Hal Pereira(1905-1983)
- Art Director
- Production Designer
- Art Department
After graduating from the University of Illinois, Hal Pereira served
his apprenticeship as a theatrical designer in his home town Chicago,
between 1933 and 1940. In 1942, he moved to Hollywood and signed with
Paramount as a unit art director under the tutelage of department head
Hans Dreier. He took over Dreier's job of
supervising art director upon the latter's retirement in 1950. Pereira
had an innate sense of naturalism and knew how to best suit and enrich
the emotive or thematic needs of a subject. He was particularly adept
at designing realistic urban landscapes, often using understated sets,
and employing props and lighting devices which conveyed moral or
economic values. His best early work was on
Billy Wilder's
Double Indemnity (1944), for
which he provided a sombre and claustrophobic atmosphere, alternating
his use of light and shadow, both for dramatic effect, and as
juxtaposition between good and evil. He used similarly confining
interiors, both for the dust bowl of the anguished mining community of
Ace in the Hole (1951), and for
Alfred Hitchcock's set-bound
thriller Rear Window (1954).
Pereira was immensely versatile, tackling films of every conceivable
genre, from
The War of the Worlds (1953),
with it's death-ray dispensing alien flying machines, to creating the
expansive outdoor feeling of Shane (1953);
from the seedy, random disorder of the police station in
Detective Story (1951) , to the
rich, glowing sunbaked locations of Hitchcock's
Vertigo (1958), and the happy-go-lucky
Bohemian interiors of
The Odd Couple (1968). In 1959,
Pereira worked in tandem with
A. Earl Hedrick as art director on
Bonanza (1959). Nominated for 23
Academy Awards, he only won one, for
The Rose Tattoo (1955). He
retired in 1968, to work as a design consultant in the architectural
firm of his famous brother,
William L. Pereira.
his apprenticeship as a theatrical designer in his home town Chicago,
between 1933 and 1940. In 1942, he moved to Hollywood and signed with
Paramount as a unit art director under the tutelage of department head
Hans Dreier. He took over Dreier's job of
supervising art director upon the latter's retirement in 1950. Pereira
had an innate sense of naturalism and knew how to best suit and enrich
the emotive or thematic needs of a subject. He was particularly adept
at designing realistic urban landscapes, often using understated sets,
and employing props and lighting devices which conveyed moral or
economic values. His best early work was on
Billy Wilder's
Double Indemnity (1944), for
which he provided a sombre and claustrophobic atmosphere, alternating
his use of light and shadow, both for dramatic effect, and as
juxtaposition between good and evil. He used similarly confining
interiors, both for the dust bowl of the anguished mining community of
Ace in the Hole (1951), and for
Alfred Hitchcock's set-bound
thriller Rear Window (1954).
Pereira was immensely versatile, tackling films of every conceivable
genre, from
The War of the Worlds (1953),
with it's death-ray dispensing alien flying machines, to creating the
expansive outdoor feeling of Shane (1953);
from the seedy, random disorder of the police station in
Detective Story (1951) , to the
rich, glowing sunbaked locations of Hitchcock's
Vertigo (1958), and the happy-go-lucky
Bohemian interiors of
The Odd Couple (1968). In 1959,
Pereira worked in tandem with
A. Earl Hedrick as art director on
Bonanza (1959). Nominated for 23
Academy Awards, he only won one, for
The Rose Tattoo (1955). He
retired in 1968, to work as a design consultant in the architectural
firm of his famous brother,
William L. Pereira.