50 films with great cinematography

[Mysterious Dude]

This is my ode to cinematography. Normally, I would feel obliged to write something here about what cinematography means to me or some such bullshit, but you know what? No. I'm not doing it. Fuck you.

Please note that I am not an expert on cinematography and will probably embarrass myself by not knowing the proper vocabulary to explain what I like about these films. But I'd like to get done with this list some time before I die.

And furthermore, no. This list is not invalid because it doesn't include that one movie you really like. Shut up and kill yourself.

50. Days of Being Wild

http://s4.ytimg.com/vi/K6Tm4VtYPqw/default.jpg (http://www.youtube.com/watch?v=K6Tm4VtYPqw)

Wong Kar Wai's films all have great cinematography, but I decided to go with the one that feels, to me, a little more free with its camera than his later films, which are more polished. In the Mood for Love and 2046 have wonderful cinematography, and I don't want to sound like I'm dismissing them, but I think the grit of this film puts it slightly above the rest.

[Mysterious Dude]

49. The Trial

http://img.youtube.com/vi/ApwPpqWzUlg/2.jpg (http://www.youtube.com/watch?v=ApwPpqWzUlg)

A cinematographer's work is mainly lighting, but there are many other aspects of a film that makes its cinematography work. Of course, we generally consider framing and camera movement to be aspects of cinematography, though those are the responsibilities of the director, not the cinematographer. The Trial combines both of those things with great use of locations in Rome and Paris. Beautiful cities, both, but here they come off as appropriately imposing.

[Mysterious Dude]

48. THX 1138

http://img.youtube.com/vi/xQCp2AbsqtI/2.jpg (http://www.youtube.com/watch?v=xQCp2AbsqtI)

The seventies gave us a series of science fiction films that were shot on location -- A Clockwork Orange, Solaris, and others. I believe THX 1138 is the most effective of these. It finds its future underground civilization in the kinds of places we see and use every day. Plus there's that extended sequence in the all-white universe. I think this film is much more visually interesting than any of his later films. That it was a box office failure is probably what has stopped George Lucas from making any other films like it.

[Kurosawa Fan]

Interesting. I'd probably still go with In the Mood for Love, but I like your reasoning on Days of Being Wild.

[Mysterious Dude]

Interesting. I'd probably still go with In the Mood for Love, but I like your reasoning on Days of Being Wild.
Really? Because I don't actually know what I'm talking about. :cool:



47. Der Golem

http://video.google.com/ThumbnailServer2?app=vss&contentid=ec5d5ebc1f74143e&offsetms=690000&itag=w160&lang=en&sigh=NJ3ZyjYRg0Psfm-qMGcu1HClGGA (http://video.google.com/videoplay?docid=38155573038813 46464)

(That's the whole damn movie, people.)

You can't talk about cinematography without talking about German Expressionism. This is where it all started. This film was made the same year as The Cabinet of Dr. Caligari, which is more of a triumph of art direction than cinematography. This film's art direction is subdued compared to that film, but is still highly expressionistic and disjointed, a staple of the modern horror film. This film was photographed by Karl Freund, who would later do the cinematography for Metropolis, Dracula and I Love Lucy (which is more important than you'd think).

[Stay Puft]

Days of Being Wild is some of Wong's best work. I recall the night scenes on the street, with Andy Lau's character and such, being the most striking. I'm tempted to post examples but I don't want to step on your thread. So I'll just agree wholeheartedly.

[dreamdead]

DoBW's scene with Maggie and the policeman in the rain is all kinds of beautiful. That film is just loveliness through and through. One of the surprises during a rewatch wherein everything about the film seemed so much more vibrant and alive.

That clip now guarantees that I watch The Trial in the next month. Thank you.

[MadMan]

This thread makes me wonder what happened to Buff.

I haven't seen any of the entires so far. However I will say "Yey!" for German Expressionism, which pretty much set the tone for many horror and film noir films.

[Qrazy]

K, you've given me the push to check out Der Golem now. I know it's public domain and have been tempted to watch it for a few years but hadn't heard enough about it.

[Wryan]

And furthermore, no. This list is not invalid because it doesn't include that one movie you really like. Shut up and kill yourself.

http://www.richardeinhorn.com/VOL/JoanCrying.jpeg

[Wryan]

and I Love Lucy (which is more important than you'd think).

Everything about I Love Lucy is more important than at first glance. :lol:

[Sycophant]

I Love Lucy (which is more important than you'd think).
Um, yeah. From what I can remember from some research I did on the subject, we pretty much have Freund's work on I Love Lucy to thank for, well, television shows.

[Mysterious Dude]

46. Primer

http://video.google.com/ThumbnailServer2?app=vss&contentid=d1d9f82d2d68bd7f&offsetms=110000&itag=w160&lang=en&sigh=NLlGlVtjFWc5PKkvDPjEL8fz_ Fo (http://video.google.com/videoplay?docid=39098546155396 75694)

This movie was made for less money than I currently have in my bank account. No more money was necessary though, because Primer was made by people who knew how to use the limited resources available to them. I believe that much of the film was photographed mitout sound, and narration was added later. This freed up the filmmakers a little bit to focus on the aesthetics (because I know firsthand that filming with sound is no easy task when you have no money), and it's a damn good looking movie.

[monolith94]

I agree with you on the problem of sound in low-budget filmmaking. Big, big problem. Cool list, even if I wasn't particularly enthralled by Der Golem.

[Eleven]

46. Primer

Huzzah. Unexpected but definitely worthwhile choice.

[origami_mustache]

I keep hearing a lot of positive things about Primer, and I keep ignoring them...guess I should listen.

[Derek]

I keep hearing a lot of positive things about Primer, and I keep ignoring them...guess I should listen.

It's definitely worth checking out and it's only 70-75 minutes, so it's not much of a time commitment either. It's a great-looking film even without taking its budget into consideration.

[Qrazy]

Interesting. I'd probably still go with In the Mood for Love, but I like your reasoning on Days of Being Wild.

I dunno, for me it seems like a similar reason for one to put Sympathy for Mr. Vengeance above the other two Vengeance films. Yeah it's grittier but is it better, or even at the same level? I would argue no.

However, then again Days does have excellent cinematography.

[Melville]

Did you ever finish that list of your most hated movies? That list was hilarious.

[Mysterious Dude]

45. Delicatessen

http://img.youtube.com/vi/dhTvEWUyONw/2.jpg (http://www.youtube.com/watch?v=dhTvEWUyONw)

This is Jean-Pierre Jeunet and Marc Caro's film about an apartment building in some kind apocalyptic wasteland. This entry is similar to my Days of Being Wild entry, in that the directors have continued to make very good-looking movies, but there's something in the grit of their early work that I prefer. I guess I like the grit.

[dreamdead]

The Trial was gorgeous visually. A little stunted in terms of emotional connection, but since that's part of Kafka's (if not Welles') plan, no real complaints. You nailed it on the head when talking about how imposing the cities come off.

My favorite scene was likely when Perkins and the servant girl are laying among the papers, as lightning keeps lighting up a painting that "stalks" their attempts at intimacy.

[Mysterious Dude]

44. Pi

http://s2.ytimg.com/vi/UY1P-9xj_GA/default.jpg (http://www.youtube.com/watch?v=UY1P-9xj_GA)

Pi is the kind of movie we likely won't be seeing anymore. With the advent of digital video, there is not much need to use 16 mm film anymore, and certainly no need to use the great Bolex H16 camera. Even in 1998, the film and camera were old technology. As a result, the film looks old, like an underground film from the 60's. None of this is a hindrance, though. Nearly every shot is interesting in some way, and some of the images are downright abstract, such as the milk spiraling in the coffee.

[Grouchy]

44. Pi

http://s2.ytimg.com/vi/UY1P-9xj_GA/default.jpg (http://www.youtube.com/watch?v=UY1P-9xj_GA)

Pi is the kind of movie we likely won't be seeing anymore. With the advent of digital video, there is not much need to use 16 mm film anymore, and certainly no need to use the great Bolex H16 camera. Even in 1998, the film and camera were old technology. As a result, the film looks old, like an underground film from the 60's. None of this is a hindrance, though. Nearly every shot is interesting in some way, and some of the images are downright abstract, such as the milk spiraling in the coffee.
I refuse to believe what you're saying is true, for the simple reason that this film got made, just to name something. Film just naturally gives the image a completely different look that even post-production can't correctly achieve. Technology can coexist.

[Mysterious Dude]

43. The Asphalt Jungle

http://i.ytimg.com/vi/TcDgji2-RDQ/default.jpg (http://www.youtube.com/watch?v=TcDgji2-RDQ)

I had some difficulty choosing a noir film to acknowledge for this list, because the days when I was into noir are long past and many of the films that I once admired have faded from my memory. I considered The Killers, Force of Evil and Murder, My Sweet, among others. The Asphalt Jungle is not exactly a noir film, but I believe it embodies the elements that I love so much about the genre. But it also represents a change from the style of the forties, which was still rather clean cut. The Maltese Falcon, while a good film, is far too clean-looking for my tastes. The Asphalt Jungle really brought the genre down into the gutters. See also A Streetcar Named Desire.

[Qrazy]

Yeah, after seeing Asphalt Jungle for the first time only a few months ago, I'm very disheartened by the generally poor reception around here. I think it's a noir with a wealth of compelling imagery. It may not be Touch of Evil level with it's use of shadows and dutch angle, but it's still a cornerstone of the genre.

I don't think of Streetcar Named Desire as all that noir personally... On the Waterfront is much more so and even that isn't a perfect fit.

The thing about The Maltese Falcon is that I believe it is purposefully sparse and minimalistic. The power of the film is in it's edits (the first murder, the scraping of the falcon), but those cuts wouldn't have the power they do without the sparseness of the imagery. The viewer is forced to fixate upon and focus all of their attention on the facial expressions of the characters in the context of the unraveling narrative. As each new piece of the puzzle falls into place, the viewer can now reflect back upon an earlier encounter, and re-read an earlier exchange through the lens of a new piece of information, a new character motivation. The minimalistic cinematography works so well here because there are no frills or extraneous set designs for the viewer to be hung up on. Our memories are concerned only with the players, the dialogue and intent.

[Sven]

The Asphalt Jungle is phenomenal--I love the final sequence of Hayden collapsing in the horse field.

[monolith94]

Great film noir pick, Antoine - although my personal favorite noir for cinematography would be Out of the Past or Gun Crazy. Or the Lady From Shanghai!

[Qrazy]

Great film noir pick, Antoine - although my personal favorite noir for cinematography would be Out of the Past or Gun Crazy. Or the Lady From Shanghai!

Bah, Gun Crazy's got nothing on... The Third Man, The Big Sleep, The Wrong Man, Chinatown... even Brute Force, The Big Heat, Ace in the Hole, Naked City, Night and the City, Double Indemnity.

[Melville]

Bah, Gun Crazy's got nothing on... The Third Man, The Big Sleep, The Wrong Man, Chinatown... even Brute Force, The Big Heat, Ace in the Hole, Naked City, Night and the City, Double Indemnity.
I've had just about enough of your Gun Crazy bashing!

[Qrazy]

I've had just about enough of your Gun Crazy bashing!

I can't help it! Everyone keeps toting it as some sort of brilliant revelation! It needs backlash and reaffirmation of it's mediocrity!

[Melville]

I can't help it! Everyone keeps toting it as some sort of brilliant revelation! It needs backlash and reaffirmation of it's mediocrity!
Bah. Next you'll be bashing Vassar.

[Qrazy]

Bah. Next you'll be bashing Vassar.

Damn right!

[monolith94]

I can't help it! Everyone keeps toting it as some sort of brilliant revelation! It needs backlash and reaffirmation of it's mediocrity!
If by "everyone" you mean "the cool kids at match cut" then you'd be correct. But in the general film-watching canon, Gun Crazy remains a seldom seen film.

Out of the Past. So gorgeous.

http://www.tcf.ua.edu/courses/Jbutler/T440/OutOfThePast/images/OutOfThePast071_jpg.jpg

[Yxklyx]

I strongly agree with all the choices here. Great list.

[DavidSeven]

my personal favorite noir for cinematography would be Out of the Past or Gun Crazy.

Excellent choices. Both stand out for me as having uniquely exquisite cinematography.

[Mysterious Dude]

42. The Man With the Movie Camera

http://i.ytimg.com/vi/PZAVMaXdR0k/default.jpg (http://www.youtube.com/watch?v=PZAVMaXdR0k)

Russian Montage must be acknowledged here. I wanted to include an Eisenstein film, but had difficulty choosing between his three most important films (Battleship Potemkin, Strike and October). Eisenstein's films are not the only Russian films of the twenties with interesting cinematography, I might add (see also the films of the underrated Vsevolod Pudovkin). I do believe that Dziga Vertov's film is a triumph over them all, at least in cinematographic terms. While Eisenstein's films were very violent and focused on the negatives, Vertov focuses on the positives of a vibrant urban landscape, and creates some striking compositions for a documentary.

[Duncan]

Love The Man With The Movie Camera.

[Qrazy]

42. The Man With the Movie Camera

http://i.ytimg.com/vi/PZAVMaXdR0k/default.jpg (http://www.youtube.com/watch?v=PZAVMaXdR0k)

Russian Montage must be acknowledged here. I wanted to include an Eisenstein film, but had difficulty choosing between his three most important films (Battleship Potemkin, Strike and October). Eisenstein's films are not the only Russian films of the twenties with interesting cinematography, I might add (see also the films of the underrated Vsevolod Pudovkin). I do believe that Dziga Vertov's film is a triumph over them all, at least in cinematographic terms. While Eisenstein's films were very violent and focused on the negatives, Vertov focuses on the positives of a vibrant urban landscape, and creates some striking compositions for a documentary.

Great pic, love the film, but I'd also argue that Ivan the Terrible is as strong if not stronger than those other Eisenstein's. Kudos for the Pudovkin mention, I'd also like to throw a shout out to Dovzhenko for cinematographic excellence.

[origami_mustache]

Kino Eye ftw!

[monolith94]

42. The Man With the Movie Camera

http://i.ytimg.com/vi/PZAVMaXdR0k/default.jpg (http://www.youtube.com/watch?v=PZAVMaXdR0k)

Russian Montage must be acknowledged here. I wanted to include an Eisenstein film, but had difficulty choosing between his three most important films (Battleship Potemkin, Strike and October). Eisenstein's films are not the only Russian films of the twenties with interesting cinematography, I might add (see also the films of the underrated Vsevolod Pudovkin). I do believe that Dziga Vertov's film is a triumph over them all, at least in cinematographic terms. While Eisenstein's films were very violent and focused on the negatives, Vertov focuses on the positives of a vibrant urban landscape, and creates some striking compositions for a documentary.
Man W/ A Movie Camera is very strong, but this seems an appropriate time to give a shout out to "By The Law" - dawg!

[Duncan]

Out of the Past. So gorgeous.

http://www.tcf.ua.edu/courses/Jbutler/T440/OutOfThePast/images/OutOfThePast071_jpg.jpg

I think I'll see Out of the Past because of this shot. It really is gorgeous.

[Qrazy]

I think I'll see Out of the Past because of this shot. It really is gorgeous.

From what I've seen of his work it's probably his best film. The cinematography is good, but no topmost tier in my opinion, but then I'm rarely impressed by the cinematography of classic Hollywood. The compositions are much too blocky for my tastes.

[Duncan]

From what I've seen of his work it's probably his best film. The cinematography is good, but no topmost tier in my opinion, but then I'm rarely impressed by the cinematography of classic Hollywood. The compositions are much too blocky for my tastes.

I generally agree on cinematography from classic Hollywood. I'm not exceptionally well versed on the period, but that's mostly because what I have seen doesn't inspire me to see more. I was just looking over my viewing log, and I haven't seen an American film from the 30's or 40's since the new year. I've got to at least make an effort.

Only other Tourneur film I've seen is Night of the Demon. It was alright.

[Qrazy]

I generally agree on cinematography from classic Hollywood. I'm not exceptionally well versed on the period, but that's mostly because what I have seen doesn't inspire me to see more. I was just looking over my viewing log, and I haven't seen an American film from the 30's or 40's since the new year. I've got to at least make an effort.

Only other Tourneur film I've seen is Night of the Demon. It was alright.

I agree with you about Night of the Demon, Cat People is more of the same.

[Yxklyx]

42. The Man With the Movie Camera

http://i.ytimg.com/vi/PZAVMaXdR0k/default.jpg (http://www.youtube.com/watch?v=PZAVMaXdR0k)

Russian Montage must be acknowledged here. I wanted to include an Eisenstein film, but had difficulty choosing between his three most important films (Battleship Potemkin, Strike and October)....

Strike should have been the choice here.

[soitgoes...]

Strike should have been the choice here.
No actually he's spot on.

[Bosco B Thug]

I generally agree on cinematography from classic Hollywood. I'm not exceptionally well versed on the period, but that's mostly because what I have seen doesn't inspire me to see more. I was just looking over my viewing log, and I haven't seen an American film from the 30's or 40's since the new year. I've got to at least make an effort.

Only other Tourneur film I've seen is Night of the Demon. It was alright. I love Night of the Demon dearly, but yes, see his other work (Cat People, The Leopard Man, I Walked With a Zombie, and Out of the Past), they are all better films.


I agree with you about Night of the Demon, Cat People is more of the same. "More of the same"? Hrmph. Yep, more indignation from me. :P :pritch:

[Qrazy]

I love Night of the Demon dearly, but yes, see his other work (Cat People, The Leopard Man, I Walked With a Zombie, and Out of the Past), they are all better films.

"More of the same"? Hrmph. Yep, more indignation from me. :P :pritch:

I think Demon and Cat are fine, fairly well crafted films for what they are, but what they are doesn't interest me much.

[Bosco B Thug]

I think Demon and Cat are fine, fairly well crafted films for what they are, but what they are doesn't interest me much.
Me and you, we're like this. *makes gesture* Gesture will remain up to imaginations. ;)

[Mysterious Dude]

41. Suspiria

Warning: This scene contains graphic violence.

http://i.ytimg.com/vi/M6zJGUUiG0c/default.jpg (http://ru.youtube.com/watch?v=M6zJGUUiG0c)

Dario Argento's Suspiria is, in a way, kind of an ugly film. Well, perhaps "ugly" is not the correct word. It's a garish film. Every scene seems to take place in a room with some bizarre wallpaper that is impossible not to take notice of. The compositions, too, are striking, but the most prominent element of the cinematography is the color. It's a very colorful film, but quite a dark film at the same time. All these elements work together to create a daunting, impressive atmosphere.

[Mysterious Dude]

40. The Patriot

http://i.ytimg.com/vi/ShacjHxHrv8/default.jpg (http://uk.youtube.com/watch?v=ShacjHxHrv8)

The Patriot is a bad movie. A very bad, stupid movie. The worst movie on this list, easily. Even looking for clips on YouTube, I was overcome by the stupidity of this film. The clip I've chosen is good because it actually is kind of entertaining itself. I think it's a fake trailer, though. Anyway, the one redeemable aspect of this film is the cinematography by the great Caleb Deschanel, who films this terrible movie in beautiful hues of blue and yellow, and it all looks quite natural. Everything looks to have been shot at just the right time of day.

[Raiders]

I fully expect Deschanel, in conjunction with a good director like Carroll Ballard, to show up at least one or two more times.

[Mysterious Dude]

39. The Insider

http://i.ytimg.com/vi/1rCAMOHSPNI/default.jpg (http://www.youtube.com/watch?v=1rCAMOHSPNI)

I wanted to acknowledge Michael Mann. I'm not sure he's all that good of a director, but his films all have an interesting look to them. I thought about going with Heat for its epic scope and its modern setting, but after watching a few clips to refresh my memory, I decided against it, as the shots that really stand out for me were few and far between. After watching a few clips from The Insider, it was the clear winner. It's possible that I'm easily swayed by color filters.

[Qrazy]

39. The Insider

http://i.ytimg.com/vi/1rCAMOHSPNI/default.jpg (http://www.youtube.com/watch?v=1rCAMOHSPNI)

I wanted to acknowledge Michael Mann. I'm not sure he's all that good of a director, but his films all have an interesting look to them. I thought about going with Heat for its epic scope and its modern setting, but after watching a few clips to refresh my memory, I decided against it, as the shots that really stand out for me were few and far between. After watching a few clips from The Insider, it was the clear winner. It's possible that I'm easily swayed by color filters.

Yeah I think The Insider is his strong outing both visually and directorially... great opening too and I feel like Syriana, Michael Clayton and other films of this nature would be nowhere without Mann.

[Raiders]

It probably says something about, a) my taste in film and, b) I don't know what I'm talking about, when I say that Miami Vice has my favorite cinematography in a Mann film. It's kind of fugly, kind of stylized, but there are scenes that stay with me and images that linger that I'm quite positive can be directly linked to the camera work and the lighting. It demystified the cheesy pastels of the TV series completely; it was grainy, unfocused, dreary, and like the central relationship between the two partners, quite chilly. No matter what the situation, the lack of clarity and focus hovered around these characters.

[Qrazy]

It probably says something about, a) my taste in film and, b) I don't know what I'm talking about, when I say that Miami Vice has my favorite cinematography in a Mann film. It's kind of fugly, kind of stylized, but there are scenes that stay with me and images that linger that I'm quite positive can be directly linked to the camera work and the lighting. It demystified the cheesy pastels of the TV series completely; it was grainy, unfocused, dreary, and like the central relationship between the two partners, quite chilly. No matter what the situation, the lack of clarity and focus hovered around these characters.

Or maybe it's also your favorite because it's the only thing the film has going for it so it kind of stands out all the more in contrast to the craptacular storyline, characters and dialogue. Actually that's not true the sound design was also superb.

I wasn't all that impressed by the cinematography in Last of the Mohicans way too much obnoxious and unwarranted slo-mo.

Even though I expect nothing I'm still kind of interested in seeing Ali... I'll prob see Manhunter at some point as well but I also expect nothing because LA Takedown was total garbage and while Thief has it's moments it's very pre-Mann's visual evolution.

[Sven]

Manhunter is Mann's second best film. Though if you're not a fan of the synth-scores, leave your expectations low. I've never made it through Thief. So dull.

[ulairix]

Nice thread, gives me some options to add to my Blockbuster queue. Hopefully you continue this.

[Qrazy]

Manhunter is Mann's second best film. Though if you're not a fan of the synth-scores, leave your expectations low. I've never made it through Thief. So dull.

Don't see LA Takedown... what a piece of shit.

[monolith94]

The past two films I've watched both had some really fine cinematography. Lola in particular had a cinematic honesty that was so refreshing, so charming.

[Qrazy]

The past two films I've watched both had some really fine cinematography. Lola in particular had a cinematic honesty that was so refreshing, so charming.

Ehh... I find Demy verges into obnoxious territory at times... more so with Lola than Umbrellas or Rochefort but to be fair that's more an issue I have with his characters than with the cinematography. I still like the film, but I can only take french smarm in small doses, which never feels refreshing and rarely charming to me... I usually come away more annoyed than charmed... although L'atalante charmed me.

[monolith94]

Where's the smarm in Lola? I found the characters to be to a person quite sincere. Lola herself surely puts on a facade, a certain degree of act, but she's a damaged person, a showgirl and it is entirely in keeping with what a person in her position could be like. Plus, Franky the american!

But for me, it's just amazing the way Demy manages to make the most of location. In Lola it's Nantes, as in Desmoiselles it's Rochefort and in Umbrellas it's Cherbourg.

[Qrazy]

Where's the smarm in Lola? I found the characters to be to a person quite sincere. Lola herself surely puts on a facade, a certain degree of act, but she's a damaged person, a showgirl and it is entirely in keeping with what a person in her position could be like. Plus, Franky the american!

But for me, it's just amazing the way Demy manages to make the most of location. In Lola it's Nantes, as in Desmoiselles it's Rochefort and in Umbrellas it's Cherbourg.

He does location well for sure... it's not over bearing smarm... in fact maybe smarm isn't precisely the right word... just obnoxious... in certain scenes the desire to be chic just becomes irritating to me. I find there's a sense of faux-sincerity and airheadedness with many of his characters... and a superficiality which permeates the beautiful imagery with all these beautiful people doing beautiful things (singing, dancing, etc). He redeems himself with his exceptional orchestration and clarity of vision but I find moments of emotional honesty are few and far between (though they do exist).

As an aside, I found this nicely edited clipshow...

http://www.youtube.com/watch?v=KT-464d1K6U&feature=related

My complaints aside Raoul Coutard is for sure a master and deserves all the respect in the world.

[Mysterious Dude]

Okay, you twisted my arm! Shut up already!

38. Medium Cool

http://i.ytimg.com/vi/Le5NXlSUhZ0/default.jpg (http://www.youtube.com/watch?v=Le5NXlSUhZ0)

Medium Cool is a film with a great variety of cinematography styles. Some of it is filmed in a literal documentary style, and some is filmed in a more planned, deliberate style, but always there is an air of authenticity to it. It is a choice which I have difficulty articulating a defense of, but after watching some of the clips on YouTube after making the choice so long ago, I am satisfied with it.

[Mysterious Dude]

37. Playtime

http://s2.ytimg.com/vi/M7NaoN8Sx-Y/default.jpg (http://www.youtube.com/watch?v=M7NaoN8Sx-Y)

Tati's Playtime is a different kind of choice. The cinematography is great, I think, not because it is beautiful (though it looks alright), but because it is used so creatively. See how the opening shot of this clip tricks you. Playtime is filled with such moments.

[Sycophant]

Very yes. Playtime's employment of cinematic trickery is pretty much unparalleled.

[Qrazy]

Okay, you twisted my arm! Shut up already!

38. Medium Cool

http://i.ytimg.com/vi/Le5NXlSUhZ0/default.jpg (http://www.youtube.com/watch?v=Le5NXlSUhZ0)

Medium Cool is a film with a great variety of cinematography styles. Some of it is filmed in a literal documentary style, and some is filmed in a more planned, deliberate style, but always there is an air of authenticity to it. It is a choice which I have difficulty articulating a defense of, but after watching some of the clips on YouTube after making the choice so long ago, I am satisfied with it.

Good film? Haven't heard of it.

[MacGuffin]

Playtime is too low.

[origami_mustache]

Okay, you twisted my arm! Shut up already!

38. Medium Cool

http://i.ytimg.com/vi/Le5NXlSUhZ0/default.jpg (http://www.youtube.com/watch?v=Le5NXlSUhZ0)

Medium Cool is a film with a great variety of cinematography styles. Some of it is filmed in a literal documentary style, and some is filmed in a more planned, deliberate style, but always there is an air of authenticity to it. It is a choice which I have difficulty articulating a defense of, but after watching some of the clips on YouTube after making the choice so long ago, I am satisfied with it.

nice choice...and good film...not surprising the cinematography is so great considering Haskell Wexler is more widely recognized as a DP.

[ulairix]

This thread shall not die!

[trotchky]

I hope Last Days appears on this list.

[Izzy Black]

I hope Last Days appears on this list.

Terrible movie.

As for Mann, he is one of the few great American auteurs working.

[trotchky]

Terrible movie.

As for Mann, he is one of the few great American auteurs working.

:|

[Izzy Black]

:|

I did like Michael Pitt's performance of his song "From Death to Birth," and I also enjoyed the mimicking of Velvet Underground's "Venus In Furs." I cannot, however, in general, respect a film that blatantly and shamelessly thieves Béla Tarr's aesthetic.

[Mysterious Dude]

I guess this is how it's going to be. I'll post roughly once a month, after someone else bumps the thread. At this rate, I'll be done in about three years.

36. The Fire Within

http://i.ytimg.com/vi/zwYNiRaeJEA/default.jpg (http://www.youtube.com/watch?v=zwYNiRaeJEA)

I don't think a discussion of cinematography is complete without some mention of the French New Wave. I find most cinematography prior to the New Wave to be far too focused on making the actors look good. In contrast, this scene from Louis Malle's The Fire Within gives quite a bit of focus to inanimate objects, but in so doing gives a great impression of the character. There is so much detail in the film's images.

[Epistemophobia]

Nice list.

Seen Catch-22? :P

[TripZone]

I love cinematography lists...

[Mysterious Dude]

35. The Matrix

http://i.ytimg.com/vi/-obrXok44bo/default.jpg (http://www.youtube.com/watch?v=-obrXok44bo)

I can still remember what it was like to watch The Matrix in theaters. Though time has shown me that it is a very silly film in many ways, there is at least one aspect of the film which I think has held up, and that is its cinematography. It must be remembered that this film is not all action (unlike its sequels), but involves a period of discovery for its hero, and I think this segment is the film's strength. Sidney, Australia makes for a city that is both familiar and yet somehow alien. The cinematography is very deliberate, and makes everything looks a little strange. I had hoped to find the scene where Neo attempts to evade the agents in the office building, but this interrogation scene will have to do.

[ulairix]

I finally received a few of the films listed here in the mail. The Trial was visually impressive, but the story was a little difficult to follow. I'll be checking out Playtime later this week.

Bring on 34!

[Russ]

Antoine, have you seen any television series where the cinematography is comparable with that of the film choices you've made thus far? I can think of a couple, and would be interested in your thoughts.

[Duncan]

I think Deadwood has some great cinematography for a TV show.

As much as I hate the show, I never know what to make of CSI: Miami's cinematography. I'll watch it with my parents from time to time, and it seems more experimental and unique than anything else on television. Not that it expresses anything meaningful. It's just really neat.

[Mysterious Dude]

Antoine, have you seen any television series where the cinematography is comparable with that of the film choices you've made thus far? I can think of a couple, and would be interested in your thoughts.
The most obvious answer for me is The X Files. It's the only show I can think of where the cinematography was both consistent in style and consistently interesting. Some shows seem like they have good cinematography, but after a while, you start to realize they're doing the same things over and over. I think The X Files saves itself from this by having a wide variety of locations.

http://3.gvt0.com/ThumbnailServer2?app=vss&contentid=f73fc2652e3c7933&offsetms=5000&itag=w160&hl=en&sigh=v3Qie6tK1pdA9b9vR35ivIKuc 6s (http://video.google.com/videoplay?docid=68537155967283 81663)

I also like the cinematography for Hill Street Blues whenever they did the "roll call."

http://i.ytimg.com/vi/2m59wuNAAaE/default.jpg (http://www.youtube.com/watch?v=2m59wuNAAaE)

Very Cassavetes. I know one of the show's creators originally wanted to do the whole show like that, but unfortunately, other scenes were generally photographed in a more typical style.

[Yxklyx]

The most obvious answer for me is The X Files. It's the only show I can think of where the cinematography was both consistent in style and consistently interesting. Some shows seem like they have good cinematography, but after a while, you start to realize they're doing the same things over and over. I think The X Files saves itself from this by having a wide variety of locations.

http://3.gvt0.com/ThumbnailServer2?app=vss&contentid=f73fc2652e3c7933&offsetms=5000&itag=w160&hl=en&sigh=v3Qie6tK1pdA9b9vR35ivIKuc 6s (http://video.google.com/videoplay?docid=68537155967283 81663)



Is this clip from the actual series or made just for the computer game because I don't remember it.

[Mysterious Dude]

Is this clip from the actual series or made just for the computer game because I don't remember it.I don't know. I had trouble finding clips. Search for "The X Files" on YouTube and you'll find a lot of worthless crap. I'm not sure why I felt obligated to provide a clip, to be honest.

[happ]

I did like Michael Pitt's performance of his song "From Death to Birth," and I also enjoyed the mimicking of Velvet Underground's "Venus In Furs." I cannot, however, in general, respect a film that blatantly and shamelessly thieves Béla Tarr's aesthetic.

So Tarr owns the patent for glacially-paced, meditative films focusing on minutae ?

[Raiders]

So Tarr owns the patent for glacially-paced, meditative films focusing on minutae ?

I have always wondered if Van Sant hadn't name-dropped him as an inspiration if people would really even notice. I mean, once it is in my mind, I can see the influence, but I agree that it isn't as though he has somehow ripped off Tarr's unique style. His films have their own rhythm.

[Qrazy]

I have always wondered if Van Sant hadn't name-dropped him as an inspiration if people would really even notice. I mean, once it is in my mind, I can see the influence, but I agree that it isn't as though he has somehow ripped off Tarr's unique style. His films have their own rhythm.

He fairly liberally borrows entire shots, Gerry boys walking in the desert for instance.

[Raiders]

He fairly liberally borrows entire shots, Gerry boys walking in the desert for instance.

Maybe I haven't seen my Tarr films recently enough to recognize his direct cribbing. I still don't think it is a valid complaint.

[Izzy Black]

I have always wondered if Van Sant hadn't name-dropped him as an inspiration if people would really even notice. I mean, once it is in my mind, I can see the influence, but I agree that it isn't as though he has somehow ripped off Tarr's unique style. His films have their own rhythm.

I could see that Sant was ripping off Béla Tarr the moment I saw Elephant. I actually did not see him cite Tarr as an influence until recently. The film blatantly lifts his aesthetic and offers very little of interest beyond that. In fact, his whole "Death Trilogy" is a gimmick. Its entire function and meaning rests upon the subjective ambiguity of the long-takes. It is not just the takes though. It is the use of tracking shots, natural lighting, and the entire aesthetic technique of Sátántangó that is appropriated directly into Elephant. The shifting perspectives and seemingly inconsequential crossing-paths of characters comes directly from Tarr. This is not light inspiration. The influence is more than suggestive.

[Qrazy]

I could see that Tarr was ripping off Béla Tarr the moment I saw Elephant.

I agree but might want to edit this.

[Qrazy]

Maybe I haven't seen my Tarr films recently enough to recognize his direct cribbing. I still don't think it is a valid complaint.

I'm referring to the shot in Werckmeister of two characters walking side by side for an extended period of time, cribbed in Gerry of the two characters walking the exact same way side by side... still I suppose it's no worse than Tarantino cribbing shots directly from Lady Snowblood but in both cases such blatant copycatting kind of annoys me.

[Izzy Black]

I agree but might want to edit this.

:cool:

[Duncan]

I recognized the shot in Gerry as being from WH immediately as well. However, I think the shot works differently within Gerry given its dual protagonists. Same shot visually, unique idea contextually.

I like Gerry, but I'm not a fan of van Sant in general. Hated Elephant.

[ulairix]

So...what is 34?

[ulairix]

Well, I viewed half of Playtime last week and I am a little disappointed with what I have seen so far. I had no problems with it visually, but the pacing was slow enough to make me drowsy and the audio dubbing was poor. I will return back to it when the time is right again. However, tonight the screen is for Man with the Movie Camera.

By the way, is that a screenshot from a movie in your avatar Duncan?

[Qrazy]

And the audio dubbing was poor.

Heh.

[Mysterious Dude]

34. Death in Venice

http://i2.ytimg.com/vi/A3FlWHbaS1s/default.jpg (http://www.youtube.com/watch?v=A3FlWHbaS1s)

I'll be honest: I had another film in this slot that I decided didn't belong here, so I'm substituting it for a film I had not originally included, but after reviewing the evidence, I have decided that it deserves inclusion. This film bored me to tears when I saw it for the first time, but there are many elements I admire about it. There was a recent criticism of the film for its use of zooms, but I like the zooms. There is a great shot in which the main character follows the boy (whom he has been stalking for the whole picture) and the boy totally un-seductively spins around these poles lining the sidewalk. The zoom creates the illusion that they are closer than they really are. More generally, the zooms make you see how far away the camera is from the actor, accentuating his aloneness. Also, to my recollection, there is only one sequence during which we see the color green, while the rest of the film is shot in various shades of brown. Symbolism!

[ulairix]

Are you going to finish this?

[origami_mustache]

Yeah, I complained about the zooms haha...not my cup of tea.