Chronicle of a Camera: The Arriflex 35 in North America, 1945-1972

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FIG. 1 Robert Flaherty and Richard Leacock using an early Arriflex to film Louisiana Story (1948). FIG. 2 Richard Leacock using an early Arriflex on Louisiana Story (1948). FIG. 3 An Arriflex being used to shoot a scene in Royal Journey (1951), a documentary made by the National Film Board of Canada. FIG. 4 Brochure for the new model Arriflex IIB, introduced in 1958. FIG. 5 Vilmos Zsigmond using an Arriflex II to shoot a commercial around 1960, with Laszlo Kovacs among the crew. FIG. 6 Advertising photograph of the Arriflex IIB emphasizing its light weight. FIG. 7 Arriflex II used on a diving board for a special shot in Experiment in Terror (1962). FIG. 8 Gerald Hirschfeld using an Arriflex II for a shot in a cockpit simulator for Fail-Safe (1964). FIG. 9 First advertisement for the Arriflex IIC in American Cinematographer, October 1964. FIG. 10 Blimped Arriflex II being used to shoot the low-budget drama Rat Fink (1965). The cinematographer was Vilmos Zsigmond. FIG. 11 Fouad Sa’id, inventor of the Cinemobile, using an Arriflex IIC in the Far East in 1965 or 1966 during the production of the television series I Spy. FIG. 12 Sidney Lumet and a camera operator using an Arriflex II in England during the production of The Deadly Affair (1966). FIG. 13 Arriflex IIB adapted by Panavision for using the Panavision anamorphic widescreen process. FIG. 14 Roger Corman with an Arriflex II on a heavy-duty geared-head tripod. FIG. 15 An Arriflex II being used for a shot in The Graduate (1967). FIG. 16 Clint Eastwood hand-holding an Arriflex II during the production of Coogan’s Bluff (1968). FIG. 17 Arriflex IIC adapted for Techniscope being used by Walter Lassally, one of many cinematographers hired to film the 1968 Olympics in Mexico. Lassally was later honored for his pioneering use of Arriflex cameras to shoot feature films. FIG. 18 Paul Newman with an Arriflex IIC while directing Rachel, Rachel (1968). FIG. 19 Arriflex mounted on Steve McQueen’s car in Bullitt (1968). FIG. 20 Arriflex II used inside a taxi going through a carwash for a shot in Bullitt (1968). FIG. 21 Frames from Woody Allen’s comedy Take the Money and Run (1969) and Paul Harrison’s horror film The House of Seven Corpses (1974), showing Arriflex IIC cameras as props. Both films were also shot with Arriflex IIC cameras. FIG. 22 Advertising photograph of an Arriflex IIC with a mount to hold an Angenieux 25–250mm zoom lens. FIG. 23 Peter Fonda with an Arriflex IIC during the production of Easy Rider (1969). FIG. 24 Frames from “Easy Rider”: Shaking the Cage showing Laszlo Kovacs using Vilmos Zsigmond’s Arriflex IIC on the production of Easy Rider (1969). FIG. 25 Frames from Robert Crawford’s The Making of “Butch Cassidy and the Sundance Kid” showing the uses of an Arriflex IIC during production of Butch Cassidy and the Sundance Kid (1969). FIG. 26 Arriflex being used for a low dolly shot in the sci-fi comedy The Monitors (1969). The cinematographer was Vilmos Zsigmond. FIG. 27 Director Michael Ritchie with an Arriflex IIC, probably photographed during the production of Downhill Racer (1969). FIG. 28 Arriflex IIC being used on location in South Dakota, around 1970, for a scene in the television series Gunsmoke. FIG. 29 John Alonzo and another operator hand-holding Arriflex IIC’s during the production of Bloody Mama (1970). FIG. 30 Panavision Arriflex IIC on location during the production of Beneath the Planet of the Apes (1970). FIG. 31 Panavision Arriflex IIC being used alongside a Panavision studio camera during the production of I Walk the Line (1970). FIG. 32 Arriflex IIC being used in an elevated railway car on The French Connection (1971). FIG. 33 Two Arriflex II cameras mounted inside the car of Popeye Doyle (Gene Hackman) to shoot parts of the chase sequence in The French Connection...