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Young Frankenstein


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Posts: 1463 | Location: Escaped from Kalifornia to Arizona February 2022! | Registered: March 02, 2006Reply With QuoteReport This Post
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If you caught Noir Alley on TCM this weekend, you saw Anthony Mann's Border Incident, which was shot by John Alton. Host Eddie Muller spoke quite a bit about Alton and his unequaled talents. You can watch Border Incident and hear Mueller's remarks at watchtcm. For more information about Alton, go here.


With regards to the post-1968 use of B&W cinematography, wherein non-color films were an aesthetic statement, here's a relatively recent example which seems now to be all but forgotten.

Steven Soderbergh directed, photographed and edited(!) The Good German, 2006. This homage to film noir is set in occupied Germany in the immediate aftermath of WWII. The film was shot in the classical style and used only fixed focal length lenses which were manufactured in the mid-Twentieth Century. The film was shot on sound stages and avoided modern technology such as wireless sound recording.
I wonder why this film is no longer broadcast. I saw it in the theater when it came out and I haven't heard a word about it since.



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three god fathers
wonderful life
tall in the saddle
meet john doe
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1935 Le Miserables w/ C Laughton
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Posts: 55316 | Location: Henry County , Il | Registered: February 10, 2004Reply With QuoteReport This Post
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quote:
Originally posted by parabellum:
If you caught Noir Alley on TCM this weekend, you saw Anthony Mann's Border Incident, which was shot by John Alton. Host Eddie Muller spoke quite a bit about Alton and his unequaled talents. You can watch Border Incident and hear Mueller's remarks at watchtcm. For more information about Alton, go here.


With regards to the post-1968 use of B&W cinematography, wherein non-color films were an aesthetic statement, here's a relatively recent example which seems now to be all but forgotten.

Steven Soderbergh directed, photographed and edited(!) The Good German, 2006. This homage to film noir is set in occupied Germany in the immediate aftermath of WWII. The film was shot in the classical style and used only fixed focal length lenses which were manufactured in the mid-Twentieth Century. The film was shot on sound stages and avoided modern technology such as wireless sound recording.
I wonder why this film is no longer broadcast. I saw it in the theater when it came out and I haven't heard a word about it since.



I have a DVD copy of it but seldom view it. I find it too depressing.


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Posts: 8228 | Location: Arizona | Registered: August 17, 2008Reply With QuoteReport This Post
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I like The Maltese Falcon, Fort Apache, Godzilla with Raymond Burr, All Quiet on the Western Front. Trying to be a little diverse here with Godzilla, but it's a classic.



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Posts: 3984 | Location: Sparta, NJ USA | Registered: August 16, 2002Reply With QuoteReport This Post
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The subject, though, is cinematography specifically; not favorite B&W movies, but rather films or specific scenes in films in which the cinematography impresses you.

Forgive me, but the 1954 version of Godzilla- in terms of cinematography- is absolute shit.
 
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Orson Welles The Trial


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Posts: 17565 | Location: Texas | Registered: May 13, 2003Reply With QuoteReport This Post
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Love the use of shadow and light to add meaning in ways that's rarely done today.

One of the final scenes in The Maltese Falcon, the shadow of the elevator cage evokes the shadow of the gallows.




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High Wall starring Robert Taylor. Excellent film noir.
 
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Originally posted by oddball:
Orson Welles The Trial
Very nice. I had to look up the cinematographer; Edmond Richard, a Frenchman.

He also photographed Welles' Chimes at Midnight and Luis Bunuel's The Discreet Charm of the Bourgeoisie and That Obscure Object of Desire, among others.

The Trial is airing on TCM in about an hour. Not my favorite film. The subject matter is depressing but the film is lovely to look at.


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^^^^^^^^^^^

Yeah, IMO, The Trial is not the easiest film to watch. But one can marvel at the look of the film, the composition, lighting, camera work, etc. Plus many examples of long takes, scenes that go on for minutes without a cut, something filmmakers really do not employ any more in today's world.



"I’m not going to read Time Magazine, I’m not going to read Newsweek, I’m not going to read any of these magazines; I mean, because they have too much to lose by printing the truth"- Bob Dylan, 1965
 
Posts: 17565 | Location: Texas | Registered: May 13, 2003Reply With QuoteReport This Post
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scenes that go on for minutes without a cut

Speaking of which, there's the opening crane shot from Orsen Welles' Touch of Evil.



Link to original video: https://www.youtube.com/watch?v=Yg8MqjoFvy4



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Posts: 15529 | Location: Virginia | Registered: July 03, 2007Reply With QuoteReport This Post
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"The Unfaithful" - 1947.


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Posts: 8228 | Location: Arizona | Registered: August 17, 2008Reply With QuoteReport This Post
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Originally posted by parabellum:
Make sure you have a good copy of the film. At some point in the past, He Walked by Night must have fallen into the public domain, because there are DVDs out there that were made from a horrendously bad copy of this film.


Just gorgeous






Well, damn. I must have one of the shitty copies because it looks nothing like this. The whole thing has an almost misty quality to it; no definition, and the blacks and whites are not sharp. Still, it is easy to see what para is talking about; there are some great shots in the movie.
 
Posts: 2725 | Registered: November 02, 2009Reply With QuoteReport This Post
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How about a 2018 film, 'Roma'. The way the scene toward the end at the beach was filmed took my breath away.



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I think Schindler's List has some amazing images.










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Posts: 5371 | Location: Shenandoah Valley, VA | Registered: November 05, 2010Reply With QuoteReport This Post
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Watched "M" (1951) last weekend on TCM. Ernest Laszlo was doing the camera work. He has done a lot of good stuff.


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Posts: 16553 | Location: Marquette MI | Registered: July 08, 2014Reply With QuoteReport This Post
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^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^
Yeah I agree with the cinematography. I enjoyed the 1931 version of M with Peter Lorre. It was creepier by far.
 
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