Films showcasing excellent cinematography

[B-side]

Cinematography has interested me quite a bit for quite some time. Not only the technical aspect, but how it assists and lends itself to the narrative and the aesthetics of a film. A film that's purported to have exceptional cinematography will always stand out to me for these reasons. Obviously, though, a film doesn't need to have cinematography on the level of, say, The Conformist or Nostalghia in order to be great. Just figured I'd add that disclaimer.:P

Anywho, let's talk cinematography. Bring your screencaps. Bring your knowledge that's likely superior to mine on the subject. I'm dying to learn more.

[baby doll]

I've always liked this scene from Eyes Wide Shut with the light coming from the street light above, and the trees fading off into black.

[Amnesiac]

I've always liked this scene from Eyes Wide Shut with the light coming from the street light above, and the trees fading off into black.

Good call.

[Melville]

Nostalghia
Best scene ever? (http://www.youtube.com/watch?v=jBfg86FfipI)

I love how the pans and zooms emphasize the relationship between the personal and emotional world of the raving speaker and the vast, open, indifferent and artificial world around him (though the blocking of the spectators in the first pan might be a bit too artificial). And as always, Tarkovsky's long, lingering shots are brilliant at simply displaying the momentous build of a scene.

One thing I never really understand about threads like these (more so on RT) is that people usually end up raving about how good individual shots look as still images. Obviously if a shot looks good as a still image then that's great, but in most cases it's the progression of time, the movement within a shot (either by the camera or by objects in the frame) that seems most relevant. I'm much more interested in how the cinematography uses that unique capability of cinema than I am in how good a still image would look (though of course, sometimes a movie does simply linger on a still image—but even then, the emphasis is on the lingering, the progression of time while the image is still).

[Ivan Drago]

Who knows how to take screencaps on a Mac? Because I have a few shots in mind but don't know how to take screencaps.

[Philosophe_rouge]

Who knows how to take screencaps on a Mac? Because I have a few shots in mind but don't know how to take screencaps.
I don't have a mac, but I imagine if you get VLC Media player it should work? I think

[Dead & Messed Up]

Best scene ever? (http://www.youtube.com/watch?v=jBfg86FfipI)

I love how the pans and zooms emphasize the relationship between the personal and emotional world of the raving speaker and the vast, open, indifferent and artificial world around him (though the blocking of the spectators in the first pan might be a bit too artificial). And as always, Tarkovsky's long, lingering shots are brilliant at simply displaying the momentous build of a scene.

One thing I never really understand about threads like these (more so on RT) is that people usually end up raving about how good individual shots look as still images. Obviously if a shot looks good as a still image then that's great, but in most cases it's the progression of time, the movement within a shot (either by the camera or by objects in the frame) that seems most relevant. I'm much more interested in how the cinematography uses that unique capability of cinema than I am in how good a still image would look (though of course, sometimes a movie does simply linger on a still image—but even then, the emphasis is on the lingering, the progression of time while the image is still).

Indeed, posting scenes to Youtube would be the best way to do this, were it not for that whole copyright infringement stuff.

[Watashi]

Pick a scene. Any scene. (http://www.youtube.com/watch?v=gvqyORFR6ww)

[number8]

Who knows how to take screencaps on a Mac? Because I have a few shots in mind but don't know how to take screencaps.

Get Snapz Pro X or any other free screencap apps. Otherwise, you can trick the built-in Grab by pressing stop at the scene you want, then take a screencap while pressing play at the same time.

[Dead & Messed Up]

I get pretty good screencaps on my PC by full-screening and using the print screen.

[Milky Joe]

Who knows how to take screencaps on a Mac? Because I have a few shots in mind but don't know how to take screencaps.

Cmd + Shift + 3

[Philosophe_rouge]

I recommend most (if not all) Max Ophuls, beautiful mise-en-scene, and incredible camera work. There are some scenes in his films that I don't even know how they'd manage today, and his work is long before steadycams. There is a sequence in particular in Le Plaisir (1952) that is just a marvel, and it seems it was done hand-held... it's mind blowing.

[Russ]

One thing I never really understand about threads like these (more so on RT) is that people usually end up raving about how good individual shots look as still images. Obviously if a shot looks good as a still image then that's great, but in most cases it's the progression of time, the movement within a shot (either by the camera or by objects in the frame) that seems most relevant.
One of my favorite examples of this is a famous scene in the Harold Lloyd film, The Kid Brother, where Harold climbs a tree to catch fleeting glimpses of a young lady with whom he's become enamored. The scene is set on top of a hill and begins with shy Harold saying goodbye to the girl he's befriended (the lovely Jobyna Ralston). As she strolls down the hill, she quickly vanishes from view, prompting Harold to climb a tree in order to catch another glimpse. He uses the pretext of continuing their previous conversation and when he says goodbye again, she continues down the hill and vanishes from his view...again. The process of Harold climbing the tree until the girl reappears into view, and then carrying on with some small talk until she once again is out of view is repeated several times, or several "climbs." What's remarkable about the scene is that it was filmed in one shot. An outdoor elevator was specially built for the sole purpose of filming this scene. Each time Harold climbs further up the tree, the camera moves upward with him, until Jobyna comes into view. As she descends the hill, Harold (and the camera) must continue upwards until, finally Harold is almost at the top of the (quite tall) tree and Jobyna is at the bottom of the hill! It's really a brilliant bit of camerawork and its probably one of my favorite shots in all of cinema.

[Derek]

I recommend most (if not all) Max Ophuls, beautiful mise-en-scene, and incredible camera work. There are some scenes in his films that I don't even know how they'd manage today, and his work is long before steadycams. There is a sequence in particular in Le Plaisir (1952) that is just a marvel, and it seems it was done hand-held... it's mind blowing.

Definitely. I'm partial to Madame de..., but you really can't wrong with Ophuls and great cinematography.

And since no one's mentioned Terence Malick yet, I'll throw in the opening (http://www.youtube.com/watch?v=lFkyAD9gS6g) and closing (http://www.youtube.com/watch?v=U8CVXHT8EdI) sequences of The New World into the ring. The latter particularly may be an even better example of great editing, but that takes nothing away from the gorgeous images and the sense of playfulness Malick captures chasing Kilcher around the bushes. Possibly my favorite sequence of the decade.

[BuffaloWilder]

Insert anything from the 'shots (http://thefilmist.wordpress.com/category/shots/)' category here.


You see, I'm trying to get in as many shameless plugs as I can before the feeling of guilt starts to set in.

[Wryan]

Jaws has that certain 70s intensity in its motion and framing. DP (Butler, I think, offhand) later did Frailty, also good.

Anything via Lean or Welles, usually/obviously/clichedley.

Might seem too on-the-nose, but Winged Migration and Microcosmos.

[SirNewt]

Who knows how to take screencaps on a Mac? Because I have a few shots in mind but don't know how to take screencaps.

A pretty good solution is the Screenshot Plus widget. You can pause where you want a cap, drop down dashboard and take a timed grab. Close DB and just wait for the picture sound, Dashboard will pop back up and ask you what to do with the shot.

[Dukefrukem]

Jarhead: More specificly, the scene when they are walking through the oil fields.

[SirNewt]

http://i177.photobucket.com/albums/w226/sir_newt/titlethirdman.jpg

http://i177.photobucket.com/albums/w226/sir_newt/third-man557.jpg

http://i177.photobucket.com/albums/w226/sir_newt/122sewer-lime1-tolight.gif

http://i177.photobucket.com/albums/w226/sir_newt/index_bild_rechts.jpg

http://i177.photobucket.com/albums/w226/sir_newt/ThirdMan-ending2.jpg

[megladon8]

I thought Le Samourai was filmed beautifully.

Heck, pretty much anything by Melville. He knew how to capture images, that's for sure.

[soitgoes...]

Urusevsky's work on The Cranes Are Flying, especially the train station scene is amazing. The way the camera is able to move so fluidly through the chaos of such a crowded setting is a marvel. The individual closeups of the weary citizens as their loved ones go off to war, interspersed with the longing of Boris and Veronica. The camerawork gives so much energy to the scene, that you can feel the eagerness of the two as they futilely try to meet one last time. You can add the scene where Veronica is running next to the train as the camera shoots her through a fence. Quick edits with the flickering image of Veronica through the slats of the fence give the viewer a sense of the delusion that Veronica is feeling.

See also Urusevsky's work on Kalatozov's The Letter Never Sent. There is a scene in the middle of a wildfire in Siberia that'll leave you scratching your head. It is one of the giant WTF moments in film history.

[DavidSeven]

I am Cuba (http://www.youtube.com/watch?v=zvwLZOpxAFQ)

[origami_mustache]

Urusevsky's work on The Cranes Are Flying, especially the train station scene is amazing. The way the camera is able to move so fluidly through the chaos of such a crowded setting is a marvel. The individual closeups of the weary citizens as their loved ones go off to war, interspersed with the longing of Boris and Veronica. The camerawork gives so much energy to the scene, that you can feel the eagerness of the two as they futilely try to meet one last time. You can add the scene where Veronica is running next to the train as the camera shoots her through a fence. Quick edits with the flickering image of Veronica through the slats of the fence give the viewer a sense of the delusion that Veronica is feeling.



word...one of my favorites.

I Am Cuba has some stunning camerawork as well.

[DavidSeven]

You know, the amazing thing about Eyes Wide Shut is that they (supposedly) relied on mostly natural lighting. Even in doors. Unreal.

[Ezee E]

You know, the amazing thing about Eyes Wide Shut is that they (supposedly) relied on mostly natural lighting. Even in doors. Unreal.
I don't believe it, but the natural lights that are on during the scene add quite the mood as well.

[Ivan Drago]

http://www.youtube.com/watch?v=nWbUEB60F4I

1:10 and 1:20. Hell, the whole scene, but those two stand out the most in my mind.

[Amnesiac]

Three Monkeys:
http://nexttobabilonia.files.wordpres s.com/2008/05/still3.jpg

Punch Drunk Love:
http://archive.sensesofcinema.com/images/05/35/punch_drunk_fig15_supermarket. jpg
http://archive.sensesofcinema.com/images/05/35/punch_drunk_fig19.jpg
http://archive.sensesofcinema.com/images/05/35/punch_drunk_fig18.jpg
http://archive.sensesofcinema.com/images/05/35/punch_drunk_fig5.jpg

Days of Heaven:
https://s3.amazonaws.com/criterion_images/current/img_current_1079_244.png

[Mysterious Dude]

I am Cuba (http://www.youtube.com/watch?v=zvwLZOpxAFQ)
I once had a thread in which I listed my favorite examples of cinematography. I never finished it. I am Cuba would have been number one.

[Idioteque Stalker]

I am Cuba (http://www.youtube.com/watch?v=zvwLZOpxAFQ)

Incredible. Now I'm going to have to put off The Fly yet again.

[B-side]

Yeah, I am Cuba had some damn fine hand-held camera work. I wasn't too enthusiastic about the film, though.


One thing I never really understand about threads like these (more so on RT) is that people usually end up raving about how good individual shots look as still images. Obviously if a shot looks good as a still image then that's great, but in most cases it's the progression of time, the movement within a shot (either by the camera or by objects in the frame) that seems most relevant. I'm much more interested in how the cinematography uses that unique capability of cinema than I am in how good a still image would look (though of course, sometimes a movie does simply linger on a still image—but even then, the emphasis is on the lingering, the progression of time while the image is still).

Definitely. I'd wager there's at least one excellent still image in damn near every film. What makes great cinematography isn't simply what instance of bursting light the camera happened to capture in a neat way, but the way in which that explosion of light bursts forth from behind an object to illuminate a character's face. Things like this.

[Ezee E]

Love that shot in Nostalghia. Despite my indifference to Tarkovsky, I might still check that out sometime.

Melville has a point, but I think posting youtube scenes doesn't exactly give the cinematography justice as it's usually a poor version of the scene, unless you happen to get good quality. Most youtube videos do not have that quality though.

I'll see if I can find some good stuff from the movie that I think has the best cinematography ever.

[D_Davis]

Whenever I think of 'cinematography' two sequences come to mind:
the first fight in the forest in A Touch of Zen, and the Jack Rabbit Slims sequence in Pulp Fiction. From the moment Vincent and Mia pull up to the parking lot until the end of the dance contest, this sequences is absolutely brilliant in the way it creates a very tangible and anachronistic place full of life and verve.


And in A Touch of Zen, Hu creates an otherworldly place with his use of shadow, light, and movement. His use of montage to suggest the action, thus lending a supernatural element to the action, bolsters this haunting sequence.

http://www.youtube.com/watch?v=W66deTvYq6c

[Melville]

Love that shot in Nostalghia. Despite my indifference to Tarkovsky, I might still check that out sometime.
The rest of the movie isn't nearly as exciting as that scene; in fact, I'd say it's Tarkovsky's least exciting movie. So be wary.


Melville has a point, but I think posting youtube scenes doesn't exactly give the cinematography justice as it's usually a poor version of the scene, unless you happen to get good quality. Most youtube videos do not have that quality though.
Just to be clear, I wasn't advocating posting YouTube clips rather than screencaps. Each has its advantages, and if you've seen a movie before, then a screencap will probably do just as well to remind you of its cinematography. I was just talking about what should be emphasized when discussing cinematography. A lot of times (again, more so on RT) people say something like "the cinematography in that movie was amazing; you could freeze any shot and you'd get a great picture." That seems backwards to me.

[Qrazy]

The rest of the movie isn't nearly as exciting as that scene; in fact, I'd say it's Tarkovsky's least exciting movie. So be wary.


Love that shot (I think it's the final shot) of him with his house in the ruins of the church. I can't remember if the camera pulls back/zooms out or both but the gradual reveal of the huge structure around him, dwarfing him in it's midst... incredible.

http://www.ucalgary.ca/~tstronds/nostalghia.com/ThePosters/nostalghia/jp_2003_nostalghia1.jpg

[Ezee E]

Just to be clear, I wasn't advocating posting YouTube clips rather than screencaps. Each has its advantages, and if you've seen a movie before, then a screencap will probably do just as well to remind you of its cinematography. I was just talking about what should be emphasized when discussing cinematography. A lot of times (again, more so on RT) people say something like "the cinematography in that movie was amazing; you could freeze any shot and you'd get a great picture." That seems backwards to me.

Ah okay.

People do emphasize too much on the look of it. The museum display flattering is something I don't have a problem with, but I would like people to discuss more of the movement of shots, which is usually forgotten. The smoothness of the dolly shots in The Conformist is what makes some of the cinematography stand out so much more. The placement of the actors, and starting in close, expanding, only to reveal an epic shot in Nostalghia was breathtaking. Yes, you freeze those shots and they look well, but neither would have the same effect.

Sorry to be Israfel, but... I agree.

[Ivan Drago]

:shrug:

I only linked to a Youtube video because I have no program to take screencaps on.

[Ezee E]

:shrug:

I only linked to a Youtube video because I have no program to take screencaps on.
It's fine, because that's really the only accessible way of viewing it unless a HD version is somehow available. You're cool dude, you're cool.

[Ezee E]

It's fine, because that's really the only accessible way of viewing it unless a HD version is somehow available. You're cool dude, you're cool.
With that, I'm going to use this scene from Once Upon A Time In America, which is the film that I think has the best cinematography.

Scene (http://www.youtube.com/watch?v=idJBSf9CQMQ)

This scene is told entirely through the cinematography, and completely takes on the dreaminess of the movie. Perfect. Starts at about a minute in.

[Amnesiac]

It's unfortunate that not many people here seem to know how to, or are perhaps unable to, take screencaps from their DVD collection.

There's an interesting critical experiment, called The 10/40/70 Experiment (http://professordvd.typepad.com/my_weblog/2009/02/10-40-70-oceans-twelve.html), being done over at this blog. The idea is as follows:


An experiment in writing about film: select three different, arbitrary time codes (in this case the 10 minute, 40 minute, and 70 minute mark), freeze the frames, and use that as the guide to writing about the film. No compromise: the film must be stopped at these time codes. What if, instead of freely choosing what parts of the film to address, one let the film determine this? Constraint as a form of freedom.

You can see another example of the experiment at work here (http://professordvd.typepad.com/my_weblog/page/2/), this time using Notes On A Scandal.

I thought it might be cool to get a thread going and see what everyone can think up in regards to a shot that they might not otherwise have decided to talk about. Maybe I'll still start such a thread but I don't know if a lot of you would actually be interested.

[Ezee E]

I like that idea. I'll give it a try when I go home.

[Lucky]

That is a cool idea. It worked well for the Notes on a Scandal blurb, but The Grudge one had terrible screencaps to work with.

[Fezzik]

I don't normally notice cinematography while I'm watching a film unless its really poorly done, but there was a great shot in Road to Perdition that I love.

When Hanks goes into the bathroom to kill Tucci's character, as he leaves, the door slowly swings to where we can see the mirror and we see Tucci's body.

I don't know why, but I loved that shot.