In today's world, Oliver T. Marsh has become a topic of constant interest and debate. Whether due to its impact on society, its historical relevance or its influence in different areas, Oliver T. Marsh has captured the attention of academics, specialists and the general public. Over the years, the study and analysis of Oliver T. Marsh has been deepened, seeking to understand its causes, consequences and possible solutions. This article seeks to offer a general and complete overview of Oliver T. Marsh, addressing its different aspects from an objective and analytical perspective. From its origin to its implication today, the different facets of Oliver T. Marsh will be explored, in order to provide the reader with a deeper and more precise understanding of this topic of universal relevance.
Oliver T. Marsh | |
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Born | January 30, 1892 Kansas City, MO |
Died | May 5, 1941 Hollywood, California |
Occupation | Cinematographer |
Oliver T. Marsh (January 30, 1892 – May 5, 1941) was a prolific Hollywood cinematographer. He worked on over eighty films just for Metro-Goldwyn-Mayer alone.
Marsh was born January 30, 1892, in Kansas City, Missouri. He is the brother of actresses Marguerite Marsh (1888–1925) and Mae Marsh (1894–1968), as well as editor Frances Marsh, and the father of jazz saxophonist Warne Marsh (1927–1987).
Marsh worked on Sadie Thompson (1928), Rain (1932), The Merry Widow (1934), David Copperfield (1935), A Tale of Two Cities (1935), The Great Ziegfeld (1936), San Francisco (1936) and Another Thin Man (1939). He and Allen Davey received Academy Honorary Awards "for the color cinematography of the Metro-Goldwyn-Mayer production, Sweethearts" (1938) at the 11th Academy Awards. The pair were also nominated for Best Cinematography (Color) for Bitter Sweet (1940).
He died May 5, 1941, and is interred at Forest Lawn Memorial Park in Glendale, California.