Distinguished cinematographer of Hungarian parentage who began his career in Germany in the 1920s. Mate shot several films for Carl Theodor Dreyer, notably the dream-like masterpiece "Vampyr" (1932), before moving to Hollywood in 1934. His expressionist sensibility redeemed several lesser films, like Tay Garnett's "Professional Soldier" (1935), as well as making significant contributions to classics such as Charles Vidor's "Gilda" (1946). Mate turned to directing in 1947, with results ranging from the highly competent to the forgettable; his most famous directorial effort is the riveting 1949 noir standard "D.O.A."
Director (Feature Film)
Cinematography (Feature Film)
Film Production - Main (Feature Film)
To Vienna, then Berlin
To Paris as director of photography, beginning with the second of several films for Carl Dreyer, "La passion de Jeanne d'Arc/The Passion of Joan of Arc"
Co-directing debut (with Jean Bertin), "Le costaud des P.T.T."
Final French film as cinematographer, Fritz Lang's "Liliom"
To Hollywood; signed contract with Fox
First film as cinematogrpaher in US, "Nada mas que una mujer" (Spanish language version of Louis King's "Pursued," directed by Harry Lachman)
First US English language film as cinematographer, "Dressed to Thrill"
Succeeded Gregg Toland as head of photography for Goldwyn
US co-directing debut (with Don Hartman), "It Had to Be You" (also co-photographer)
Solo directing debut, "The Dark Past"
Last solo directing credit, "Aliki--My Love"; also co-directed film, "Il Re Dei Sette Mari", with Primo Zeglio