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Jesus, it's so goddamn embarrassing that I haven't seen Heat. I've actually been a fan of his since I stumbled on The Insider way back when it came out and I was so impressed with how the stylish camerawork and tight direction made a thrilling film out of what probably should have been a fairly dry subject at the time, a real-world story starring people most people hadn't really heard of. Anyway, my two favorite films of his are probably Manhunter and Collateral, but again, I haven't seen Heat, and keep meaning to. I've always loved Manhunter - great score, underrated lead performance by Peterson, underrated performance by Brian Cox as "Hannibal Lektor", who of course did the first ever take on the character which still resonates through the Anthony Hopkins performances and all the way into Mads Mikkelson's. Not bad for only 2 or 3 scenes, and drat are those scenes good. Tom Noonan is just creepy on a legendary level as Francis Dolarhyde. Neither Ralph Fiennes nor Richard Armitage even approached the creepiness level that Noonan achieved, partly because both are just too attractive/charismatic. But Tom Noonan, jesus. The climax of Manhunter is also totally fantastic and shot in this crazy hyper stutter-step style that I'm not sure I've seen before or since in any other film, and set awesomely to "In Da Godda Da Vie Da" which has a hell of a contrast with the film's score. Collateral is one of those weird movies that I love almost entirely for the cinematography. I *adore* the way LA looks at night and this movie just captures the restlessness and gives you such a sense of surroundings. I really think this film is a downright photographic masterpiece. I almost could care less what the talking people are doing in this flick. kaworu fucked around with this message at 09:11 on Apr 7, 2016 |
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Apr 7, 2016 09:05
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Pedro De Heredia posted:I also find a lot of the raves for his digital cinematography to amount to little more than 'it looks different and it's pretty, I like it' which is not exactly convincing. Sometimes good cinematography is marked as much by technical prowess as it is the emotions or feelings that it might evoke, sometimes by way of nostalgia via visual memory. For instance, the cinematography in Collateral is good (to me) because it captures that feeling of being driven around LA at night in a cab - the lights, the sounds, the tone of the colors, etc. It's extremely evocative. Or the radical cinematography at the end of Manhunter (which isn't digital) is fantastic and original and really makes the entire experience far scarier and more visceral and sudden than it would otherwise be, with these tiny jump cuts underscoring the unreality of everything. It really feels like you're there.
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Apr 7, 2016 14:11
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