40-441: Heaven Can Wait may refer to: Heaven Can Wait (1943 film) , a comedy based on the stage play Birthday by Leslie Bush-Fekete Heaven Can Wait (1978 film) , an American football comedy starring Warren Beatty; a remake of the 1941 film Here Comes Mr. Jordan "Heaven Can Wait", a 1938 stage play by Harry Segall ; basis for 1941 film Here Comes Mr. Jordan "Heaven Can Wait",
80-491: A B-24 bomber lost in Hansa Bay during World War 2 and recovered in 2023 Music [ edit ] Heaven Can Wait (Gamma Ray EP) , 1990 Heaven Can Wait (OPM EP) , 2012 Heaven Can Wait – The Best Ballads of Meat Loaf Vol. 1 , a 1996 album "Heaven Can Wait" (Charlotte Gainsbourg song) , 2010 "Heaven Can Wait" (Michael Jackson song) , 2001 "Heaven Can Wait" (Sandra song) , 1988 "Heaven Can Wait",
120-476: A minor controversy. The film industry was becoming unionized, and Cronjager was resistant to joining. When Dix insisted Cronjager photograph his next film, Moran of the Marines , the union threatened to strike if the cinematographer was hired without becoming a union member. Cronjager joined the union at the studio's request, averting the threatened union action. Throughout his career, Dix attempted to have Cronjager as
160-474: A new type of film allowing the photographing of faster-moving action was introduced in 1931, Cronjager was one of the cinematographers who participated in the ASC's field testing of the product. In 1932 Cronjager worked with two other well-known cinematographers, Lucien Andriot and Clyde De Vinna , on King Vidor 's film, Bird of Paradise . The individual results of the three photographers were very high quality, but
200-455: A second time, much to Grandpa's delight. Fifteen years later, Henry meets chorus girl Peggy Nash in her dressing room shortly before her performance. What seems to be an attempt at courtship is soon revealed as an attempt by Henry to turn her away from his son, Jack, who has been dating her. When Peggy reveals her knowledge of his true identity, Henry buys her off, instead, for $ 25,000 (equivalent to about $ 380,000 in 2023). Jack later reveals he
240-577: A self-made millionaire, understands Henry quite well. Henry grows up to be an idle young man with a taste for attractive showgirls. One day, Henry overhears a beautiful woman lying to her mother on a public telephone. Intrigued, he follows her into a Brentano's bookstore and pretends to be an employee to get to know her better. Despite learning that she is engaged to marry, he begins making advances, finally confessing he does not work there, whereupon she hastily departs. Later, his obnoxious cousin Albert introduces
280-622: A song written by Jimmy Van Heusen and Eddie DeLange "Heaven Can Wait", a song by GPS "Heaven Can Wait", a song by Grave Digger from War Games "Heaven Can Wait", a song by Iron Maiden from Somewhere in Time "Heaven Can Wait", a song by LSD from LSD "Heaven Can Wait", a song by Meat Loaf from Bat Out of Hell "Heaven Can Wait", a song by We The Kings from Smile Kid See also [ edit ] Kevin Can Wait , an American sitcom television series Topics referred to by
320-483: A young actress who appeared in a total of three films from 1942 to 1944. In the early 1950s, Cronjager began to fall ill. While he continued to work for the remainder of the decade, the work became sporadic. The final picture he filmed was The Threat . He died on June 15, 1960, aged 56, three months before the release of his last film, The Devil's Partner , although he had filmed it two years earlier. Cronjager had been injured several weeks prior to his death while on
360-406: Is different from Wikidata All article disambiguation pages All disambiguation pages Heaven Can Wait (1943 film) Heaven Can Wait is a 1943 Technicolor American supernatural comedy film produced and directed by Ernst Lubitsch . The screenplay was by Samson Raphaelson based on the play Birthday by Ladislaus Bus-Fekete . The music score was by Alfred Newman and
400-521: Is scandalized, eventually they are received back into the family. Henry and Martha enjoy a happy marriage and become the proud parents of a boy. On the eve of their tenth anniversary, however, Martha finds out about what appears to be Henry's continuing dalliances with other women and goes back to her parents. Henry and Grandpa follow her there. Sneaking into the Strable house, Henry corrects the misunderstanding, begs her forgiveness, and talks her into "eloping"
440-591: The American Society of Cinematographers (ASC) to test new types of film stock. Cronjager pioneered several new techniques and types of cinematography, developing new camera angles in the 1920s, working on one of the earliest film noirs in the 1940s, and using CinemaScope in underwater photography in the 1950s. Cronjager was born into a film family in New York City in 1904. His father and uncle, Henry and Jules (respectively), were famous cinematographers during
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#1732855931551480-501: The " other place ", where Martha and his grandfather are waiting for him, hinting that there may be "a small room vacant in the annex". A contemporary review by Bosley Crowther in The New York Times described the film as "certainly one you'll want to see" and "a comedy of manners, edged with satire, in the slickest Lubitsch style" that "is poking very sly and sentimental fun at Eighteen Nineties naughtiness," adding that although
520-473: The "Aquaflex", a French underwater camera, the first use of CinemaScope underwater. He lost again, this time to Loyal Griggs for his filmwork on Shane . His color work on the location shooting for the 1953 film, Treasure of the Golden Condor , was lauded as stunning. In the remaining six years of his career, he would work on only five films, the fifth of which would be released after his death. In
560-604: The "picture has utterly no significance. Indeed, it has very little point, except to afford entertainment [...] it does [that] quite well." The review also notes that "Don Ameche and Gene Tierney are flat in the roles. Or rather, they lack the flexibility which such mannered comedy demands." A review of the film in Variety reported that it features "generous slices of comedy, skillfully handled by producer-director Ernst Lubitsch [who] has endowed it with light, amusing sophistication and heart-warming nostalgia," noting that "Charles Coburn as
600-609: The Emmy Award-winning, William Cronjager . Before following in his father's footsteps, Cronjager would work as an assistant machinist. One of Cronjager's first efforts behind the lens was at the age of 19, filming the heavyweight championship bout between Jack Dempsey and Luis Ángel Firpo in 1923. He began his career in the film industry in 1925 with the Famous Players–Lasky film corporation (later Paramount Pictures ), where he remained until 1930. His first project
640-514: The Oscar for cinematography. The 1940s saw Cronjager receive five Academy Award nominations. The first was for the 1941 film, Sun Valley Serenade , starring Henie. Cronjager's work was called excellent by several publications, including American Cinematographer , with "one or two sequences so exceptional that it is worth seeing the picture for them alone." He lost to Arthur Miller's work on How Green Was My Valley . In 1941 Cronjager shot one of
680-517: The Shores of Tripoli for color cinematography, and The Pied Piper for best cinematography in the black and white medium. He won neither, losing to Joseph Ruttenberg in the black and white category for Mrs. Miniver , and to Leon Shamroy for the color cinematography in The Black Swan . Cronjager manned the camera for the classic My Friend Flicka in 1943, starring Roddy McDowall ; but it
720-580: The cinematographer on his films. His first sound film, 1929's Nothing But the Truth , also starred Dix, and was directed by Victor Schertzinger . His next film in 1929, again directed by Schertzinger and starring Dix, was Redskin . Filmed in two-strip technicolor, the film has been part of modern exhibitions about early color cinematography. At one such exhibition in 2015, at the Museum of Modern Art in New York, it
760-466: The cinematography by Edward Cronjager . The film tells the story of a man who has to prove he belongs in Hell by telling his life story. It stars Gene Tierney , Don Ameche , and Charles Coburn . The supporting cast includes Marjorie Main , Laird Cregar , Spring Byington , Allyn Joslyn , Eugene Pallette , Signe Hasso , Louis Calhern , Tod Andrews , and Clara Blandick . The film has no connection to
800-489: The earliest film noirs , I Wake Up Screaming , starring Betty Grable and Victor Mature , directed by H. Bruce Humberstone . A recent review by Gary Giddins of The New York Sun , called I Wake Up Screaming "one of the most beautiful black-and-white movies ever made." The following year, Cronjager left Fox and resumed freelance cinematography. Before he went freelance, two of the films he shot at Fox garnered Oscar nominations for him in two different categories: To
840-527: The family to his fiancée, Martha, and her feuding parents, the Strables. Henry is shocked to find that his mystery woman and Martha are one and the same. It turns out that Albert was the first suitor of whom both her parents approved. Fearful of spending the rest of her life as a spinster in Kansas City, Martha agreed to marry him. Henry convinces her to elope with him instead. Though everyone except Grandpa Van Cleve
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#1732855931551880-462: The fantasy-based stage play of the same title that was adapted as the film Here Comes Mr. Jordan (itself also a Best Picture nominee), nor remakes of Mr. Jordan using the play's original title, including the 1978 film, Heaven Can Wait . An aged Henry Van Cleve enters the opulent reception area of " where innumerable people had told him so often to go ", to be personally greeted by " His Excellency ". Henry petitions to be admitted (fully aware of
920-507: The film Wilson . His color photography on 1946's Do You Love Me? , starring Maureen O'Hara , Dick Haymes , and Harry James , was called "superbly filmed in Technicolor", contributing to the film's appeal and success. Cronjager filmed a dozen pictures during the first half of the 1950s, culminating in another Oscar nomination, his seventh and final, for 1954's Beneath the 12-Mile Reef , which featured his underwater photography using
960-463: The final film of Henry's career. 1936 saw his tenure at RKO come to an end, when he decided to turn down a new contract and enter the freelance arena; he shot films at both RKO and Paramount during the remainder of the year. The year also saw Cronjager's selection to the Academy of Motion Picture Arts and Sciences (AMPAS) nominating rules committee for the cinematography Oscar. In 1937 Cronjager moved to
1000-401: The first two decades of the twentieth century. They worked with companies such as Edison , Biograph and Fox Film Corporation . Edward's brother, Henry Jr., was also a famous cinematographer, although his filmography is sometimes confused with that of his father due to the similarity of names and the fact that the active years of their careers overlapped. Edward's nephew (Henry Jr.'s son) was
1040-491: The fond grandfather [...] walks away with the early sequences in a terrific comedy performance." Writing in Turner Classic Movies , critic David Kalat described the film as "a representative example of its time: It's a costume drama that luxuriates in period detail" and "a character study told with inventive narrative techniques and non-chronological structure." The film made a profit of $ 1,286,200. Heaven Can Wait
1080-431: The integration of their work, all with very different styles, proved less than desirable to critics. Cronjager worked with Dix again in 1933, on the film The Lost Squadron , which also starred Mary Astor , and was directed by George Archainbaud . In 1934 he photographed the film Kentucky Kernels , starring the comedy team of Wheeler & Woolsey . More importantly, Edward got to work with his father, Henry Sr., on
1120-466: The kind of life he has led), but some doubt exists as to his qualifications. To prove his worthiness (or rather unworthiness), he begins to tell the story of his dissolute life. Born in Manhattan on October 25, 1872, Henry is the spoiled only child of stuffy, naive, wealthy parents Randolph and Bertha. His paternal grandmother is also doting and naive, although his down-to-earth grandfather Hugo Van Cleve,
1160-416: The land rush scenes. In addition, he used over two million feet of film during the production, 250,000 of them during the land rush scenes alone; he communicated with his cameramen through army surplus field telephones. The film was nominated for seven Oscars, winning three (Outstanding Production, Best Screenplay Adaptation, and Best Art Direction). Cronjager lost to Floyd Crosby 's work on Tabu . When
1200-566: The late 1950s and 1960 he also worked on several television series, including Sea Hunt and Sam Peckinpah 's The Westerner . In January 1931, Cronjager married Ziegfeld showgirl Muriel Finley. The two divorced at the end of 1932. He was married a second time, in 1935, to actress Kay Sutton; their marriage was announced in September 1935, and their divorce in September 1937. His third marriage took place in August 1942, when he wed Yvette Bentley,
1240-427: The same term [REDACTED] This disambiguation page lists articles associated with the title Heaven Can Wait . If an internal link led you here, you may wish to change the link to point directly to the intended article. Retrieved from " https://en.wikipedia.org/w/index.php?title=Heaven_Can_Wait&oldid=1243793885 " Category : Disambiguation pages Hidden categories: Short description
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1280-407: The small screen towards the end of his career. He filmed in black and white and color mediums, and his work received nominations for seven Academy Awards over three decades, although he never won the statue. He was the preferred director of photography of early film star Richard Dix and served on several Academy of Motion Picture Arts and Sciences (AMPAS) committees, as well as being selected by
1320-483: The studio with which he would be most associated, 20th Century Fox . One of the first films he shot for Fox was Sonja Henie 's screen debut, One in a Million , a collaboration that would continue over the next decade. He was selected for the AMPAS cinematography committee once more in 1937, and again for the third year in a row in 1938. In January 1940, Cronjager was again named to the rules committee of AMPAS, regarding
1360-447: The twenty-nine pictures Dix made between 1927 and 1933. In addition, in 1927 Cronjager joined the American Society of Cinematographers (ASC). By 1928 he was credited with developing several new camera angles. Cronjager was lauded by industry magazines such as Variety for his inventive camera work in 1928's Warming Up , which added realism to the efforts of Dix as a baseball pitcher. In September 1928 Cronjager became involved in
1400-435: The whole frame. The color is used for emotional impact; black and white (toned amber) represents the world of the white man; color is reserved for scenes of Indian life. In 1930 both Cronjager and Dix moved from Paramount Pictures to RKO Radio Pictures . The following year, 1931, he received his first Academy Award nomination, for Cimarron . During production, Cronjager utilized up to 27 cameras at once, especially during
1440-576: Was described as "the film’s true star is the extraordinary location photography in Arizona's Canyon de Chelly and New Mexico's Valley of the Enchanted Mesa." Kevin Brownlow , a British film historian, noted: The color in the original print is breathtaking; Redskin leaves an impression of a kaleidoscope of awe-inspiring backgrounds, with such much happening in the foreground that one hardly has time to take in
1480-399: Was glad to have got rid of her so easily. Martha passes away shortly after their 25th anniversary. Henry resumes an active social life much to the amusement of his son. On October 26, 1942, the day after his 70th birthday, Henry dies under the care of a beautiful nurse, her coming having been portended in a dream. After hearing Henry's story, His Excellency denies him entry and suggests he try
1520-683: Was his work on Heaven Can Wait which earned him his fifth Oscar nomination, this one for color film photography. D. W. Griffith called Cronjager's work in Heaven Can Wait "the best color footage ever made". He would lose to Hal Mohr and W. Howard Greene for Phantom of the Opera . Cronjager received his fifth nomination in four years for his work on 1944's Home in Indiana , directed by Henry Hathaway , and starring Walter Brennan ; he lost again, this time to Leon Shamroy for his photography of
1560-496: Was preserved by the Academy Film Archive in 2015. Streaming audio Edward Cronjager Edward Cronjager (21 March 1904 – 15 June 1960) was an American cinematographer whose career spanned from the silent era through the 1950s. He came from a family of cinematographers, with his father, uncle, and brother all working in the film industry behind the camera. His work covered over 100 films and included projects on
1600-406: Was the silent film, Womanhandled , starring Richard Dix , which would be shot at Lasky's Long Island , New York studio, where Cronjager worked until being transferred to Lasky's west coast operation in 1927. The Film Daily called his work on the picture "very good". During the next four years he photographed fifteen silent films, of which twelve starred Dix, and he shot almost every one of
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