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  1. Rudolph Maté (born Rudolf Mayer; 21 January 1898 – 27 October 1964) was a Polish-Hungarian cinematographer who worked in Hungary, Austria, Germany, and France. He collaborated with notable directors including Fritz Lang, René Clair, and Carl Theodor Dreyer, attracting notable recognition for The Passion of Joan of Arc (1928) and Vampyr (1932).

  2. www.imdb.com › name › nm0005789Rudolph Maté - IMDb

    Rudolph Maté was a Polish-born filmmaker who worked in Europe and Hollywood. He was nominated for five Oscars for his cinematography, and directed films such as Gilda, The 300 Spartans and D.O.A.

    • January 1, 1
    • Beverly Hills, Los Angeles, California, USA
    • January 1, 1
    • Rudolph Maté
  3. May 8, 2024 · Rudolph Maté (born January 21, 1898, Kraków, Austro-Hungarian Empire [now in Poland]—died October 27, 1964, Los Angeles, California, U.S.) was a Polish-born filmmaker who was best known for his work as a cinematographer, though he later had some success as a director.

    • Michael Barson
  4. Rudolph Maté’s cinematic mastery has left an indelible mark on film history. His ability to weave gripping narratives with visual elegance is unmatched. From heart-pounding thrillers to poignant dramas, Maté’s films are a testament to his versatility and skill.

  5. Rudolph Maté was a Polish-Hungarian cinematographer who worked in Hungary, Austria, Germany, and France. He collaborated with notable directors including Fritz Lang, René Clair, and Carl Theodor Dreyer, attracting notable recognition for The Passion of Joan of Arc (1928) and Vampyr (1932).

  6. Rudolph Maté. Cinematographer: Gilda. One of the most respected cinematographers in the industry, Polish-born Rudolph Mate entered the film business after his graduation from the University of Budapest.

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  8. Called “one of the most accom­plished, inno­v­a­tive, and down­right twist­ed entrants to the film noir genre” by the BBC’s David Wood, Hun­gar­i­an expat direc­tor Rudolph Maté’s third pic­ture has, like many of its artis­tic rel­a­tives, expe­ri­enced a respect­ful re-eval­u­a­tion since rais­ing groans from crit ...