing a Mack Sennett short on the streets of Los Angeles, Howe approached cinematographer Alvin Wyckoff and landed a low-level job in the film lab at Famous Players–Lasky studios. Soon thereafter he was called to the set of The Little American to act as an extra clapper boy, which brought him into contact with silent film director Cecil B. DeMille in 1917. Amused by the sight of the diminutive Asian holding the slate with a large cigar in his mouth, DeMille kept Howe on and launched his career as a camera assistant. To earn additional money, Howe took publicity stills for Hollywood stars.

After the end of World War II, Howe's long-term contract with Warner Bros. lapsed, and he visited China to work on a documentary about rickshaw boys. When he returned Howe found himself gray-listed. While never a Communist, Howe was named in testimony as a sympathizer. Howe and his wife Sanora Babb, who had been a member of the Communist Party, moved to Mexico for a time. Howe was cinematographer for the RKO movie Mr. Blandings Builds His Dream House (1948) starring Cary Grant, Myrna Loy and Melvyn Douglas. Howe had trouble finding employment until writer/director Samuel Fuller hired him to shoot The Baron of Arizona released in 1950. Again reestablished, Howe's camerawork continued to be highly regarded. In 1949 he shot tests and was hired for a never made comeback film starring Greta Garbo (a screen adaptation of Balzac's La Duchesse de Langeais). In 1956, Howe won his first Academy Award for The Rose Tattoo. The film's director Daniel Mann originally had been a stage director and later stated that he gave Howe control over almost all decisions about the filming other than those regarding the actors and dialogue. In Sweet Smell of Success (1957), Howe worked with director Alexander Mackendrick to give the black-and-white film a sharp-edged look reminiscent of New York tabloid photography such as that taken by Arthur "Weegee" Fellig. During the 1950s, Howe directed his only English-language feature films, Invisible Avenger, one of many film adaptations of The Shadow, and Go Man Go, a movie about the Harlem Globetrotters. Neither was a critical or commercial success. In 1961 Howe directed episodes of Checkmate and 87th Precinct, then returned to cinematography.

Howe's best known work was almost entirely in black and white. His two Academy Awards both came during the period when Best Cinematography Oscars were awarded separately for color and black-and-white films. However, he successfully made the transition to color films and earned his first Academy Award nomination for a color film in 1958 for The Old Man and the Sea. He won his second Academy Award for 1963's Hud. His cinematography remained inventive during his later career. For instance, his use of fish-eye and wide-angle lenses in Seconds (1966) helped give an eerie tension to director John Frankenheimer's science fiction movie. During the mid to late 1960s, he taught cinematography at UCLA's Film School. Some of his students include Dean Cundey, Stephen H. Burum, and Alex Funke. Howe would take a minimal set and teach how to achieve a particular mood and style with just lighting. Cundey said, "it was my most valuable class I took in film school" and it changed his career direction to cinematography. After working on The Molly Maguires (1970), Howe's health began to fail, and he entered semi-retirement. In 1974, he was well enough to be selected as a replacement cinematographer for Funny Lady. He collapsed during the filming; American Society of Cinematographers president Ernest Laszlo filled in for Howe while he was recovering in the hospital. Funny Lady earned Howe his tenth and final Oscar nomination. Association of Asian Pacific American Artists created the James Wong Howe Award in his honor. Past winners of "The Jimmie" have included Arthur Dong, Genny Lim, and Jude Narita.

• Illustration — Howe with his wife, Sanora Babb Howe met his wife, a white woman named Sanora Babb, before World War II. They traveled to Paris in 1937 to marry, but their marriage was not recognized by the state of California until 1948, after the law banning interracial marriage was abolished. Due to the ban, the "morals clause" in Howe's studio contracts prohibited him from publicly acknowledging his marriage to Babb. They would not cohabit due to his traditional Chinese views, so they had separate apartments in the same building. During the early years of the House Un-American Activities Committee hearings, Howe was graylisted due to supposedly having Communist ties from his marriage to Babb; she moved to Mexico City to protect Howe.

Howe's earliest discovery was the use of black velvet to make blue eyes show up better on the orthochromatic film stock in use until the early 1920s. Orthochromatic film was "blue blind"; it was sensitive to blue and green light, which showed as white on the developed film. Reds and yellows were darkened. Faced with the problem of actors' eyes appearing washed out or even stark white on film, Howe developed a technique of mounting a frame swathed with black velvet around his camera so that the reflections darkened the actors' eyes enough for them to appear more natural in the developed film. Howe earned the nickname "Low-Key Howe" because of his penchant for dramatic lighting and deep shadows, a technique that came to be associated with film noir. Later in his career, as film-stocks became faster and more sensitive, Howe continued to experiment with his photography and lighting techniques, such as shooting one scene in The Molly Maguires solely by candlelight. Howe also was known for his use of unusual lenses, film stocks, and shooting techniques. For the 1927 film The Rough Riders, Howe created an early version of a crab dolly, a form of camera dolly with four independent wheels and a movable arm to which the camera is attached. For the boxing scenes of Body and Soul (1947), he entered the boxing ring on roller-skates, carrying an early hand-held camera. Picnic (1955) features a very early example of the helicopter shot, filmed by the second-unit cinematographer, Haskell Wexler, and planned by Wexler and Howe. Howe mentored other minority cinematographers, such as John Alonzo, who shot Chinatown and many other productions in the 1970s, 1980s, and 1990s. Alonzo credited Howe with giving him his big break on the film Seconds as a camera operator, doing hand-held sequences during the wild party scenes with Rock Hudson. Alonzo became known for his hand-held technique. Howe also shot The Outrage, a remake of Rashomon. During the chase scenes through the woods, Howe had the actors run around him in a circle, which when filmed, looks like a chase. Alonzo used this technique in Sounder, in the wooded chase sequence. Although the innovation of deep focus cinematography is usually associated with Gregg Toland, Howe used it in his first sound film, Transatlantic, 10 years before Toland used the technique in Citizen Kane. For deep focus, the cinematographer narrows the aperture of the camera lens, and floods the set with light, so that elements in both the foreground and background remain in sharp focus. The technique requires highly sensitive film and was difficult to achieve with early film stocks. Along with Toland and Arthur Edeson, Howe was among the earliest cinematographers to use it successfully.

• Year — Title — Notes • 1961 — 87th Precinct — Episode: "The Modus Man" • Checkmate — Episodes: "State of Shock", "Kill the Sound"

Feature films • Year — Title — Director — Notes • 1923 — Drums of Fate — Charles Maigne • The Trail of the Lonesome Pine • The Woman With Four Faces — Herbert Brenon • To the Last Man — Victor Fleming — With Bert Baldridge • The Spanish Dancer — Herbert Brenon • The Call of the Canyon — Victor Fleming • 1924 — The Breaking Point — Herbert Brenon • The Side Show of Life • The Alaskan • Peter Pan • 1925 — The Charmer — Sidney Olcott • Not So Long Ago • The Best People • The King on Main Street — Monta Bell • 1926 — The Song and Dance Man — Herbert Brenon • Sea Horses — Allan Dwan • Mantrap — Victor Fleming • Padlocked — Allan Dwan • 1927 — The Rough Riders — Victor Fleming — With E. Burton Steene • Sorrell and Son — Herbert Brenon • 1928 — Laugh, Clown, Laugh • The Perfect Crime — Bert Glennon • Four Walls — William Nigh • 1929 — The Rescue — Herbert Brenon — Uncredited • Desert Nights — William Nigh • 1930 — Today • Chijiku wo mawasuru chikara — Himself • The Criminal Code — Howard Hawks — With Ted Tetzlaff • 1931 — Transatlantic — William K. Howard • The Spider — Kenneth MacKenna William Cameron Menzies • The Yellow Ticket — Raoul Walsh • Surrender — William K. Howard • 1932 — Dance Team — Sidney Lanfield • Shanghai Express — Josef von Sternberg — Uncredited; shot Chinese location footage. • After Tomorrow — Frank Borzage • Amateur Daddy — John G. Blystone • Man About Town — John Francis Dillon • Chandu the Magician — William Cameron Menzies Marcel Varnel • 1933 — Hello, Sister! • The Power and the Glory — William K. Howard • Beauty for Sale — Richard Boleslawski • 1934 — The Show-Off — Charles Reisner • Viva Villa! — Jack Conway — With Charles G. Clarke • Manhattan Melodrama — W. S. Van Dyke • Hollywood Party • The Thin Man — W. S. Van Dyke • Stamboul Quest — Sam Wood • Have a Heart — David Butler • 1935 — Biography of a Bachelor Girl — Edward H. Griffith • The Night Is Young — Dudley Murphy • Mark of the Vampire — Tod Browning • The Flame Within — Edmund Goulding • O'Shaughnessy's Boy — Richard Boleslawski • Rendezvous — William K. Howard — Uncredited; reshoots directed by Sam Wood • Whipsaw — Sam Wood • 1936 — Little Lord Fauntleroy — John Cromwell — Uncredited; 2nd unit photography • Three Live Ghosts — H. Bruce Humberstone — With Chester A. Lyons • 1937 — Fire Over England — William K. Howard • Farewell Again — Tim Whelan — With Hans Schneeberger • Under the Red Robe — Victor Sjöström — With Georges Périnal • The Prisoner of Zenda — John Cromwell • 1938 — The Adventures of Tom Sawyer — Norman Taurog • Algiers — John Cromwell • Comet Over Broadway — Busby Berkeley • 1939 — They Made Me a Criminal • The Oklahoma Kid — Lloyd Bacon • Daughters Courageous — Michael Curtiz • Dust Be My Destiny — Lewis Seiler • On Your Toes — Ray Enright • Four Wives — Michael Curtiz — Uncredited • 1940 — Abe Lincoln in Illinois — John Cromwell • Dr. Ehrlich's Magic Bullet — William Dieterle • Saturday's Children — Vincent Sherman • Torrid Zone — William Keighley • My Love Came Back — Curtis Bernhardt — Uncredited • City for Conquest — Anatole Litvak — With Sol Polito • A Dispatch from Reuters — William Dieterle • Fantasia — Live-action segments • 1941 — The Strawberry Blonde — Raoul Walsh • Shining Victory — Irving Rapper • Out of the Fog — Anatole Litvak • Navy Blues — Lloyd Bacon — Dance sequences • 1942 — Kings Row — Sam Wood • Yankee Doodle Dandy — Michael Curtiz • 1943 — The Hard Way — Vincent Sherman • Air Force — Howard Hawks • Hangmen Also Die! — Fritz Lang • The North Star — Lewis Milestone • 1944 — Passage to Marseille — Michael Curtiz • 1945 — Objective, Burma! — Raoul Walsh • Counter-Attack — Zoltan Korda • Confidential Agent — Herman Shumlin • Danger Signal — Robert Florey • 1946 — My Reputation — Curtis Bernhardt • 1947 — Nora Prentiss — Vincent Sherman • Pursued — Raoul Walsh • Body and Soul — Robert Rossen • 1948 — Mr. Blandings Builds His Dream House — H. C. Potter • The Time of Your Life • 1950 — The Baron of Arizona — Samuel Fuller • The Eagle and the Hawk — Lewis R. Foster • Tripoli — Will Price • 1951 — The Brave Bulls — Robert Rossen — With Floyd Crosby • He Ran All the Way — John Berry • Behave Yourself! — George Beck • The Lady Says No — Frank Ross • 1952 — The Fighter — Herbert Kline • Come Back, Little Sheba — Daniel Mann • 1953 — Main Street to Broadway — Tay Garnett • Terminal Station — Vittorio De Sica — Uncredited; shot additional footage for U.S. recut directed by William Cameron Menzies • Jennifer — Joel Newton • 1955 — The Rose Tattoo — Daniel Mann • Picnic — Joshua Logan • 1956 — Death of a Scoundrel — Charles Martin • 1957 — Drango — Hall Bartlett Jules Bricken • Sweet Smell of Success — Alexander Mackendrick • A Farewell to Arms — Charles Vidor — Uncredited reshoots • 1958 — The Old Man and the Sea — John Sturges • Bell, Book and Candle — Richard Quine • 1959 — The Last Angry Man — Daniel Mann • The Story on Page One — Clifford Odets • 1960 — Song Without End — Charles Vidor • Tess of the Storm Country — Paul Guilfoyle • 1963 — Hud — Martin Ritt • 1964 — The Outrage • 1965 — The Glory Guys — Arnold Laven • 1966 — Seconds — John Frankenheimer • This Property Is Condemned — Sydney Pollack • 1967 — Hombre — Martin Ritt • 1968 — The Heart Is a Lonely Hunter — Robert Ellis Miller • 1970 — Last of the Mobile Hot Shots — Sidney Lumet • 1970 — The Molly Maguires — Martin Ritt • 1971 — The Horsemen — John Frankenheimer — Uncredited; additional Afghanistan unit photography • 1975 — Funny Lady — Herbert Ross Short film • Year — Title — Director — Notes • 1937 — Hollywood Party — Roy Rowland — Uncredited • 1938 — It Might Be You — R.M. Lloyd — With Bernard Browne • 1953 — The World of Dong Kingman — Himself — Documentary short • 1954 — Autumn in Rome — William Cameron Menzies — Originally filmed as additional footage for U.S. recut of Terminal Station TV documentary • Year — Title — Director — Notes • 1954 — Light's Diamond Jubilee — King Vidor William A. Wellman Norman Taurog Christian Nyby Roy Rowland Alan Handley Bud Yorkin — With Ray June • 1963 — Biography of a Rookie: The Willie Davis Story — Himself Mel Stuart • The Small World — Himself TV series • Year — Title — Director — Notes • 1955 — Screen Directors Playhouse — H. C. Potter — Episode "Lincoln's Doctor's Dog" • 1967 — ABC Stage 67 — Noel Black — Episode "Trilogy: The American Boy - Skaterdater/The River Boy/Reflections"

• Illustration — James Wong Howe (rightmost) on the set of silent film The Alaskan. The film itself is now considered lost. One of those still photographs launched Howe's career as a cinematographer when he stumbled across a means of making silent film star Mary Miles Minter's eyes look darker by photographing her while she was looking at a dark surface. Minter requested that Howe be first cameraman, that is director of photography, on her next feature, and Howe shot Minter's closeups for Drums of Fate by placing black velvet in a large frame around the camera. Throughout his career, Howe retained a reputation for making actresses look their best through lighting alone and seldom resorted to using gauze or other diffusion over the lens to soften their features. Howe worked steadily as a cinematographer from 1923 until the end of the era of silent film. In 1928, Howe was in China shooting backgrounds for a movie he hoped to direct. The project he was working on was never completed (although some of the footage was used in Shanghai Express), and when he returned to Hollywood, he discovered that the "talkies" had largely supplanted silent productions. With no experience in that medium, Howe could not find work. To reestablish himself, Howe first co-financed a Japanese-language feature shot in Southern California entitled Chijiku wo mawasuru chikara (The Force that Turns the Earth around its Axis), which he also photographed and co-directed. When that film failed to find an audience in California's nisei communities or Japan, Howe shot the low-budget feature Today for no salary. Finally, director/producer Howard Hawks, whom he had met on The Little American, hired him for The Criminal Code and then director William K. Howard selected him to be the cinematographer on Transatlantic.

Howe's innovative work on Transatlantic reestablished him as one of the leading cinematographers in Hollywood, and he worked continuously through the 1930s and 1940s, generally on several movies per year. Howe gained a reputation as a perfectionist who could be difficult to work with, often overruling and even berating other members of the film crew. In a 1945 issue of The Screen Writer, Howe stated his views of a cameraman's responsibility, writing in The Cameraman Talks Back that "[t]he cameraman confers with the director on: (a) the composition of shots for action, since some scenes require definite composition for their best dramatic effect, while others require the utmost fluidity, or freedom from any strict definition or stylization; (b) atmosphere; (c) the dramatic mood of the story, which they plan together from beginning to end; (d) the action of the piece." Howe's broad view of a cinematographer's responsibilities reflected those established for first cameramen in silent films and continued through the studio era where most directors were also contract employees mainly in charge of actor performances. Howe was nominated for an Academy Award in 1944 in the "Best Cinematography: Black-and-White" category for his work on the movie Air Force, a nomination he shared with Elmer Dyer, A.S.C., and Charles A. Marshall. In the early 1930s, while at MGM, Howe, who had generally been billed as "James Howe", began listing his name in film credits as "James Wong Howe". Over the course of his career, he was also credited as "James How", "Jimmie Howe", and "James Wong How." Often publicized as a Chinese cameraman, Howe was prevented from becoming a U.S. citizen until the repeal of the Chinese Exclusion Act in 1943. Prior to World War II, Howe met his future wife, novelist Sanora Babb, whom he married in 1937 in Paris. Due to anti-miscegenation laws, the marriage would not be legally recognized in the state of California until 1948. Babb died in 2005, aged 98.

• Year — Title — Notes • 1930 — Chijiku wo mawasuru chikara • 1953 — The World of Dong Kingman — Documentary short • 1954 — Go Man Go • 1958 — Invisible Avenger — Co-directed with Ben Parker and John Sledge • 1963 — Biography of a Rookie: The Willie Davis Story — Co-directed with Mel Stuart • The Small World