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
Worked as director of photography on seven films while in Germany, beginning with "Dunkle gassen/Der schwarze Boxer"
1927
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"
1931
Co-directing debut (with Jean Bertin), "Le costaud des P.T.T."
1934
Final French film as cinematographer, Fritz Lang's "Liliom"
