I happened to catch a showing of Sidney Salkow’s 1957 noir film Chicago Confidential the other night. Though it was an enjoyable story, what stood out was the cinematography of Kenneth Peach, ASC. Born in Oklahoma on March 6, 1903, he entered the industry through the special effects department and became a cinematographer in 1926. He then went on to enjoy a long career as what I like to call a “lunch pail” shooter. In his work-a-day approach, he made an outstanding contribution to whatever material he was handed. From Laurel and Hardy comedies to musicals, dramas, horror, westerns, science fiction, hard-boiled crime stories – and even half-hour sit-coms – his handling of the old school hard-light techniques were never short of impressive.
While most of his feature titles have fallen from memory, you should pay attention when the odd one turns up on the streaming services. All these years later, the precision that’s so evident in his approach still holds lessons for the attentive student. Peach also enjoyed a second wave of success in television until his retirement in 1984. His cinematography during that period is on par with everything he previously achieved.
Amazingly, he was never recognized with any major awards during his career. Who knows? Maybe the planets just didn’t line up in the right order. But there were so many cinematographers who carried on in a similar fashion during the studio era. None of them were household names like the Gregg Tolands, the James Wong Howes or the Charlie Clarkes, yet they showed up every day and turned in top-notch efforts despite their anonymity. My hat is off to them in a hundred ways. If you examine what they did closely enough, they’ll provide a wellspring of inspiration and information.
Peach passed away on February 27, 1988. His son, Kenneth, Jr. (1930-2006), was a cinematographer and ASC member in his own right. Be sure to check out his dad’s work when you get the chance. It’s every bit as good as the best of his time!
I think about this often, the midrange cinematographers who do the bulk of projects out there but will probably be forgotten before they’ve even retired. Probably because I’m in that category! There is always the hope of rediscovery and newfound appreciation years after we’re gone… But the truth is that a lot of the top-tier Oscar-winning cinematographers of the past are hardly discussed anymore either.
David – The world is moving so fast and so many things are competing for people’s attention that the average Joe can be forgiven for that. What’s really sad is that so many students and young cinematographers aren’t even aware of any of this!
I worked with Kenny Peach Jr. and he was a hell of a cinematographer, and more importantly, a great human being.
David, there is nothing in your work that is midrange!
I agree with Gary, David! Your work is thoughtful, measured, precise and executed with artistry and nuance. You have already been appropriately lauded by the ATAS and ASC and are well known, and, please, now add humbleness to your list of appreciated attributes! I do find myself on set when considering my next lighting moves as a DP at times thinking, what would David Mullen do?
Richard, thank you once again for your contribution of our appreciation to Mr Peach’s work with this terrific article. I enjoy each and every one of your nostalgic cinematography missives.