Adam John Marut, of Trenton
Heroic World War II Veteran, Adam John Marut passed away on Saturday, December 26, 2015 at the home of his nephew Joseph Marut and his wife Carol in Langhorne Manor, PA.
He was recognized for Valor of Courageous Service in Aerial Combat and recommended for the Distinguished Flying Cross. Adam completed 50 aerial missions on a Flying Fortress B-17 Bomber as a Flight Engineer. He received numerous medals and awards including a certificate from the French Government for participation in the Normandy Invasion, Mercer County Veteran’s medal and the New Jersey Distinguished Service Medal.
Adam resided in Trenton, NJ and graduated from Trenton Central High School and following his service continued his education in Industrial Arts at Trenton Technical and H&R Block Tax Services. He attended Edison State College, Rider and Rutgers Universities and earned both industrial engineering and accounting degrees.
Adam retired from USS American Bridge Co. in 1977 as an Industrial Engineer. He was later employed by Streamline Tax Service as an auditor.
Adam was the last surviving Charter and Life Member of Holy Cross Catholic War Veterans Post 417 (70 years). He was also a life member of the American Legion, Veterans of Foreign Wars and Disabled Veterans Post 41.
Adam was a parishioner and Holy Name member of St. Stanislaus Parish, now Divine MercyHoly Cross Parish. Adam was also affiliated with the St. Stanislaus Golden Agers, American Hungarian Civic Assn. and the Hamilton Senior Club.
One of Adam’s fondest memories was being honored with an audience with His Holiness Pope Pius XII in Rome during WW II and chairman of the many Polka Dances at Holy Cross auditorium in the 1940s.
He was a member of the CWV Post 417 State Champion Table Tennis Team in 1948 and played softball as a pitcher for many local teams. Adam enjoyed attending and watching boxing matches.
Adam was the son of the late Albert and Katazna Marut and predeceased by his wife Helen Engler Marut and brothers Michael, Francis, Walter, Joseph, Stanley and his twin sister Eve.
Adam is survived by his nephews Joseph E. Marut (II) (Carol) of Langhorne Manor, PA, Stanley A. Marut(Marie) Hamilton Twp, George Marut (Pat) of Morrisville, PA and Edward Marut of Greenwood SC, sister-in-law Elizabeth Marut and additional nieces and nephews. Adam is also survived by his loving companion, Helen Falcone and her family.
The funeral will be held on Wednesday morning 9 a.m. from the Buklad Memorial Home, 2141 South Broad Street in Hamilton. Mass of Christian Burial will celebrated 10 a.m. at Holy Cross Church in Trenton.
Burial will follow in St. Stanislaus Cemetery.
Relatives and friends may call on Tuesday evening from 5 p.m. to 7 p.m. at the Buklad Memorial Home.
In lieu of flowers memorial contributions may be made to a charity of the donor’s choice. LOS ANGELES >> Haskell Wexler, one of Hollywood’s most famous and honored cinematographers and one whose innovative approach helped him win Oscars for “Who’s Afraid of Virginia Woolf?” and the Woody Guthrie biopic “Bound for Glory,” died Sunday. He was 93.
Wexler died peacefully in his sleep, his son, Oscarnominated sound man Jeff Wexler, told The Associated Press.
A liberal activist, Wexler photographed some of the most socially relevant and influential films of the 1960s and 1970s, including the Jane Fonda-Jon Voight anti-war classic, “Coming Home,” the Sidney PoitierRod Steiger racial drama “In the Heat of the Night” and the Oscar-winning adaptation of Ken Kesey’s “One Flew Over the Cuckoo’s Nest.”
He was also the rare cinematographer known enough to the general public to receive a star on Hollywood’s Walk of Fame.
“He was a wonderful father. I owe most of who I am to his wisdom and guidance,” said his son, nominated for Oscars himself for “Independence Day” and “The Last Samurai.”
“Even in an industry where, when you’re working on a movie, there is not much else you can do, he was always there for me,” Jeff Wexler said.
When the elder Wexler wasn’t working on bigbudget studio fare, he traveled the world directing and photographing documentaries for favorite causes.
His 1969 “Medium Cool” mixed documentary and dramatic elements, telling the story of a fictional television photographer (Robert Forster) who covers In this file photo, cinematographer Haskell Wexler arrives at a premiere in Los Angeles. Wexler, the two-time Oscarwinning cinematographer and prominent social activist, died Sunday. He was 93.
the violence between Chicago police and protesters at the 1968 Democratic National Convention. The real-life unrest was filmed on the spot for the movie, and its “cinema verite” approach was closely studied by aspiring filmmakers.
“I was under surveillance for the entire seven weeks I was in Chicago, by the police, the Army and the Secret Service,” Wexler once told a reporter.
Throughout his career, Wexler was noted for his versatile and intuitive approach.
For “Who’s Afraid of Virginia Woolf,” the last film to receive an Oscar for best black and white cinematography, he used hand-held cameras to capture the tension of the tirades between Elizabeth Taylor and Richard Burton. For “In the Heat of the Night,” he put silks over the tops of sets and aimed lights at their centers.
His aim was to contribute to the tension between Poitier’s big-city black detective and Steiger’s Southern white lawman.
As visual consultant on George Lucas’ “American Graffiti,” he hosed down the streets to achieve a moody, reflective style. He helped give Terence Malick’s “Days of Heaven” a hazy, dreamlike atmosphere.
Wexler was also noted for his clashes with directors. Francis Ford Coppola fired him during the filming of “The Conversation.” Milos Forman dropped him during the filming of “One Flew Over the Cuckoo’s Nest” and Wexler shared the cinematography credit with Bill Butler.
“I don’t think there’s a movie I’ve been on that I didn’t think I could direct better,” he said in 2005.
For one of his documentaries, 2006’s “Who Needs Sleep?” Wexler turned his attention to the film industry itself, decrying the long hours endured by Hollywood set workers. It was inspired by the death of a worker who fell asleep driving his car after a 19-hour stint on a movie set.
Wexler’s other documentaries include: “The Bus,” about the Freedom Riders who risked their lives to integrate the South in the 1960s; “Latino,” which examined American policy in Nicaragua; “Interviews with My Lai Veterans,” which shined a light on survivors of U.S. brutality in Vietnam; and “Brazil: Report on Torture.”
Born into a well-to-do Chicago family on Feb. 6, 1922, Wexler was still in grade school when he went to work for a photographer involved in the trade-union movement. At age 12, he recorded his family’s vacation in Mussolini’s Italy with his family’s home-movie camera.
His childhood friends included a fellow lifelong rebel: Publisher Barney Rosset, who helped bring down censorship laws by publishing unexpurgated editions of D.H. Lawrence’s “Lady Chatterley’s Lover” and Henry Miller’s “Tropic of Cancer.”
Wexler left the University of California, Berkeley, 18 months into his studies to enlist in the Merchant Marine as the U.S. was about to enter World War II. After his ship was torpedoed off the tip of South Africa, Wexler helped some of the sailors join him in a lifeboat.
Returning to Chicago, he made films for the United Electrical Workers Union before moving to Hollywood in 1960, where he made his feature debut in 1963 on Elia Kazan’s immigrant drama “America, America.” It brought instant acclaim and steady work.