![]() Simply one of the all-time greats, Storaro’s filmography reads like an inventory of the Louvre’s Great Hall: The Conformist, The Last Tango in Paris, 1900, Reds, The Last Emperor, Dick Tracy, The Sheltering Sky, etc.Īnd while he made brilliant use of deeply saturated color and artificial light in AN… Italian cinematographer Vittorio Storaro’s greatness was on full display on the gibungous IMAX screen (even though there was an annoying bright “EXIT” sign glowing off the lower left corner of the picture). In the end, the AP extended cuts remind me of other ill-advised “director cuts” ( Amadeus, Dances with Wolves and The Natural come right to mind) that, rather than improve the experience, ruin carefully wrought editorial and narrative rhythms and, consequently, some of the mystery of the shorter originals.
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