hiː dˈɪd nˈoʊɾɪsəbli ɡˈʊd wˈɜːk ˌɔn nˈæʃənəl vˈɛlvɪt nˈaɪntiːnhˈʌndɹɪd fˈoːɹɾi fˈoːɹ, ˈælbɚt lˈuːɪnz ðə pˈɪktʃɚɹ ʌv dˈoːɹiən ɡɹˈeɪ nˈaɪntiːnhˈʌndɹɪd fˈoːɹɾi fˈaɪv, ðə jˈɪɹlɪŋ nˈaɪntiːnhˈʌndɹɪd fˈoːɹɾi sˈɪks ænd ðæt fɔːɹsˈaɪt wˈʊmən nˈaɪntiːnhˈʌndɹɪd fˈoːɹɾi nˈaɪn, fɔːɹ wˌɪtʃ hiː ɹᵻsˈiːvd ɐn ɐkˈædəmi ɐwˈɔːɹd nˌɑːmᵻnˈeɪʃən.
He did noticeably good work on National Velvet (1944), Albert Lewin's The Picture of Dorian Gray (1945), The Yearling (1946) and That Forsyte Woman (1949, for which he received an Academy Award nomination).