Age, Biography and Wiki
Stanley Cortez (Stanislaus Kranz) was born on 4 November, 1908 in New York City, New York, USA, is a cinematographer,camera_department,visual_effects. Discover Stanley Cortez's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 89 years old?
Popular As |
Stanislaus Kranz |
Occupation |
cinematographer,camera_department,visual_effects |
Age |
89 years old |
Zodiac Sign |
Scorpio |
Born |
4 November 1908 |
Birthday |
4 November |
Birthplace |
New York City, New York, USA |
Date of death |
23 December, 1997 |
Died Place |
Hollywood, California, USA |
Nationality |
United States
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We recommend you to check the complete list of Famous People born on 4 November.
He is a member of famous Cinematographer with the age 89 years old group.
Stanley Cortez Height, Weight & Measurements
At 89 years old, Stanley Cortez height not available right now. We will update Stanley Cortez's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.
Physical Status |
Height |
Not Available |
Weight |
Not Available |
Body Measurements |
Not Available |
Eye Color |
Not Available |
Hair Color |
Not Available |
Dating & Relationship status
He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.
Family |
Parents |
Not Available |
Wife |
Not Available |
Sibling |
Not Available |
Children |
Not Available |
Stanley Cortez Net Worth
His net worth has been growing significantly in 2023-2024. So, how much is Stanley Cortez worth at the age of 89 years old? Stanley Cortez’s income source is mostly from being a successful Cinematographer. He is from United States. We have estimated Stanley Cortez's net worth, money, salary, income, and assets.
Net Worth in 2024 |
$1 Million - $5 Million |
Salary in 2024 |
Under Review |
Net Worth in 2023 |
Pending |
Salary in 2023 |
Under Review |
House |
Not Available |
Cars |
Not Available |
Source of Income |
Cinematographer |
Stanley Cortez Social Network
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Wikipedia |
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Timeline
He was born in New York City, to Austrian Jewish parents, Sarah (Lefkowitz) and Moses or Morris Krantz, who married in New York on October 8, 1899. His paternal grandparents were Jacob Krantz and Annie Schluosselfeld. His maternal grandparents were Samuel Lefkowitz and Rosa Schwartz.
Stanley Cortez was born Samuel Krantz in New York City, New York, the son of Sarah (Lefkowitz) and Moses/Morris Krantz, Austrian Jewish immigrants. His famous actor brother, born Jacob Krantz, changed his name to Ricardo Cortez in order to acquire a more suitably romantic Hollywood image. Stanley changed his name accordingly. After studies at New York University he embarked on a photographic career, first as assistant to noted portrait photographers Streichan and Bachrach (he designed many of their lavish background sets), then as camera assistant for Pathé Revue and for various Manhattan-based film companies. Grabbing the chance to join Gloria Swanson Productions, Stanley then spent a lengthy apprenticeship in the 1920s and early 1930s learning the intricacies of his craft from such established Hollywood cinematographers as Lee Garmes and Hal Mohr.
Cortez's lighting and use of irises are reminiscent of German expressionist cinema, or, at least, the work of Karl Struss and Charles Rosher on Sunrise (1927). Among many indelible images are the flowing hair of drowned Shelley Winters in the underwater current and the lights flickering across the water in what is an almost surreal nightly landscape.
After moving from studio to studio, either as a camera assistant or shooting screen tests, he was signed to a seven-year contract by Universal in 1936, albeit consigned to its "B" unit.
His first film as full director of photography was Four Days Wonder (1936). During World War II, he was assigned to the Army Pictorial Service of the Signals Corps. Much of his subsequent career was spent on fairly routine and undistinguished second features and it was not until he started working for charismatic filmmakers like Orson Welles and David O. Selznick that he was able to fully develop some of his experimental techniques.
One of his low-budget outings, a gothic old-dark-house horror/comedy entitled The Black Cat (1941), rather impressed the genial Mr.
Welles who promptly hired him for The Magnificent Ambersons (1942). This was the first of two Cortez films generally regarded as visual masterpieces, with beautiful lighting effects, clever angles and lingering close-ups. Of particular note are the staircase scene and the famous long shot -- via hand-held camera -- of the abandoned mansion. Despite critical plaudits, "Ambersons" was a financial disaster for RKO (it cost $1,1 million and lost $624,000 at the box office) and Cortez was partly blamed for costly delays and extravagant scenes, some 40-50 minutes of which were cut by direct orders from studio boss George Schaefer without consulting either Welles or Cortez. The latter ended up being indirectly censured by receiving lesser assignments. What remained of "Ambersons" has become more appreciated as a sublime visual experience with the passing of time.
The second outstanding Cortez contribution was the chillingly dark, haunting thriller The Night of the Hunter (1955)--a brilliant allegory of good versus evil masterminded by Charles Laughton in his sole directorial effort.
A third Cortez effort deserving of mention is the superior psychological drama The Three Faces of Eve (1957), his differential lighting for the face of schizophrenic Eve White (Joanne Woodward) effectively contrasting the multiple personalities within her psyche. Sadly, by the end of the decade Cortez's career went into a decline.
It continued that way through the 1960s, the quality of his assignments fluctuating wildly between the occasional "A" picture (The Bridge at Remagen (1969)) and Z-grade turkeys like The Ghost in the Invisible Bikini (1966) and The Navy vs.
President American Society of Cinematographers (ASC) 1985-1986.