American Cinematographer - March 1995 - 46

Dramatic

composition
lends threat to
this confronta¬
tion from
Rebellion of the

Hanged.

Harry Wright, and soon
things returned to normal. In a
strange twist of fate, Figueroa
was
paid a visit by the American

preneur

director Raoul Walsh; the reper¬
cussions of their meeting fol¬

lowed

Figueroa for the rest of his
Figeuroa explains what
happened: "[The gangsters] had

career.

the license to make films but

we

had all of the creative talent. So

they called Walsh [for personnel
from the U.S.] and he came into
office at the studio with one

our

of the STIC from Tijuana.
duced myself to him and
to me,

you?' he continued.
of your business.'
We fought for a while and finally
'That's

none

he left.
"I've never belonged to
political party, neither here
nor outside of Mexico,"
Figueroa

any

concluded.
With the new freedom
created by the STPC, Figueroa
teamed again with director
Emilio Fernandez to create an¬
other masterpiece, The Pearl.
The script was written by John

I intro¬
he said

Steinbeck, who later turned it

'First I want to ask you a

earned Figueroa another prize in
Venice and in 1948 he won the
award for best photography at
the Hollywood Foreign Corre¬

question. Why did you back up
the strike of the laboratory work¬
ers in Hollywood?' And I told
him, 'Because they are workers
and we are workers, and in any
part of the world I will give my
hand to workers.' 'Who told you
to?' So I told him how I was in¬
structed to do so by the secretary
at that time. 'Is he a communist?'
Walsh asked. 'I don't know,' I re¬

44

him.' 'Are

into his famous novella. In 1946 it

spondents' "Golden Globe"
Awards. The film, similar in
theme to Maria Candelaria,

again
paid homage to Mexico's indig¬
enous culture,
making "sculp¬
tures

of the Mexican Indians and

plied. 'Why don't you go and ask

infusing their landscapes with
the hieratic," according to writer
Jose Maria Espinasa.

American

March 1995

Cinematographer

Following The Pearl,
Figueroa was paid a visit by
Merian C. Cooper, producer of
the original King Kong. "He came
into the studio one day and said,
'I want to see if I can make pic¬
here in Mexico.' I didn't
know he was checking me out
tures

and I went about my
usual way: when

work the
Emilio
[Fernandez] asked me to put the
camera
up high, I would say O.K.
and put it on the floor. That's
how we decided on the angle! We
were
shooting Enamorada and at
the end of the day we invited him
to see rushes. When the lights
came

on

he asked me, 'How

many days' work have we just
seen?' 'One day and one night,' I

replied. 'You're under contract!'
he said. 'For what?' 'To photo¬
graph The Fugitive for John
Ford."'

Having already been
asked by Toland to join his crew
on The
Fugitive, Figueroa was sur¬

prised to learn that he would
now be
replacing him. Because of



American Cinematographer - March 1995

Table of Contents for the Digital Edition of American Cinematographer - March 1995

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