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Overview for Irving Glassberg
Irving Glassberg

Irving Glassberg



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Birth Place: Profession: Cinematography ...


Cinematography (feature film)

Cry Tough (1959) as Photography
After getting out of prison, a Latino criminal tries to go straight.
The Rabbit Trap (1959) as Photography
A working stiff risks his job to save a rabbit left behind during his family's vacation.
The Lady Takes a Flyer (1958) as Director of Photography
Day of the Bad Man (1958) as Director of Photography
When a judge sentences a killer to be hanged, the latter's henchmen ride into town to put a stop to it. Soon, it boils down to a showdown beteween the judge and the four bad guys.
The Tarnished Angels (1958) as Director of Photography
A newsman falls for the wife of a barnstorming pilot whose work he's covering.
The Big Beat (1958) as Director of Photography
Twilight for the Gods (1958) as Director of Photography
Four Girls in Town (1957) as Director of Photography
Four young starlets, from various parts of the world, are called to Hollywood to test for the lead in a major film. Each is romantically pursued by the director (Nader), composer (Chaplin) , playboy (Williams), and actor (Gavin.)
Joe Butterfly (1957) as Director of Photography
The staff of "Yank" magazine are among the first American troops into Tokyo after the Japanese surrender. Their mission: produce an issue of the three days. To accomplish the seeming impossible, they reluctantly enlist the aid of black marketeer and arch-conniver Joe Butterfly, who sets them up in a palatial private mansion, complete with lovely daughter -- strictly against regulations. How much trouble can our heroes talk their way out of?
Showdown at Abilene (1956) as Director of Photography
The Rawhide Years (1956) as Director of Photography
Ben Matthews gives up the flashy life of a riverboat gambler, hoping to settle down in Galena with his girlfriend, luscious entertainer Zoe. But Galena's leading citizen is murdered on the boat; Ben, on arrival, finds a lynch mob after his neck, and flees. Three years of wandering later, Zoe's letters stop coming and Ben returns to find her and attempt the hopeless task of clearing himself.
The Price of Fear (1956) as Director of Photography
The co-owner of a racetrack discovers that his partner has sold out to a gangster. The gangster plans to take sole control of the track and plans to get rid of his new partner. The partner's problems are just beginning, though, as he finds himself involved with a beautiful woman who, unknown to him, was involved in a hit-and-run and is trying to set him up for the crime.
Outside the Law (1956) as Director of Photography
Backlash (1956) as Director of Photography
Jim Slater's father (whom he never knew) died in the Apache ambush at Gila Valley, and Jim is searching for the one survivor, who supposedly went for help but disappeared with a lot of gold. In the process, he gets several people gunning for him, and he keeps meeting liberated woman Karyl Orton, who may be on a similar mission. Renewed Apache hostilities and an impending range war provide complications.
Captain Lightfoot (1955) as Director of Photography
In 1815, Michael Martin, member of an Irish revolutionary society, turns highwayman to support it, and is forced to flee into outlawry. In Dublin, he meets famous rebel "Captain Thunderbolt" and becomes his second-in-command, "Lightfoot." 'Tis a perilous life, with captures, turncoats, rescues, and romance.
The Purple Mask (1955) as Director of Photography
France, 1803: 11 years after the Revolution, a royalist underground is led by a new 'Scarlet Pimpernel', the Purple Mask, who rescues nobles in distress and kidnaps Napoleon's officials for ransom, aided by the spy services of a group of lovely models headed by Laurette (really the Duc de Latour's daughter). But even she doesn't know the Purple Mask's real identity as foppish dancing master Rene...
Francis Joins the WACS (1954) as Director of Photography
On arrival at Fort Chase, ex-soldier Peter Stirling, recalled to active duty, is re-united with his old pal Francis the Talking Mule. Gradually, it dawns on Peter that a clerical error has assigned him to an all-female WAC base, where broad slapstick is the order of the day and Francis has more horse sense than any of the human officers. Too innocent to appreciate the pleasant aspects of his predicament, Peter ends by helping the "enemy" in a war-game battle of the sexes.
Border River (1954) as Director of Photography
Zona Libre is a small enclave across the river from America. Despotically ruled by General Calleja, it offers sanctuary to outlaws, at a price. Newly arrived is Clete Mattson who has $2million in gold to buy guns for the Confederacy. But who can he trust with so much money around? Certainly not Calleja, but maybe the eye-catching Carmelita? The General thinks she's his property but she seems rather to fancy Mattson. Whatever's going on, Mexico wants the place back.
The Black Shield of Falworth (1954) as Director of Photography
Technicolor & tights. In the days of King Henry IV, stalwart young Myles and his sister Meg have been raised as peasants, without any knowledge of who their father really was. But one day they journey to Macworth castle. There Myles falls in love with the Mackworth's daughter Anne, makes friends and enemies, and learns to be a knight so that, through the planning of Mackworth and his friend, Prince Hal, Myles can regain his true birthright from the evil Albon, and bear the black shield of Falworth.
Ride Clear of Diablo (1954) as Director of Photography
The Mississippi Gambler (1953) as Director of Photography
Mark Fallon, with partner Kansas John Polly, tries to introduce honest gambling on the riverboats. His first success makes enemies of the crooked gamblers and of fair Angelique Dureau, whose necklace he won. Later in New Orleans, Mark befriends Angelique's father, but she still affects to despise him as his gambling career brings him wealth. Duelling, tragedy, and romantic complications follow.
Walking My Baby Back Home (1953) as Director of Photography
The Lawless Breed (1953) as Director of Photography
Released from jail, John Wesley Hardin leaves an account of his life with the local newspaper. It tells of his overly religious father, his resulting life of cards and guns, and his love for his step-sister replaced on her death during a gun fight with that for dance-hall girl Rosie.
The Black Castle (1952) as Director of Photography
Here Come the Nelsons (1952) as Director of Photography
The entire Nelson family become embroiled in confusion by the misunderstandings caused when Ozzie invites the attractive grown-up sister of a school chum to stay with the family during a centennial celebration in the community of Hillsdale. Meanwhile, Harriet unknowingly duplicates Ozzie's hospitali
The Duel at Silver Creek (1952) as Director of Photography
The "Silver Kid" is an orphan who is deputized by the marshal of Silver City to help rid the town of a gang of gold mine claim-jumpers who will kill anyone who stands in their way.
Sally and Saint Anne (1952) as Director of Photography
Sally O'Moyne, a good-natured but awkward school-girl lives with her extended and eccentric Irish-American clan. One day at school, unable to find her lunch bucket, Sally says a prayer to St. Anne in hope of heavenly assistance. When Sally finds her lunch, she believes a miracle has happened, convincing her of a special relationship with the saint. Meanwhile, some animosity between the O'Moyne family and a neighbor grows and manifests itself in various comic situations. The plot develops as Sally, firm in her belief in St. Anne, emerges from adolescence an attractive young woman, and discovers the opposite sex. The feud, along with Sally's personal life, works itself to resolution in this light, nostalgic look at growing up Catholic in the 1940s and 1950s.
Flesh and Fury (1952) as Director of Photography
Deaf boxer Paul Callan captures the interest of gold-digging blonde Sonya Bartow and retired fight manager 'Pop' Richardson. For a time, Sonya has the upper hand with Paul, but ultimately a rival appears in the shape of upper-crust reporter Ann Hollis. With a 3-way fight under way for influence over Paul, he takes matters into his own hands, but learns that getting what he wanted isn't necessarily a happy ending.
Bend of the River (1952) as Director of Photography
A westerner with a questionable past leads a wagon train into the Oregon territory.
The Fat Man (1951) as Director of Photography
An innocent dentist is murdered, the only apparent motive to steal a set of dental x-rays. To the police it looks like an accident, so Jane Adams, loyal dental assistant, consults massive private eye Brad Runyan (of radio fame); he's skeptical until he finds that Jane is being followed. The mystery deepens as Brad's search for missing dental patient Roy Clark reveals many ramifications and loose ends...
The Prince Who Was a Thief (1951) as Director of Photography
Francis Goes to the Races (1951) as Director of Photography
The Strange Door (1951) as Director of Photography
Noble-born cad Dennis (Stapley) has been tricked into a forced stay at the eerie manor of the Sire de Maletroit (Laughton), an evil madman who can't get over the death of his beloved, twenty years after she married his brother (Cavanagh) instead and subsequently passed away during childbirth. Maletroit is determined to have his revenge: the brother has been stowed away in the dungeon for two decades, while he's convinced his disreputable house guest will make a suitably hellish husband for his niece. As luck would have it, the young couple manage to fall in love, and with the help of manservant Voltan (Karloff), they try to make their escape, but not before a final confrontation with Maletroit in the dungeon's crushing deathtrap.
Cave of Outlaws (1951) as Director of Photography
Francis (1950) as Director of Photography
A talking mule helps a hapless soldier uncover an enemy agent.
I Was a Shoplifter (1950) as Director of Photography
Spy Hunt (1950) as Director of Photography
Shakedown (1950) as Director of Photography
Kansas Raiders (1950) as Director of Photography
Audie Murphy plays a young Jesse James falling under the Svengali-like spell of the outlaw William Quantrill, played by Brian Donlevy. Jesse and his youthful gang join the rebels to avenge the death of his parents only to become disillusioned with the senseless violence and looting of innocent civilians. Goaded by Quantrill's girl to leave, Jesse vacillates until the Yankess close in. Quantrill forces Jesse to leave and faces the Yankess gunfire alone. Jesse rides off with his gang and the rest is history.
Outside the Wall (1950) as Director of Photography
Sword in the Desert (1949) as Director of Photography
After smuggling Jewish refugees into pre-Israel Palestine, a freighter captain becomes embroiled in the conflict.
Arctic Manhunt (1949) as Director of Photography
The Story of Molly X (1949) as Director of Photography
Molly's husband Rick was a gang leader somewhere in the middle west. When he's shot, the tough woman moves to S.F. with a couple of the gang to start anew. Disguised as a noble woman, she and her gang rob security transports. But when one day Rob confesses to her that he killed Rick out of jealousy, she shoots him down immediately. In lack of proof she can't be convicted for the murder, but she goes to jail for the robberies. It's a new and very open female prison, where she learns a profession for the first time in her life.
Calamity Jane and Sam Bass (1949) as Director of Photography
Drifter Sam Bass shows up in Denton, Texas (soon to host a great horse race) looking for work. Before long, he attracts the attention of pretty storekeeper Katherine Egan (the sheriff's sister) and that wild frontiers woman, Calamity Jane. Circumstances make Sam richer by a very fast race horse. But his seemingly good luck with horses and women leads him to disaster. Will he be forced into a life of crime?
Yes Sir, That's My Baby (1949) as Director of Photography
Undertow (1949) as Director of Photography
After being released from prison, an ex-convict is framed for a murder. The man sets out to find the real killers before the police blame the crime on him.
Red Canyon (1949) as Director of Photography
River Lady (1948) as Director of Photography
In spring 18__, the loggers arrive at a mill town on the upper Mississippi drainage; the gambling riverboat is there to meet them, with river queen Sequin who loves logger Dan Corrigan. Sharp businessman Beauvais also wants Sequin, as well as all the sawmill business. To keep Dan near her, Sequin manipulates him into managing the local Morrison Mill; but then Morrison's daughter Stephanie sets her cap at Dan...
Larceny (1948) as Director of Photography
Casbah (1948) as Director of Photography
Pepe Le Moko (Tony Martin) leads a gang of jewel thieves in the Casbah of Algiers, where he has exiled himself to escape imprisonment in his native France. Inez (Yvonne DeCarlo), his girl friend, is infiriated when Pepe flirts with Gaby (Marta Toren), a French vistor, but Pepe tells her to mind her own business. Detective Slimane (Peter Lorre)is trying to lure Pepe out of the Casbah so he can be jailed. Against Slimane's advice, Police Chief Louvain capture Pepe in a dragnet, but his followers free him. Inez realizes that Pepe has fallen in love with Gaby and intends to follow her to Europe. Slimane knows the same and uses her as the bait to lure Pepe out of the Casbah.
Feudin', Fussin and A-Fightin' (1948) as Director of Photography
Small towners kidnap a salesman to help them win a race against their rivals.
Black Bart (1948) as Director of Photography
Cheerful outlaw Charlie Boles leaves former partners Lance and Jersey and heads for California, where the Gold Rush is beginning. Soon, a lone gunman in black is robbing Wells Fargo gold shipments. One fateful day, the stage he robs carries old friends Lance and Jersey...and notorious dancer Lola Montez, coming to perform in Sacramento. Black Bart and Lance become rivals for both Lola's favors and Wells Fargo's gold.
The Web (1947) as Director of Photography
Leopold Kroner, formerly of Colby Enterprises, is released after five years in prison for embezzlement. Andrew Colby, claiming that Kroner has threatened him, hires lawyer Bob Regan as a secret bodyguard. Sure enough, Kroner turns up in Colby's room with a gun, and Regan kills him. Then Regan, who sticks around to romance Colby's secretary Noel, begins to suspect he's been used.
Up Goes Maisie (1946) as 2nd Camera
A showgirl working for an inventor battles crooks out to steal his ideas.
Bad Bascomb (1946) as 2nd Camera
A western bandit is reformed by his love for a little girl.
Anchors Aweigh (1945) as 2nd Camera
A pair of sailors on leave try to help a movie extra become a singing star.
Week-End at the Waldorf (1945) as 2nd Camera
In this remake of Grand Hotel, guests at a New York hotel fight to survive personal tragedy.
The Heavenly Body (1944) as 2nd Camera
An astronomer's neglected wife takes up astrology and a handsome astrologer.
Maisie Goes to Reno (1944) as 2nd Camera
On a trip to Reno, a Brooklyn showgirl tries to stop a soldier and his wife from divorcing.
Thunder Afloat (1939) as 2nd Camera
An old sailor is duped into joining the Navy, where he runs into a longtime rival.
6,000 Enemies (1939) as 2nd Camera
A prison riot traps an innocent couple.
She's Dangerous (1937) as Camera
Hold 'Em Yale (1935) as Camera Operator
Private Scandal (1934) as Assistant Camera
I Love That Man (1933) as Assistant Camera
Madison Sq. Garden (1932) as Assistant Camera
Is My Face Red? (1932) as Assistant Camera
A gossip columnist witnesses a gangland killing.
The Devil Is Driving (1932) as Assistant Camera
70,000 Witnesses (1932) as Assistant Camera
Ride Him, Cowboy (1932) as Assistant Camera
A cowboy tames a wild horse suspected of killing a man, then rides out to find the real culprit.
Prestige (1932) as Assistant Camera
A woman joins her fiance at a Malaysian prison camp only to discover he's become an alcoholic.
The Road to Singapore (1931) as Assistant Camera
A woman''s life falls to pieces when she''s caught cheating on her husband.
Bought (1931) as Assistant Camera

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