A work in constant progress (and occasional regress).
Alias:
Maury Gertzman
Morris Gertsman
Birthplace:
Pennsylvania, USA
Born:
April 17, 1907
Died:
December 13, 1999
From Wikipedia Maury Gertsman (17 April 1907 - 13 December 1999) was a senior-ranked cinematographer at Universal Pictures from the mid-1940s through the mid-1950s. Gertsman's first film of note was Jungle Captive and he distinguished himself with his lensing of the final two Sherlock Holmes movies starring Basil Rathbone and Nigel Bruce, Terror by Night and Dressed to Kill. His most interesting project of the mid-1940s, however, was the final Rondo Hatton vehicle, The Brute Man, which made Universal sufficiently uncomfortable that they sold it off to Poverty Row distributor Producers Releasing Corporation. At American International Pictures he photographed the horror satire How to Make a Monster, while at United Artists he lensed Invisible Invaders and The Four Skulls of Jonathan Drake. In 1959, he became the cinematographer on the television series Adventures in Paradise. His film work became far less frequent after 1960, although he did find himself roped into the production of The Creeping Terror in 1964. Like many of his contemporaries, Gertsman finished his career working in television, on shows like Arthur Lubin's Mister Ed series (1961-66) for Filmways Television and most specifically for superstar Lucille Ball and her two subsequent sitcoms The Lucy Show (1962-68) and Here's Lucy (1968-74), the latter of which was produced under her own Lucille Ball Productions, Inc. banner.
Assistant Camera:
1934 Great Expectations
Camera Operator:
1934 Great Expectations
1935 Werewolf of London
1937 Behind the Mike
1947 The Egg and I
Director of Photography:
1934 Great Expectations
1935 Werewolf of London
1937 Behind the Mike
1944 Riders of the Santa Fe
1945 Jungle Queen
1945 Secret Agent X-9
1945 Strange Confession
1945 The Jungle Captive
1945 The Master Key
1946 Blonde Alibi
1946 Cuban Pete
1946 Dressed to Kill
1946 House of Horrors
1946 Lawless Breed
1946 She-Wolf of London
1946 Terror by Night
1946 The Brute Man
1947 Singapore
1947 The Egg and I
1947 Time Out of Mind
1948 Rachel and the Stranger
1948 Rogues' Regiment
1949 City Across the River
1949 Johnny Stool Pigeon
1949 Ma and Pa Kettle
1950 Comanche Territory
1950 Frenchie
1950 Louisa
1950 One Way Street
1951 Cattle Drive
1951 Reunion in Reno
1951 Smuggler's Island
1951 Target Unknown
1951 You Never Can Tell
1952 Just Across the Street
1952 Ma and Pa Kettle at the Fair
1952 Meet Danny Wilson
1952 The Red Ball Express
1953 The All American
1953 The Glass Web
1953 The Golden Blade
1953 The Great Sioux Uprising
1953 The Lone Hand
1954 Bengal Brigade
1954 Rails Into Laramie
1954 So This Is Paris
1954 Tanganyika
1955 One Desire
1955 The Spoilers
1955 To Hell and Back
1956 Behind the High Wall
1956 I've Lived Before
1956 Never Say Goodbye
1956 Raw Edge
1956 The Creature Walks Among Us
1956 World in My Corner
1957 Gun Duel In Durango
1958 How to Make a Monster
1959 Inside the Mafia
1959 Invisible Invaders
1959 Pier 5, Havana
1959 Riot in Juvenile Prison
1959 The Four Skulls of Jonathan Drake
1959 Timbuktu
1960 Cage of Evil
1960 Gunfighters of Abilene
1960 The Music Box Kid
1960 The Walking Target
1960 Three Came to Kill
1961 Five Guns to Tombstone
1961 Police Dog Story
1962 Six Black Horses
1964 The Lucille Ball Comedy Hour
1967 Gunfight in Abilene
1974 Happy Anniversary and Goodbye
Director of Photography:
1960 The Barbara Stanwyck Show
1962 The Lucy Show
1966 The Carol Channing Show
Most data and links to images for the Movies section come from TheMovieDB (TMDB).
Additional data for Film Titles come from The Open Movie Database (OMDb).
At least one plug-in comes from IMDb.
Data are -- hey, it's a plural -- subject to the limitations of their sources. (For example, TMDB search results currently max out at 20.) I am limiting myself to free data sources for now. (No, a "free trial" is not free.)
While much of the above data are retrieved directly from outside APIs and other such sources, data from American Film Institute (AFI) and British Film Institute (BFI) were manually entered the old fashioned way into a MySQL database. Re BFI I took the following liberties:
Regarding profile removals and data corrections:
Filtering is applied here to film projects flagged as "adult" by TheMovieDB. Pending "popular demand" I am contemplating a login and profile system with preferences (such as whether to allow adult images to appear) and permissions (such as data entry).
Whereas the overall purpose of this website is to serve as a personal demo/portfolio/workshop of web and data skills, this Movies section is not meant to compete with or substitute for far more definitive movie websites.
Whether or not he still clings to an award which he won in 1986 as a film critic for his college's newspaper, Jeffrey Hartmann is not responsible for the texts of overviews and biographies supplied by external data sources.