Cinematography

[Monotreme]

As a visual person, one of the first things I notice about a film is the cinematography. It is, I think, one of the most important elements of films (considering that the whole essense of films is the camera, and the use of the camera IS the cinematography). In my book, there's no such thing as "bad cinematography". There is either "normal cinematography", in which the frame is lit so you can see the characters and what they're doing; and there's "great cinematography", which uses the elements of cinematography and takes them one step further, on an artistic level - camera movement, lighting, colouration, composition, etc. Many movies have "great cinematography", but there are some that really, truly stand out from the rest. Here are a few examples, in my opinion, of (mostly recent) movies with great cinematography (the names in brackets are the cinematographers):

The Aviator (Robert Richardson) - This is a fairly recent one that comes to mind. Martin Scorsese is one of the most visual directors out there, and he tends to use cinematography to the max in almost all of his movies. The cinematography in The Aviator is absolutely flawless. From the colour tricks - tinting the green to a more blue-ish colour in order to represent the way the colour would look on film back then, to the really clever lighting, to the swooping camera movements that represent the glamour of the period. A truly beautiful movie just to look at. Other notable Scorsese movies, cinematography-wise: Gangs of New York, Casino, Goodfellas, Raging Bull.

Million Dollar Baby (Tom Stern) - Another recent one. The camera work is fairly simple - handheld for the fight scenes but mostly still shots without much movement. But what is truly beautiful about the film, visually, is the lighting. In order to portray the darkness and dismay the characters are in, the film uses very minimalistic lighting - usually just one very sharply focused lamp - which creates dark, menacing shadows and only barely lights up the characters. Exquisite use of low-key, high-contrast lighting.

City of God (César Charlone) - Wow, where to begin. Coupled with genius editing, the cinematography and visual elements in this film are absolutely spectacular. Firstly, the colors. The harsh, harrowing colors of the desert and the dirty urban locations are emphasized. The hand-held, shaky photography only further pulls the audience in to the realism of the entire film. But one of the most prominent elements of the visual aspect of the film is the camera movement - fast, swooshing but at the same time shaky camera movements that totally surround the characters from all possible angles. Some stunning camera work in this one.

Road to Perdition (Conrad L. Hall) - Conrad L. Hall is probably the best cinematographer out there. In Road to Perdition, we see not an imitation, but a continuation of the legacy of film-noir cinematography. From the harsh lighting - including extensive use of the "venetian blinds" lighting teqnique, a staple of film-noir style - to the smooth camera movements to the dark, dimsy, rainy alleyways, the whole cinematography is absolutely stunning. It's all a little less subtle than American Beauty, another totally brilliant Conrad L. Hall effort, but I don't think the lack of subtlety does much harm.

Amelie (Bruno Delbonnel) - This is my favourite film, cinematography-wise. I am just totally blown away by every single visual element. The film probably contains the most stunning use of colours in any other film. Even though some of it was acheved with digital editing, it's still stunning. The camera movements and angles are also exhilerating, portraying the swooping, romantic nature of the whole movie. The camera angles, the lighting... everything is just flawless.

Crouching Tiger, Hidden Dragon (Peter Pau) - Ang Lee's epic fantasy film benefits greatly from the simple, minimalistic but effective and powerful cinematography. The camera movement and the angles may be simple, but the camera captures simply breathtaking vistas and shots. The composition work is stunning, as is the work with the colour palette. The minimalistic cinematography which takes its time and doesn't rush into anything, when coupled with the breathtaking and fast-paced action scenes, provides a really wonderful effect of contrast. Brokeback Monutain (and also Lee's older film Sense and Sensibility) feature a similar cinematographic style - simple, yet at the same time breathtaking and beautiful.

Saving Private Ryan (Janusz Kaminski) - The mother of handheld, "hyper-realism" cinematography, Saving Private Ryan is one of the most fascinating movies, visually, to have ever come out. "Hyper-realism" is the perfect term with which to describe the camera work in the movie - naturalistic lighting, a constantly shaky and obviously handheld camera, which seems to almost participate in the war with the actors. When the war scenes are intense, the cinematography is used to its fullest to portray the frenzy and confusion of it all. This is coupled with amazing use of the colour palette - again, lots of digital work here, but it's still amazing. Another truly stunning film, visually, is Black Hawk Down, but it owes its cinematographic style completely to Saving Private Ryan.

Fargo (Roger Deakins) - One of the finest examples of simplistic, bare-bones cinematography, this style delivers amazing results in this film. The colour palette is almost exclusively white, the camera angles are often long shots, the lighting is almost anways natural - grey and dimsy - and all these elements are used to create the effect of loneliness, emptiness and frustration, characteristics all of the characters share. The colour white in particular is used with stunning results, and the photography of the snow-covered countryside of this northern area of the United States is truly quite beautiful, but at the same time very haunting. The Coens, like Scorsese, are very visual directors, and many of their movies feature truly stunning cinematography. Such as: Miller's Crossing, Barton Fink, O Brother, Where Art Thou?, The Man Who Wasn't There (amazing lighting).

There are many other films that have really good or even amazing cinematography that I haven't mentioned - and this list is not including older movies, some of which also contain some wonderful camera work, which leaves much room for you guys to fill in the blanks. What movies truly blew YOU away visually? What films are landmark achievements in cinematography in your opinion? And do you even notice/care about the cinematography as a viewer?

[KyleG]

John Toll - The Thin Red Line
Janusz Kaminski - Schindler's List
Conrad Hall - Road to Perdition
Freddie Young - Lawrence of Arabia
Roger Deakins - The Man Who Wasn't There

[TylerDurden182]

Any Terrence Malick Film:

Badlands
Days of Heaven
The Thin Red Line
The New World

Others:

Gus Van Sant's Death Trilogy:
Last Days
Elephant
Gerry

Citizen Kane
Touch of Evil

There are a lot more, but that is all I can think of now.

[Rocco84]

Emmanuel Lubezki - The New World
Christopher Doyle - 2046
Robert Elswit - Good Night, And Good Luck.
Conrad L. Hall - Road To Perdition
Edward Lachman - Far From Heaven
Roger Deakins - The Man Who Wasn't There

[TylerDurden182]

Another recent one is The Constant Gardener.

[chinton]

Sorry I dont know the names but whoever Paul Thomas Anderson uses for his films. His films are all visually striking. In fact the visuals in PDL serve as an extra layer of metaphor.

[Lazy Boy]

chinton

I believe you are referring to Robert Elswit. He's a master of conveying mood and tone with the camera. It's been a long way for him since Return of the Living Dead Part Two.

Darius Khondji is another name not mentioned that brings to mind a dark, nightmarish quality to whatever film he works on.

The City of Lost Children
Seven
Delicatessen
Alien Resurrection
Panic Room
The Beach
In Dreams
The Ninth Gate

[floydtheater07]

Janusz Kaminski's work in "Munich" was absolutely extraordinary. Visually, it is one of the best films I have seen in my entire life. )as well as in every other aspect. The style is reminiscent of the 70s, and really helps define the movie.

"The Passion of Joan of Arc" also had great cinematography for its time.

[chinton]

Lazy Boy that is a long w ay from ROTLD. By the way nice list.

[dman476]

Well, some of my favorite visual work would be in films already mentioned.
I thought Hall's work on AB and RTP were amazing.
Magnolia and PDL have some very interesting and effective camerawork.
Shawshank and Majestic both had excellent cinematography.
Last year's Capote, the Weather Man, and Jarhead were the true standouts in my opinion.
Roger Deakins - The Man Who Wasn't There
Mallick's films usually have great cinematography as well.
But as I said before, nothing that hasn't already been mentioned.

[Digifruitella]

Originally posted by Lazy Boy
way for him since Return of the Living Dead Part Two.

Darius Khondji is another name not mentioned that brings to mind a dark, nightmarish quality to whatever film he works on.

The City of Lost Children
Seven
Delicatessen
Alien Resurrection
Panic Room
The Beach
In Dreams
The Ninth Gate

Oh man yeah. What Khondji has done for Fincher's films is just flawless. Panic Room showcased his best cinematography there. That movie is just eye candy for me. The color tones, shadows, lighting, camera movement. I just fricking love every frame of Panic Room.

Se7en is another best, the use of bleach bypass gives the film that silverish look and it looks really cold and raw during some scenes.

Also, GOTTA love Saving Private Ryan. Cinematography was perhaps the most important aspect of that film, I mean without it, you can't truly showcase the horror of war (first 25 minutes is the BEST).

Janusz Kaminski is a cool Pole.

[scamp2005]

Barry Lyndon (1975) Cinematographer, John Alcott
The most astonishing visuals I have ever seen in any movie!

Any Bergman film photographed by Sven Nykvist
Add to that Allen's Crimes And Misdemeanors also shot by Sven Nykvist

[HeavyFknMetal]

Originally posted by Digifruitella
Janusz Kaminski is a cool Pole.

He did what I'm doing right now. He went to Columbia College Chicago for Cinematography.

I could go on for ages with this topic as I'm a future member of the A.S.C., but I'm lazy and don't have the time for that so I'll just give a rundown of my favorite Cinematographers.


James Wong Howe
Emmanuel Lubezki
Sven Nykvist
John Alcott
Vilmos Zsigmond
Raoul Coutard
Henri Decae
Christopher Doyle
Gabriel Figueroa

When it comes to Cinematographers, it's not how great the film is, it's how beautiful the shots are. I didn't list the films of these great men because some you'll know, and some you won't. I've seen many movies from all of these great cinematographers over the years, and they are kings of there profession.

[Lazy Boy]

Another name I just thought of:

Caleb Deschanel

It's fitting Mel Gibson's production studio is Icon productions, since Deschanel's work on The Passion of the Christ is a standout in a mixed bag of a film, creating iconic imagery that steps literally from early century artwork.

Another indelible film to his credit, and perhaps one of my all time favorite cinematography-oriented films, is Fly Away Home. Just thinking about some of the shots (the hanger gliding over water, reflecting it and the geese alongside) gives me the chills.

It's quite fitting that a creator of such beautiful imagery could also produce the lovely Ms. Zooey Deschanel.

[dman476]

Originally posted by HeavyFknMetal
He did what I'm doing right now. He went to Columbia College Chicago for Cinematography.

NIce. Is Columbia College a division of Columbia University even though they're in different states? Probably not, but worth asking anyway.
Is it a tough college though?

[HeavyFknMetal]

Originally posted by dman476
NIce. Is Columbia College a division of Columbia University even though they're in different states? Probably not, but worth asking anyway.
Is it a tough college though?

No, it has nothing to do with the Columbia in New York. This is the only College I've ever gone to so I'm not sure how it compares to other schools. It's not a school you can just slide through with ease, at least not as a film major. But compared to NYU I'm sure it's easier. I've got a few friends over there at NYU and I'm almost positve it's easier here in Chicago. At least it's not Full Sail, I've heard nothing but shit about Full Sail.

[bigred760]

Casablanca - Arthur Edeson
I love the way this movie looks; the lighting sets up every situation perfectly - the love story, the war tensions, the comedy, the performances, everything.

Citizen Kane - Gregg Toland
While the story is a little slow, the way the film is presented is extraordinary. Most of the credit goes to Toland. Not just the lighting is awesome, but the way the characters look so larger than life (especially Kane) is one of the reasons why this movie is considered one of the best of all time.

Memento - Wally Pfister
The movie looks awesome as it goes back and forth between B&W and color. The flip-flopping helps the story present itself the way the director wanted. Each scene is lit perfectly, the shadows and darkness say a lot about Leonard Shelby and adds to what he's going through.

[Tuukka]

Originally posted by Lazy Boy
Darius Khondji is another name not mentioned that brings to mind a dark, nightmarish quality to whatever film he works on.

The City of Lost Children
Seven
Delicatessen
Alien Resurrection
Panic Room
The Beach
In Dreams
The Ninth Gate

Khondji is an outstanding cinematographer - Seven IMHO is one of the best shot movies ever. However, while people mostly know him from his work on darker movies, he is a versatile guy and has done also done movies where he beraks his usual style: Stealing Beauty, Wimbledon, Evita, etc. Beach also mostly looks different to most of his stuff.

[Tuukka]

When talking about cinematographers, Vittorio Storaro should always be mentioned. He did Apocalypse Now, which is one of the best shot movies ever made. He's also well known for his long co-operation with Bertolucci - Together they have made amazing looking movies.

Also, F.W. Murnau's "Sunrise: A Song of Two Humans" (1927) is one of the most visually impressive movies ever made, even today.

[UseYourIllusion]

Akira Kurosawa has beautiful cinematography in nearly all of his films. Throne Of Blood is probablly my favorite as far as his camera goes, although Rashomon, Ran, and The Seven Samurai aren't far behind in that category. Every single image is framed incredibly well. He really was Kubrick-esque in his photography.

For recent cinematography, give "House Of Flying Daggers" a look. Just watched it last night and I was absolutly blown away by it's beauty. Probablly the best photographed picture I have seen in a long time.

[silentasylum]

most of the movies I could think of were mentioned but I agree cinemetography is very important and it can help make a movie beautiful.

I recently saw Apocalypse Now and the cinemetography in that really stands out.

[the humble narrator]

I can't believe no has mentioned ...

-Eduardo Serra-
Unbreakable - the camera work and the color shades are amazing
The Girl with the Pearl Earing - it's a oil painting come to life
What Dream May Come - once again, just the colors are amazing

plus he did some moveis with Patrice Locante, the french director, and his camera placement and movement is truly unique
(i.e. The Window of St. Peirre, Intimate Strangers)
and he's doing the Blood Diamond next

some other amazing cinematographers.

Micahel Ballhaus (the German guy who often works with Scorsese, and is doing The Departed)
Almodovar films always have great cinematography too.
and
Rodriego Pierto
-Brokeback Mountain, but also he did
-Alexander (whatever you wanna say about the movie, it looked great)
-21 Grams & Amores Perros
-25th Hour
-Frida

PLUS let's not forget Peter Andrews! yes him. Who just happens to be Steven Soderbergh.

[Nachokoolaid]

I might be alone here, but I really did the look of Tony Scott's films.

[eljefe15]

Yeah, I agree, both Barry Lyndon and House of Flying Daggers and all the Terance Malick films are amazing. The only one that comes to mind is:



Fucking amazing.

Peace.

[Monotreme]

I thought House of Flying Daggers used too much CGI. Some of the cinematographic elements were completely fabricated. Hero, on the other hand, from a couple of years before, was really amazing. Great shots, great compositions, and the use of colour is stunning.

[bigred760]

What about Sin City? The cinematography is pretty freakin' awesome too; although the movie was done primarily using green screens, but the lighting and dark settings are really powerful and really set the tone for the movie. Plus, the director was also the cinematographer - Robert Rodriguez.

[Jamesadin]

Originally posted by Monotreme
I thought House of Flying Daggers used too much CGI. Some of the cinematographic elements were completely fabricated. Hero, on the other hand, from a couple of years before, was really amazing. Great shots, great compositions, and the use of colour is stunning.

Agreed. Christopher Doyle did wonders for that film.

PS: Lets not forget John Mathieson! (Of Gladiator, K-Pax and Kingdom of Heaven fame)

[JCPhoenix]

Originally posted by Monotreme
I thought House of Flying Daggers used too much CGI. Some of the cinematographic elements were completely fabricated. Hero, on the other hand, from a couple of years before, was really amazing. Great shots, great compositions, and the use of colour is stunning.

Like Jamesadin, totally agree with both of these statements. I had a lot of problems actually with House of Flying Daggers' cinematography. The look of the film also wasn't cohesive enough I think.

Hero on the other hand...

[dman476]

Originally posted by HeavyFknMetal
No, it has nothing to do with the Columbia in New York. This is the only College I've ever gone to so I'm not sure how it compares to other schools. It's not a school you can just slide through with ease, at least not as a film major. But compared to NYU I'm sure it's easier. I've got a few friends over there at NYU and I'm almost positve it's easier here in Chicago. At least it's not Full Sail, I've heard nothing but shit about Full Sail.

Ah okay, interesting.
It sounds pretty awesome, I was thinking of double-majoring in political science and film but I've heard it's near impossible to get into the UCLA film school so I'm not keeping my hopes up.
I have a friend who just started NYU and he doesn't think it's that hard, but he's only taking lower-division requirements so far.
But still, I looked up your college and it seems pretty damn great.
I'd love to go there

[TylerDurden182]

Just saw Silent Hill and the Cinematography was pretty fucking great.

[Digifruitella]

Originally posted by Nachokoolaid
I might be alone here, but I really did the look of Tony Scott's films.

you're not alone, I like the looks of Scott's films as well, they're almost the same as Bay's films.

[fancycrap]

"A Very Long Engagement" is another beautifully shot Jeunet movie.

[notchreturns]

MANHATTAN.

[bankholdup]

Originally posted by notchreturns
MANHATTAN.

Easily top 5.

[endorphins]

Schindler's List
The Shawshank Redemption

[akansha_k]

Citizen Kane
Principal photography which began in late June 1940, finished just a few days over schedule on October 23. THe movie was ready for release in February 1941. The controversy surrounding the film delayed its opening until 1 May 1941.

[akansha_k]

Also, For this movie Orson Welles, along with cinematographer Gregg Toland, pioneered "deep focus", a technique that keeps every object in the foreground, center and background in simultaneous focus. This brought a sense of depth to the two-dimensional world of movies.

[William Munny]

Fred Murphy's work in "The Mothman Prophecies" is stunning.

[akansha_k]

I loved the work done by Gasper Noe and Benoît Debie who did the cinematography in Irreversible...

[JurassicMik]

Apocalypse Now has the best cinematography of all time.