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Mates,Perhaps I'm too impressionable and easily resort to hyperbole, but I can hadly concieve of more incredible, creative, and effective cinematography in any movie- amazing. Every time I see this I'm bowled over by the look of every scene, every detail, angle, lighting, depth of field. The textbook.
I also like:
The Third Man
The Cabinet of Dr. Caligari
Seven Samurai
Last Picture Show
Hudwhoops- all black and white!
OK:
Man for all Seasons
Lawrence of Arabia
Barry Lyndon
Do you have other contenders for amazing camera work on this level?Cheers,
Bambi B
Follow Ups:
Rented this recently and enjoyed it a lot.I't a doc on the history of cinematography. It includes many interviews with artists like Kovacs, Nykvist, Hall and many others. Almost all the films (and many more) mentioned in this thread are discussed on one level or another. It's a must for any fan of the art.
Gregg Toland. Let me just say that again. Gregg Toland.
I really like Sonnenfeld's work with the Coen Brothers too. Colorful, stylish and just fun.
I have this on laserdisc and have watched it numerous times and have made tapes of it for friends. It is enormously enjoyable and eductaional as well. I love the opening theme from Saint Saens "Carnival of the Animals" (it was also used in "Days of Heaven").
Bertolucci, including "The Sheltering Sky (the scene with Porter on the mountain top overlooking the vast, sunlit plain, for one...)," "Last Tango in Paris (just about every scene shot at sunset [the director's hour, indeed!])."
Christopher Doyle is Wang Kar-Wai's cinematographer of choice. Fallen Angels, Happy Together, In the Mood for Love are among the most beautifully shot films I've seen.
I believe In the Mood For Love had the same cinematographer (Mark Lee? I think he shared credit with Doyle on ITMFL) as Tran Anh Hung's (vastly superior, IMO) Vertical Ray of the Sun . Gorgeous film. Tran Anh Hung's Cyclo is beautiful too.
[nt]
I agree with your observations on "Touch.." and assume you are referencing the "resored" version, not the studio botch job that was out there for decades. When you witness the opening tracking shot
you are amazed that anyone in their right mind could bear to cut it up (although there certainly was precedent in the even worse botch job on "The Magnificent Ambersons" 16 years earlier)All of the films you cite are favorites of mine as well and most are in my collection. I have a particular affinity for "Barry Lyndon".
While I admire the Orson´s touch, I never did like the film.
Nor did I until I bought and saw the DVD of the "restored" version.
It has been re-edited using a lengthy 65 page memo from Welles hiumself to the studio suggesting corrections to thei hack work.
Yes, I have it...What i don´t like in this film is the atmosphere in it, everything is very well done....perfect photo, the actors* ...The film I do not like....
* Save Marlene...
Overacting across the board and Heston miscast as a Mexican not withstanding. It is a product of it's time and place. The film NEEDS these performances for it to be what it is; seminal hollywood film-noir.
Rosebud was too, and I love this film so much, it has the sensibility.
Touch do not move me, i look at it from a not being moved point of view.
And I am not quite certain why..i must have another view of this film.
. . . keeping in mind that "Kane" is a completely different type of movie requiring a different feeling from the actors.The best Film Noir, like TOE, requires unlikable characters in every role and a sense of underlying angst. I honestly don't think you are supposed to be moved by them in the same way the characters in the much more sentimental "Kane" move you.
It is not only a question to be moved in the sense in the sentimental way ..it is to be move at all...
But my only reaction was more of seeing something that makes me uncomfortable..like seeing " Salo "
I will do it.
A true jewel, small in size but so close to perfection..., proving that true genius shows fine through economy of resources, even austerity. And the images at the ending link seamlessly with the ones at the start of "Citizen Kane", thus closing a perfect circle, in a wordless, most poetic way!For sheer beauty of images, I have never seen anything like Kurosawa´s "Dreams".
Regards
BF
staying just in color, i gotta got with kubrick, hitchcock, polanski, verhoeven, the coen brothers, danny boyle and scorsese as guys whose every frame and shot looks like perfection. however, some of their films, while perfect to look at, leave me cold emotionally.some time back, i was at a concert where they showed 2001 w/o sound between acts. just the images looked awesome. (okay, so the scenes they showed didn't have much sound anyway.)
I get a huge kick watching Brian de Palma. His style may be overripe, but even his simple shots are dripping with style (like deeeeeeeeeeeeeep focus). You can always play, "what Hitchcock film inspired that shot?" while watching his films. Even Mission Impossible (borrows especially from Hitch's Foreign Correspondent). Plus he's not afraid of venturing into the erotic.
have you seen terrence malick's days of heaven? that's the most beautiful cinematography i've ever seen. i'm always hoping that it'll show up on a big screen near me sometime so i can see it proper.
bertolucci's the conformist i remember being particularly wonderful to look at. i only saw it once, over a decade ago, and i keep checking to see if it's out on dvd yet. to this day i remember it looking really good but can't remember much else about it.
"HEY" - BIG A
Yes, Days of Heaven one of my contenders for "most beautiful cinematography". Almost any scene is of demo quality. I have never seen this in theatrical 70 MM but would be there in a heartbeat if given the chance. They did a good job on the DVD, however.
--You can always play, "what Hitchcock film inspired that shot?" while watching his films.The Obsession was as Hitchcock as DePalma ever managed. All the way to the slashed wrists in the end.
But they've never gotten it right on any of the video incarnations.
Nobody can match the master.Nobody.
you have got to watch - 17 moments of spring.i mean, if you want b/w camera work supreme...
Here's a sample -http://www.rbcmp3.com/store/video_asx.asp?sku=32989
In this segment after work that led to capture of a famous pacifist priest, colonel of the SA von Shtirlitz tells his Gestapo mole to write a letter that he's tired and desperately needs some rest. That will be his little vacation and reward.
Agent gladly makes up a letter and Shtirlitz takes him to a little house in the woods...
- Seventeen instants of spring - this one's in Pal, but Ebay has them in NtSC. You have to look. (Open in New Window)
and yes, it's 840 min. long
n
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