Do we dream in color? The experts say 80% of the time we do. The artists who worked in this medium not only enhanced the films they participated in but elevated the art form itself. So, with these lofty words, I give you “The Twenty Greatest Films in Color” (Cinematography).
In no particular order…
- “2001” (1968) Geoffrey Unsworth. Visually, this landmark film cannot be overestimated.
- “Apocalypse Now” (1979) Vittorio Storaro. Filmed by the Italian maestro, this surrealistic Jungian jungle journey is a stunner.
- “The Godfather” (1972) Gordon Willis. Executives were alarmed when they saw how dark Willis had lit the film. He changed cinema forever.
- “Black Narcissus” (1947) Jack Cardiff. Made on a sound stage, Cardiff convinces us they are in the Himalayas. Amazing…
- “Wild at Heart” (1990) Frederick Elmes. Even more visually astonishing than “Blue Velvet”, Lynch’s frequent collaborator creates a hellish road comedy for the ages.
- “The Last Emperor” (1987) Vittorio Storaro. Filming in the actual forbidden city, Soraro paints a complex and illuminating portrait of China.
- “The French Connection” (1971) Owen Roizman. The menace of the New York streets pulsates thru Roizman’s lens.
- “E.T.” (1982) Allen Daviau. Delicate and textured, the cinematography is surprisingly underrated.
- “Rear Window” (1954) Robert Burks. The camera is literally a character in this precise, yet mesmerizing work.
- “Taxi Driver” (1976) Michael Chapman. This Dostoevsky like-tale casts a neon glow to the inferno in which the main character is engulfed.
- “American Graffiti” (1973) Haskell Wexler. Filmed almost entirely at nighttime, Wexler paints a vibrant world of cool cars and cool cats.
- “The Day of the Locust” (1975) Conrad Hall. By desaturating the color scheme, Hall creates images that suggest Goya.
- “McCabe and Mrs. Miller” (1971) Vilmos Zsigmond. Like a beautiful painting, Zsigmond’s camera captures the stunning beauty of nature, contrasting with the monstrous actions of man.
- “Days of Heaven” (1978) Nestor Almendros. Nature and man clash in this pictorial masterpiece.
- “Fanny and Alexander” (1983) Sven Nykvist. Bergman’s longtime cinematographer creates some beautiful imagery in his final work.
- “Catch 22” (1970) David Watkin. This famous English cinematographer brought a surrealism to this failed Hollywood attempt at a literary classic.
- “Barry Lyndon” (1975) John Alcott. A watershed of cinematography using candlelight, Alcott made a living painting come to life.
- “Goodfellas” (1990) Michael Ballhaus. Red is the dominant color in this brilliant film, signifying both their delicious meals and their countless killings.
- “Do the Right Thing” (1989) Ernest Dickerson. In this modern day urban “Our Town”, Dickerson tones match the ambitions of the young director.
- “Lawrence of Arabia” (1962) Freddie Francis. The desert was definitely a collaborator under the poetic eye of Mr. Francis.