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Rudolph Maté

Rudolph Maté

Cinematographer and director, also producer · Died October 27, 1964, aged 66 · Krakau, Galicia, Austria-Hungary [now Kraków, Malopolskie, Poland]

​From Wikipedia, the free encyclopedia Rudolph Maté, A.S.C. (21 January 1898 – 27 October 1964), born Rudolf Matheh or Mayer, was an accomplished cinematographer and film director. Born in Kraków (then in Austria-Hungary, now in Poland), Maté started in the film business after his graduation from the University of Budapest. He went on to work as an assistant cameraman in Hungary and later throughout Europe, sometimes with noted colleague Karl Freund. Maté worked on several of Carl Theodor Dreyer's films including The Passion of Joan of Arc (1928) and Vampyr (1932) which led to his being hired as director of photography on a number of prominent films. Maté worked as cinematographer on Hollywood films from the mid-1930s, including Dodsworth (1936), the Laurel and Hardy feature Our Relations (1936) and Stella Dallas (1937). He was nominated for the Academy Award for Best Cinematography in five consecutive years, for Foreign Correspondent (1940), That Hamilton Woman (1941), The Pride of the Yankees (1942), Sahara (1943), and Cover Girl (1944). In 1947, he turned to directing films, his credits include When Worlds Collide (1951), the film noir classic D.O.A. and No Sad Songs for Me (both 1950). Directed by Maté, The 300 Spartans is a 1962 film depicting the Battle of Thermopylae. Made with the cooperation of the Greek government, it was shot in the village of Perachora in the Peloponnese. He died from a heart attack in Hollywood on October 27, 1964 at the age of 66. Description above from the Wikipedia article Rudolph Maté, licensed under CC-BY-SA, full list of contributors on Wikipedia.

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Biography from TMDB.

Born
January 21, 1898
Died
October 27, 1964 (aged 66)
From
Krakau, Galicia, Austria-Hungary [now Kraków, Malopolskie, Poland]
Works as
Cinematographer and director, also producer
Titles
54 on MovieCove · 79 credits in all
Links
IMDb (opens in a new tab)TMDB (opens in a new tab)Wikidata (opens in a new tab)

Known for

TMDB popularity, last 37 days to Oct 26Down 45% in 30 days

What are Rudolph Maté's films like?

Across their 50 MovieCove titles with a thematic analysis, their films lean Morality and Bonds.

Genres

Drama16 titlesTypical Midcredits score: 64th percentile
: browse their Drama movies
Comedy11 titlesTypical Midcredits score: 67th percentile
: browse their Comedy movies
Crime9 titlesTypical Midcredits score: 54th percentile
: browse their Crime movies
Adventure6 titlesTypical Midcredits score: 59th percentile
: browse their Adventure movies
Action4 titlesTypical Midcredits score: 78th percentile, at or above their average across these genres
: browse their Action movies
Biography2 titlesTypical Midcredits score: 94th percentile, at or above their average across these genres
: browse their Biography movies

Their MovieCove films by primary genre. The badge is the typical Midcredits score of the genre's films, the median percentile; an up arrow marks a genre at or above their average across these genres.

Themes

share of theme weight
Morality
34%
Bonds
28%
Self
13%
Survival
11%
Power
6%
Society
5%
Ideas
2%
Romantic love20 titles, browse their movies with this themeJustice11 titles, browse their movies with this themeSurvival8 titles, browse their movies with this themeDuty8 titles, browse their movies with this themeFamily bonds9 titles, browse their movies with this themeSacrifice8 titles, browse their movies with this themeRedemption6 titles, browse their movies with this themeDeception6 titles, browse their movies with this theme

What they feel like to watch

their average across 50 films
ToneFeelDemandtheir average · filled zone: the category
Serious: How heavy the subject matter and outlook get. Browse their serious movies.
Tone · Weight
lightdark

A split, not a type: Light 23 · Serious 10 · Dark 17

Stylized: How far its world departs from everyday reality. Browse their stylized movies.
Tone · Style
naturalisticheightened

A split, not a type: Grounded 24 · Stylized 19 · Heightened 7

Charged: How hard the emotional peaks hit while you watch. Browse their charged movies.
Feel · Intensity
gentleintense

Gentle 14 · Charged 23 · Intense 13

Steady: How much it swings between very different feelings. Browse their steady movies.
Feel · Swings
steadyswings

Steady 28 · Shifting 20 · Whiplash 2

Some laughs: How much of the runtime is played for laughs. Browse their some laughs movies.
Feel · Humor
noneconstant

A split, not a type: Straight-faced 29 · Some laughs 13 · Funny 8

Even-paced: How fast it moves from scene to scene. Browse their even-paced movies.
Demand · Pace
slowrelentless

Slow burn 23 · Even-paced 24 · Relentless 3

Casual: How much focus it asks of you — look away and lose the thread? Browse their casual movies.
Demand · Attention
casualfull focus

Casual 31 · Engaged 14 · Full focus 5

Affecting: How much it costs you emotionally; whether you need recovery time. Browse their affecting movies.
Demand · Emotional cost
easyheavy

A split, not a type: Easy watch 24 · Affecting 17 · Heavy 9

Resolved: How much is left for you to interpret. Browse their resolved movies.
Demand · Resolution
resolvedambiguous

Resolved 44 · Open-ended 4 · Ambiguous 2

Moods and endings

endings are an aggregate; no title is named

Dominant moods · mentions across their titles

Tense
26
Romantic
21
Melancholic
18
Joyful
13
Hopeful
10
Other
50

How their films linger

Feel-good20 titles, browse their movies with this aftertasteHopeful19 titles, browse their movies with this aftertasteFun17 titles, browse their movies with this aftertasteBittersweet15 titles, browse their movies with this aftertasteRousing10 titles, browse their movies with this aftertasteHaunting4 titles, browse their movies with this aftertaste

How their films end · 9 with a twist

  • Happy25
  • Bittersweet20
  • Tragic2
  • Ambiguous3

AI-generated from each title's plot synopsis and cast list, with extra plot summaries, reviews and Parents Guide notes for titles the model may not know, and the model's own knowledge of the ones it recognizes. Only analyzed titles count, so this covers part of the filmography; the feel axes count films only for now.

Where can I watch Rudolph Maté's films?

As of October 24, 2026, 27 of their 54 MovieCove titles stream on a subscription or free service, most on Tubi (17).

Also on these channels

Subscription and free streaming for Rudolph Maté's titles on MovieCove; rent and buy are not counted. Titles are listed by Midcredits score, highest first, at most 12 per service; a dashed chip is a producer credit or a minor one, such as a thanks. A service opens the browse page, which counts movies only, so its number can differ.

Filmography

79 credits, 54 with a MovieCove page; 1 appearance as themselves is hidden until asked for.

  • Aliki My Love (not in the MovieCove catalog yet)(1963)

    Director

  • Seven Seas to Calais (not in the MovieCove catalog yet)(1962)

    Director

  • The 300 Spartans(1962)

    Director · Producer

    Midcredits score: 61st percentile of all films

  • The Barbarians (not in the MovieCove catalog yet)(1960)

    Director

  • For the First Time(1959)

    Director

    Midcredits score: 55th percentile of all films

  • The Deep Six (not in the MovieCove catalog yet)(1958)

    Director

  • Three Violent People(1956)

    Director

    Midcredits score: 54th percentile of all films

  • The Rawhide Years(1956)

    Director

    Midcredits score: 48th percentile of all films

  • Port Afrique (not in the MovieCove catalog yet)(1956)

    Director

  • Miracle in the Rain(1956)

    Director

    Midcredits score: 81st percentile of all films

  • The Far Horizons(1955)

    Director

    Midcredits score: 47th percentile of all films

  • The Violent Men(1955)

    Director

    Midcredits score: 79th percentile of all films

  • The Black Shield of Falworth(1954)

    Director

    Midcredits score: 59th percentile of all films

  • The Siege at Red River(1954)

    Director

    Midcredits score: 24th percentile of all films

  • Forbidden(1953)

    Director

    Midcredits score: 53rd percentile of all films

  • The Loretta Young Show(1953)

    Show 4 episodes · Director

    Midcredits score: 68th percentile of all shows

  • Second Chance(1953)

    Director

    Midcredits score: 36th percentile of all films

  • The Mississippi Gambler(1953)

    Director

    Midcredits score: 71st percentile of all films

  • Sally and Saint Anne(1952)

    Director

    Midcredits score: 58th percentile of all films

  • Paula(1952)

    Director

    Midcredits score: 64th percentile of all films

  • The Green Glove(1952)

    Director

    Midcredits score: 46th percentile of all films

  • When Worlds Collide(1951)

    Director

    Midcredits score: 64th percentile of all films

  • The Prince Who Was a Thief(1951)

    Director

    Midcredits score: 55th percentile of all films

  • Branded(1950)

    Director

    Midcredits score: 70th percentile of all films

  • Union Station(1950)

    Director

    Midcredits score: 75th percentile of all films

  • No Sad Songs for Me(1950)

    Director

    Midcredits score: 64th percentile of all films

  • D.O.A.(1949)

    Director

    Midcredits score: 85th percentile of all films

  • The Dark Past(1948)

    Director

    Midcredits score: 48th percentile of all films

  • The Return of October (not in the MovieCove catalog yet)(1948)

    Producer

  • It Had to Be You(1947)

    Director · Cinematographer

    Midcredits score: 67th percentile of all films

  • Down to Earth(1947)

    Cinematographer

    Midcredits score: 51st percentile of all films

  • The Lady from Shanghai(1947)

    Cinematographer

    Midcredits score: 93rd percentile of all films

  • Gilda(1946)

    Cinematographer

    Midcredits score: 95th percentile of all films

  • Over 21(1945)

    Cinematographer

    Midcredits score: 50th percentile of all films

  • Tonight and Every Night(1945)

    Cinematographer

    Midcredits score: 51st percentile of all films

  • Address Unknown (not in the MovieCove catalog yet)(1944)

    Cinematographer

  • Cover Girl(1944)

    Cinematographer

    Midcredits score: 71st percentile of all films

  • Sahara(1943)

    Cinematographer

    Midcredits score: 93rd percentile of all films

  • They Got Me Covered(1943)

    Cinematographer

    Midcredits score: 65th percentile of all films

  • The Pride of the Yankees(1942)

    Cinematographer

    Midcredits score: 92nd percentile of all films

  • To Be or Not to Be(1942)

    Cinematographer

    Midcredits score: 98th percentile of all films

  • It Started with Eve(1941)

    Cinematographer

    Midcredits score: 95th percentile of all films

  • The Flame of New Orleans(1941)

    Cinematographer

    Midcredits score: 59th percentile of all films

  • That Hamilton Woman(1941)

    Cinematographer

    Midcredits score: 86th percentile of all films

  • Seven Sinners(1940)

    Cinematographer

    Midcredits score: 62nd percentile of all films

  • Foreign Correspondent(1940)

    Cinematographer

    Midcredits score: 92nd percentile of all films

  • My Favorite Wife(1940)

    Cinematographer

    Midcredits score: 88th percentile of all films

  • The Flying Deuces(1939)

    Production Assistant

    Midcredits score: 72nd percentile of all films

  • The Real Glory(1939)

    Cinematographer

    Midcredits score: 62nd percentile of all films

  • Love Affair(1939)

    Cinematographer

    Midcredits score: 89th percentile of all films

  • Trade Winds(1938)

    Cinematographer

    Midcredits score: 54th percentile of all films

  • Blockade(1938)

    Cinematographer

    Midcredits score: 26th percentile of all films

  • The Adventures of Marco Polo(1938)

    Cinematographer

    Midcredits score: 32nd percentile of all films

  • Stella Dallas(1937)

    Cinematographer

    Midcredits score: 91st percentile of all films

  • Outcast (not in the MovieCove catalog yet)(1937)

    Cinematographer

  • Come and Get It(1936)

    Cinematographer

    Midcredits score: 75th percentile of all films

  • Dodsworth(1936)

    Cinematographer

    Midcredits score: 95th percentile of all films

  • Our Relations(1936)

    Cinematographer

    Midcredits score: 87th percentile of all films

  • A Message to Garcia (not in the MovieCove catalog yet)(1936)

    Cinematographer

  • Charlie Chan's Secret(1935)

    Cinematographer

    Midcredits score: 78th percentile of all films

  • Professional Soldier (not in the MovieCove catalog yet)(1935)

    Cinematographer

  • Metropolitan(1935)

    Cinematographer

    Midcredits score: 57th percentile of all films

  • Dressed to Thrill (not in the MovieCove catalog yet)(1935)

    Cinematographer

  • Navy Wife (not in the MovieCove catalog yet)(1935)

    Cinematographer

  • The Last Billionaire (not in the MovieCove catalog yet)(1934)

    Cinematographer

  • Liliom (not in the MovieCove catalog yet)(1934)

    Cinematographer

  • The Adventures of King Pausole (not in the MovieCove catalog yet)(1933)

    Cinematographer

  • Song of the Streets (not in the MovieCove catalog yet)(1933)

    Cinematographer

  • The Beautiful Sailor (not in the MovieCove catalog yet)(1932)

    Cinematographer

  • Insult (not in the MovieCove catalog yet)(1932)

    Cinematographer

  • Mister Albert (not in the MovieCove catalog yet)(1932)

    Cinematographer

  • Vampyr(1932)

    Cinematographer

    Midcredits score: 89th percentile of all films

  • Lily Christine (not in the MovieCove catalog yet)(1932)

    Cinematographer

  • Aren't We All? (not in the MovieCove catalog yet)(1932)

    Cinematographer

  • The King of Camembert (not in the MovieCove catalog yet)(1931)

    Cinematographer

  • Miss Europe (not in the MovieCove catalog yet)(1930)

    Cinematographer

  • The Passion of Joan of Arc(1928)

    Cinematographer

    Midcredits score: 96th percentile of all films

  • Michael (not in the MovieCove catalog yet)(1924)

    Cinematographer

  • The Jew of Mestri (not in the MovieCove catalog yet)(1923)

    Cinematographer

Career shape

A full career of 78 titles from 1923 to 1963.

Biggest box office

The Passion of Joan of Arc (1928)

$23K worldwide

Highest rated

To Be or Not to Be (1942)

Midcredits 98th

Most popular right now

The Passion of Joan of Arc (1928)

By role

only this rolewith another role
Directing29 of 78: 28 only directing, 1 with another role · typical Midcredits score60thProducing1 of 78: 1 only producing, 0 with another roleCinematography48 of 78: 47 only cinematography, 1 with another role · typical Midcredits score78thOther crew1 of 78: 1 only other crew, 0 with another role

By decade

1920s3 · crew1930s29 · crew1940s20 · crew1950s22 · crew1960s4 · crew

Counts from TMDB across their full career, self appearances out; a title counts in every role they held on it. The ring is the typical Midcredits score (the median percentile) of the role's titles that are on MovieCove, shown from 5 scored.

How do Rudolph Maté's films land?

Their typical MovieCove film has a Midcredits score in the 65th percentile, the median of all 53; across their 50 films with reception data, the typical film sits in the 65th percentile for acclaim.

Acclaim · how much people like their films

65thpercentile
Typical film, the median of 50

Approval · how many liked their films

63rdpercentile
Typical film, the median of 50

Reach · how many have seen their films

58thpercentile
Typical film, the median of 50

Midcredits score across 54 titles, by percentile

  • 75th and up21
  • 50th to 74th25
  • 25th to 49th7
  • Below 25th1

Shape of the crowd

37 of their 54 titles are Crowd Pleasers.

  • Universally Loved8
  • Crowd Pleaser37
  • Broadly Agreed7
  • Mixed2

Most divisive · director

Sally and Saint Anne (1952)

69th percentile spread · 16% rated it 4 or lower

Most loved · cinematographer

To Be or Not to Be (1942)

Midcredits 98th · 86% liked

Reviewers score the cinematography 73/100 in their films, across 46 reviewed titles; fans 79, detractors 59. The element that speaks to their work as a cinematographer.

Percentiles are each film's standing among all films on MovieCove; the typical film is the median, so one outlier cannot drag it. Percentiles and reviewer scores count the films IMDb credits them on, for now; the Midcredits score bands, the shape of the crowd and the two cards count their MovieCove titles, shows included (a show ranked among shows), appearances as themselves left out. A descriptor is the shape of a title's IMDb rating distribution against the catalog; "most divisive" needs a spread wider than half of all titles, and a card names only a principal credit: a craft role, and on a show a crew role or a run of episodes, never a courtesy credit or a one-off guest spot.

Is Rudolph Maté's work okay for kids?

Across up to 8 MovieCove titles with content scores, violence & gore, sex & nudity, profanity and frightening / intense run lighter than most films.

Their medianMedian of all filmsMiddle 80% of their titles
Violence & Gore8 titles15–54 · median 32 · mildlighter than most filmsMedian of all films: 44
Sex & Nudity7 titles0–16 · median 7 · minimallighter than most filmsMedian of all films: 32
Profanity7 titles0–5 · median 2 · minimallighter than most filmsMedian of all films: 36
Alcohol & Drugs6 titles12–37 · median 31 · mildnear the median of all filmsMedian of all films: 33
Frightening / Intense7 titles12–52 · median 27 · mildlighter than most filmsMedian of all films: 39

Severity 0–100 from the Content Guide. Categories with under 10 votes on a title are not counted. The band's colour is the severity of their median, named beside it.

Who does Rudolph Maté work with?

People who share at least 2 of Rudolph Maté's MovieCove titles, grouped by what they did on them; Frank Skinner shares the most, 7.

Directors

Writers

Actors

Composers and editors

Producers