Rudolf Matheh became an assistant cameraman for Alexander Korda in Hungarian films of the late teens. In the mid '20s he lensed some of Carl Dreyer's Mika'l, and became cinematographer for Dreyer's classics La Passion De Jeanne D'Arc and Vampyr. After working in France on Fritz Lang's Liliom and Rene Clair's Le Dernier Milliardaire, Mate came to Hollywood in 1935. Here he shot such notable films as Our Relations with Laurel and Hardy, William Wyler's Dodsworth, Alfred Hitchcock's Foreign Correspondent, Korda's That Hamilton Woman, and Lubitsch's To Be Or Not to Be. Mate began directing in 1947 with the comedy It Had to Be You, which he co-directed with Don Hartman. As a director Mate is most fondly remembered for his early films, the noirs The Dark Past and D.O.A., and producer George Pal's apocalyptic science-fictioner When Worlds Collide.
| Title | Year | Editors' Rating | User Rating | |
|---|---|---|---|---|
|
Aliki - My Love
Director, Producer |
1963 | |||
|
Il Re dei Sette Mari
Director |
1963 | |||
|
The 300 Spartans
Director, Producer |
1962 | |||
|
For the First Time
Director |
1959 | |||
|
The Deep Six
Director |
1958 | |||
|
Three Violent People
Director |
1957 | |||
|
Miracle in the Rain
Director |
1956 | |||
|
Port Afrique
Director |
1956 | |||
|
The Rawhide Years
Director |
1956 | |||
|
The Far Horizons
Director |
1955 | |||
|
The Black Shield of Falworth
Director |
1954 | |||
|
The Siege at Red River
Director |
1954 | |||
|
The Violent Men
Director |
1954 | |||
|
Forbidden
Director |
1953 | |||
|
Second Chance
Director |
1953 | |||
|
The Mississippi Gambler
Director |
1953 | |||
|
Paula
Director |
1952 | |||
|
Sally and Saint Anne
Director |
1952 | |||
|
The Green Glove
Director |
1952 | |||
|
The Prince Who Was a Thief
Director |
1951 | |||
|
When Worlds Collide
Director |
1951 | |||
|
Branded
Director |
1950 | |||
|
No Sad Songs for Me
Director |
1950 | |||
|
Union Station
Director |
1950 | |||
|
D.O.A.
Director |
1949 | |||
|
The Dark Past
Director |
1948 | |||
|
The Return of October
Producer |
1948 | |||
|
Down to Earth
Cinematographer |
1947 | |||
|
It Had to Be You
Cinematographer, Director |
1947 | |||
|
Gilda
Cinematographer |
1946 | |||
|
Over 21
Cinematographer |
1945 | |||
|
Tonight and Every Night
Cinematographer |
1945 | |||
|
Address Unknown
Cinematographer |
1944 | |||
|
Cover Girl
Cinematographer |
1944 | |||
|
Sahara
Cinematographer |
1943 | |||
|
The Pride of the Yankees
Cinematographer |
1942 | |||
|
They Got Me Covered
Cinematographer |
1942 | |||
|
To Be or Not to Be
Cinematographer |
1942 | |||
|
It Started With Eve
Cinematographer |
1941 | |||
|
That Hamilton Woman
Cinematographer |
1941 | |||
|
The Flame of New Orleans
Cinematographer |
1941 | |||
|
Foreign Correspondent
Cinematographer |
1940 | |||
|
My Favorite Wife
Cinematographer |
1940 | |||
|
Seven Sinners
Cinematographer |
1940 | |||
|
Love Affair
Cinematographer |
1939 | |||
|
The Real Glory
Cinematographer |
1939 | |||
|
Blockade
Cinematographer |
1938 | |||
|
The Adventures of Marco Polo
Cinematographer |
1938 | |||
|
Trade Winds
Cinematographer |
1938 | |||
|
Youth Takes a Fling
Cinematographer |
1938 | |||
|
Stella Dallas
Cinematographer |
1937 | |||
|
The Outcast
Cinematographer |
1937 | |||
|
A Message to Garcia
Cinematographer |
1936 | |||
|
Come and Get It
Cinematographer |
1936 | |||
|
Dodsworth
Cinematographer |
1936 | |||
|
Navy Wife
Cinematographer |
1936 | |||
|
Our Relations
Cinematographer |
1936 | |||
|
Professional Soldier
Cinematographer |
1936 | |||
|
Charlie Chan's Secret
Cinematographer |
1935 | |||
|
Dante's Inferno
Cinematographer |
1935 | |||
|
Dressed to Thrill
Cinematographer |
1935 | |||
|
Metropolitan
Cinematographer |
1935 | |||
|
Le Dernier Milliardaire
Cinematographer |
1934 | |||
|
Liliom
Cinematographer |
1934 | |||
|
Aren't We All?
Cinematographer |
1932 | |||
|
Couturiere De Luneville
Cinematographer |
1932 | |||
|
Vampyr
Cinematographer |
1931 | |||
|
The Passion of Joan of Arc
Cinematographer |
1928 | |||
|
Michael
Cinematographer |
1924 |





