VISIONS OF LIGHT: THE ART OF CINEMATOGRAPHY
A film review by James Berardinelli
Copyright 1993 James Berardinelli
Rating: 8.6 (A-, ***)
Date Released: varies (limited release) Running Length: 1:31 Rated: NR (Nothing offensive)
Directors: Arnold Glassman, Todd McCarthy, and Stuart Samuels Producer: Stuart Samuels Written by Todd McCarthy Released by Kino International
Often, one of the most overlooked elements of a film is its cinematography. Paradoxically, it is also the most important, whether specifically noticed or not. Movies are a visual medium where the pictures shoulder the lion's share of the burden. A movie can have a good director, accomplished actors, and a riveting script, but if the photography is done poorly, the production is doomed.
VISIONS OF LIGHT is a fascinating film that will enthrall lovers of movies and photography buffs alike. For those that happen to fall into both categories, it's a rare and wondrous treat. VISIONS OF LIGHT gives an insider's view to the job of the cinematographer, interviewing dozens of today's most accomplished directors of photography, examining their work, and looking back on the great productions of the past.
I defy anyone who sees this movie to emerge with an unchanged attitude towards the movies and the role of the cinematographer. Likely the next film you see after this one, you'll be far more aware of the role of the camera in the process of creation. As a side benefit, those that go into VISIONS OF LIGHT unclear about why colorizing old films is such a taboo subject among movie-lovers, will come to understand the reasons.
VISIONS OF LIGHT states that cinematography is the art of light - blending it so it enhances the director's vision of the film. Much time is spent discussing this subject as well as various other technical aspects of the craft (the role of close-ups, the importance of showing a performer from a certain angle, and the advantages and disadvantages of certain shots). If all this sounds dry, be assured that it isn't. There are clips from over a hundred movies to revel in--everything from CABINET OF DR. CALIGARI to GOODFELLAS.
The film is roughly divided into three sections. The first, and shortest, traces the early days of Hollywood and the importance of camerawork in silent films. Several of the interview subjects lament the introduction of sound into the movies so early, feeling that another decade of silence could have advanced their craft by leaps and bounds.
The second section deals with the black-and-white era after the introduction of sound. Covering roughly the years between 1930 and 1960, much attention is paid to the role of contrast and shadow (gray versus black, for example) in these movies. CITIZEN KANE is given a lengthy treatment with its many photographic innovations discussed at some length.
Finally, color movies are presented. From GONE WITH THE WIND to films of the 1980s, the various techniques used by color photographers to achieve moods and portray emotions are detailed. During this part, time is spent on movies such as ANNIE HALL, JAWS, BLUE VELVET, and the aforementioned GOODFELLAS, which features a discourse on the genesis of one of that film's most unusual shots.
VISIONS OF LIGHT is somewhat didactic and doesn't attempt any ground breaking documentary techniques. But its mixture of information and film clips keeps the pace reasonable. This film will add a dimension to the knowledge of those familiar with the work of cinematographers, and give an appreciation of a different facet of filmmaking to those who are not.
- James Berardinelli (blake7@cc.bellcore.com)
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