So far, the great cinematographer Jack A. Marta has hardly been mentioned here. I’m ashamed and with today’s Wild Bill Wednesday, I’m taking care of it. So many outstanding movies. What Price Glory (1926). The Night Riders (1939). Dark Command (1940). Flying Tigers (1942). Hellfire (1949). Trigger, Jr. (1950). Spoilers Of The Plains (1951). The Last Command (1955). The Bonnie Parker Story (1958). Cat Ballou (1965). Duel (1971).
On that last one, Steven Spielberg’s breakthrough TV movie Duel, Marta’s experience shooting outdoors in the desert helped get the thing completed on its 10-day schedule.
Steven Spielberg (from the excellent book Steven Spielberg And Duel: The Making Of A Film Career): “Jack was a sweetheart. He was just a kind, gentle soul who you know had never worked that fast in his entire career; none of us had, and yet there was nothing he didn’t do or couldn’t do, and he really enjoyed himself.”
No offense to Mr. Spielberg, but I have a feeling Duel‘s 10-day shoot, though exhausting, was probably nothing new for Marta, who’d done beautiful work on Republic’s tight schedules, in both black and white and Trucolor, and worked on plenty of television shows like Route 66 and Batman.
When Elliott co-produced Hellfire (below) for Republic release, a film he saw as a very special project (and considered his best film), Jack Marta was the director of photography. Was he randomly assigned the job by Republic, or did Elliott request him after working together on The Gallant Legion (1948) and the Trucolor The Last Bandit (1949)? (I’m getting pretty good at finding new ways to sneak Hellfire into this blog.)