Gifted cinematographer, whose work was strongly influenced by film noir. Krasker's most notable work included The Third Man (for Carol Reed), for which he won an Oscar, and Brief Encounter (for David Lean). Despite Krasker's brilliant and atmospheric work on Brief Encounter, Lean sacked him from his next film, Great Expectations, because he and Ronald Neame felt that he was not doing a good enough job of the marsh scenes. The Third Man (1949) is a film noir directed by Carol Reed. ... Sir Carol Reed (December 30, 1906-April 25, 1976) was an English film director, winner of an Academy Award for his interpretation of the musical, Oliver! (1968). ... This page is about the OSCAR, the communications satellete. ... Brief Encounter (1945) is a British film directed by David Lean starring Celia Johnson and Trevor Howard. ... Sir David Lean ( March 25, 1908 – April 16, 1991) was a British film director, best remembered for big-screen epics such as Lawrence of Arabia. ... Great Expectations is a Bildungsroman (a novel tracing the life of the protagonist) by Charles Dickens and first serialized in All the Year Round from December 1860 to August 1861. ... Ronald Neame is a British film cinematographer, producer, screenwriter, and director. ...
Krasker and Cooper in particular seemed to have been the most influenced by Perinal as was evident in all their future work.
In 1941, RobertKrasker was entrusted with one of his first jobs as lighting cameraman, for a low-budget RKO thriller called The Saint Meets The Tiger, an enjoyable mystery starring Hugh Sinclair in the role of Leslie Charteris' super-sleuth.
Krasker had shot the striking opening sequence in the graveyard and if it was on the basis of his work on that sequence that Lean sacked him then the incident takes on a decidedly peculiar air.
Robert Moss has written that Krasker was "one of the few men whose patient craftsmanship and innovative ideas matched Reed's." In The Third Man Krasker captured in fl-and-white the gloomy, corrupt decadence of postwar Vienna, where everything was for sale.
In The Collector Krasker shot the exterior shots on location, while Robert Surtees was responsible for the interior studio shooting, but the division of labor produces a visual balance between the exterior greens and blues of freedom and the interior yellows, browns, and oranges associated with captivity.
Krasker also shot the stalking sequence in which the victim is caught in the "frame" of her pursuer's rear-view mirror.
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