View All

Watch It

In Theaters
  • The Greatest Show on Earth

At Home
  • Peg O' My Heart

  • The Greeks Had a Word for Them

  • Sister Kenny

  • Frenchman's Creek

  • The Irish in Us

  • Five and Ten

  • The Winning of Barbara Worth

  • Good Sam

  • The File on Thelma Jordon

  • Remember the Day

1 of 10

George Barnes Biography

  • Profession: Cinematographer
  • Born: Jan 1, 1893
  • Died: May 30, 1953

Cinematographer George Barnes got his start with producer Thomas Ince in 1919, where he lensed one of the first anti-Communist propaganda films, Dangerous Hours. Barnes was best known for his soft-edged, ethereal photography of such silent-film romances as [[Feature~V45631~Son of the Shiek~thesonofthesheik]] (1926), The Night of Love (1927), and [[Feature~V100921~The Magic Flame~magicflame]] (1927). His mastery of the Black and White spectrum was as adaptable to noirish melodramas like [[Feature~V109886~Sherlock Holmes~sherlockholmes]] (1932) as it was to splashy musicals like [[Feature~V18113~Footlight Parade~footlightparade]] (1933). (One of Barnes' seven wives was [[Feature~V18113~Footlight Parade~footlightparade]] costar Joan Blondell.) During the early 1930s, George Barnes spent most of his time at the Sam Goldwyn Studio, where he helped nurture the skills of his brilliant assistant, future [[Feature~V9737~Citizen Kane~citizenkane]] cinematographer Gregg Toland. In 1940, Barnes won an Academy Award for his work on Hitchcock's Rebecca. George Barnes' final film was the Technicolor sci-fi fest [[Feature~V53372~War of the Worlds~thewaroftheworlds]] (1953), one of the most visually vivid movie efforts of the early 1950s. ~ Hal Erickson, Rovi