Robert Kurrle

Kurrle's first foray into the film industry was on the 1916 film, Her Great Price, directed by Edwin Carewe.[4] He later collaborated with Carewe on a number of pictures during the 1920s. He began his career working for Metro Pictures, where he stayed at until 1921. Metro was one of the film companies which merged in 1924 to form Metro-Goldwyn-Mayer. The quality of Kurrle's work was noticed even early in his career. His filming of 1919's Lion's Den was called "spectacular".[5] Kurrle's work the following year on The Right of Way was described by some as "... remarkable even in this day of almost perfect cinematography."[6] By 1921, Kurrle was already a member of the American Society of Cinematographers (ASC).[7] Early that year, he followed Carewe and left Metro to become a freelance cinematographer. Fifteen of the twenty-four films Kurrle worked on during 1921-27 were directed by Carewe. In 1922, while filming a Carewe picture, I Am the Law, Kurrle successfully tested a new high-speed film from Eastman. The new film allowed interior filming with less lighting, reducing both equipment and staffing costs.[8]

Kurlle (left) on location in the Sahara, 1924

Robert Kurrle (left) and his assistant, Al Green on location in the Sahara during filming of 1924's A Son of the Sahara

Over the course of his career, Kurlle received numerous positive criticism and attention from other industry members and publications. He was highlighted in American Cinematographer on many occasions, the first time being in the 1922 edition, where he was called a "valued member" of the ASC.[9] When he was selected to man the camera for fellow ASC member Phil Rosen's film, Abraham Lincoln, a prominent industry magazine stated that Kurlle's career had been "brilliant" up to that point.[10] In July 1924, after Kurrle's return from north Africa where he shot A Son of the Sahara, American Cinematographer called him "... a master of his profession."[11]

For 1926's Wings of the Storm, Kurrle's exterior shots in Mt. Rainier National Park received positive comments from industry trade papers.[12] In 1927 Kurrle was lauded for his camerawork on the film adaptation of Tolstoy's Resurrection, which was directed by his long-term collaborator Carrewe.[13][14] The following year, in the first ever American Cinematographer poll of the top Hollywood directors, Kurrle was selected as one of the top 10 cinematographers in the industry.[15] That same year, 1928, his camera work on Sadie Thompson, was lauded as "... beautifully done, and the settings are completely in the mood of the story".[16]

Kurlle (behind the camera), and director Edwin Carewe (seated in front of the camera), filming a dusk scene in 1929's Evangeline

By 1928 Kurrle was being called a "camera ace", a reference not only to his skill behind the camera, but also to the fact that he was one of the few people in Hollywood to own their own plane.[17] In 1928 he worked exclusively with Universal Pictures, before returning to freelance the following year.[18][19] In mid-1930, Kurrle signed a contract with Warner Brothers. Over the next two years he rose to become their top cinematographer.[20] During his sixteen-year career, he worked with such notable directors as John Ince, William Wellman, Raoul Walsh, Michael Curtiz, Archie Mayo, and William Dieterle (who directed the final film Kurrle photographed). In 1928 Kurrle was one of the inaugural members of the International Photographers branch of the International Alliance of Theatrical Stage Employees (I.A.T.S.E.).[1]

Even when the film was given less than stellar press, Kurrle's work was often praised, as in the case of the 1929 film Her Majesty, Love, where it was noted, "The story is negligible, the cast, though capable, has nothing to do, and the direction is heavy handed and slow. But Robert Kurrle's cinematography is outstanding."[21] That same year, his camerawork on another Carewe film, an adaptation of Longfellow's Evangeline, was deemed as "beautiful" by The Film Daily.[22] The magazine also rated his photography as "excellent" for Merian Cooper's version of the classic tale, The Four Feathers.[23] There were times when his work only garnered average reviews in some papers, such as 1930's Hit the Deck,[24] while still gaining praise in others.[25]

Kurrle was behind the camera for Lloyd Bacon's 1930 version of Moby Dick, for which his work received high praise, being called "... one of the three outstanding elements of the entire work."[26] In 1931, his work on Resurrection was described as "... brilliant and sweeping". During 1932, Kurrle was the director of photography on ten feature films which were released that year. In September and October 1932, he worked on back to back films. The first was The Match King, featuring Warren William and Lili Damita, followed by Lawyer Man, starring William Powell and Joan Blondell.[27][28] Lawyer Man was his final film.