Roanoke Times
Copyright (c) 1995, Landmark Communications, Inc.
DATE: SATURDAY, April 16, 1994 TAG: 9404180126
SECTION: EXTRA PAGE: B-10 EDITION: METRO
SOURCE: Mike Mayo
DATELINE: LENGTH: Long
When people outside the industry try to analyze films, they think first of directors, writers, producers and studios. The person who's so often overlooked is the cinematographer, or d.p. - director of photography. The importance of these men (so far there have been almost no women d.p.'s) to the creative collaboration is hard to overstate. All of us have seen the results of their contributions, but the men who work behind the camera have remained largely anonymous. Until now.
``Visions of Light'' goes a long way toward correcting that mistake. It's a documentary, appropriately subtitled ``The Art of Cinematography,'' that's due in video stores next Wednesday. Make your reservation now.
The film is essentially a series of interviews with living cinematographers who talk about their work, and remember those who came before them. It's also a collection of memorable moments from great and not-so-great films that illustrate their points.
(Keep a pad of paper at hand; you'll want to make a list of the titles to pick up again, or for the first time, on your next visit to the video store.)
Some of the conversation is technical, concerning changes brought about by sound, new cameras, film stocks, lights and other equipment. But co-directors Arnold Glassman, Todd McCarthy and Stuart Samuels are always quick to demonstrate exactly how those technical changes are translated onto the screen. You may not care about the details of a shot lit by candles, but when you can see the difference the lighting makes, then you have a better understanding of how it works, and how it works on you.
Though the temptation to gush over ``Visions of Light'' is well nigh irresistible, it's not perfect. Where, for example, is Gregg Toland's brilliant opening shot for ``The Grapes of Wrath''? And the directors do take film noir a bit too seriously, ignoring the fact that many of its dark flourishes are matters of cost-cutting economics, not art.
But those are quibbles. The clips from ``Citizen Kane,'' ``In Cold Blood,'' ``The Long Voyage Home,'' ``The Big Combo,'' ``McCabe and Mrs. Miller,'' ``Goodfellas,'' ``Days of Heaven,'' ``Chinatown,'' ``Sweet Smell of Success,'' ``Hud,'' ``Raging Bull'' and so many more are the real point, and they're terrific.
There are also some interesting local angles to ``Visions of Light.'' Several of these cinematographers, including Michael Ballhaus and Victor Kemper, have worked on films that were made in this area, and another, John Alonzo, was a featured guest at last year's Virginia Film Festival.
Alonzo actually tells some stories in ``Visions of Light'' that festival-goers might remember. For example, he mentions how Roman Polanski tried to use ``modern-day tools to tell a story about the past'' in ``Chinatown.'' As d.p., it was Alonzo's job to use lighting to direct the viewer's eye toward the right spot on the wide screen.
In an interview in Charlottesville last fall, he said that when he looked at ``Chinatown'' recently he couldn't remember which parts were his contributions and which were Polanski's. And he sounded appropriately wistful when he said, ``We were working very well together. We would have some wonderful artistic fights.''
But he did remember how the final scene was shot. Polanski wanted to use a handheld camera to film the crowd surging in on the car where Faye Dunaway's character has just been shot. Alonzo told him that he could do it, but with the lights behind him, a shadow of the camera would be visible. Polanski solved the problem by cutting a piece of cardboard into the silhouette of a hat and taping it to the camera.
In that interview and in ``Visions of Light,'' Alonzo is more appreciative of actors and strong scripts than some of his fellow cinematographers are. He summed it up by saying ``If you haven't got a good story to tell, you're dead,'' and he's right.
But what makes ``Visions of Light'' so enjoyable and instructive is the fact that these men are very articulate about their craft. They can explain what they're doing and why they're doing it much more effectively than many directors who are household names.
These guys deserve a lot more credit than they've received. ``Visions of Light'' is an excellent, albeit overdue first step. There must have been some good stories and good footage that didn't make it in. If this one finds the audience it deserves on video, perhaps there will be a ``Part 2.''
Next week: Leftovers.
New releases this week:
Another Stakeout: ***
Starring Richard Dreyfuss, Emilio Estevez, Rosie O'Donnell. Directed by John Badham. Buena Vista (Touchstone). 107 min. Rated PG-13 for violence, some strong language.
Where the first film was a buddy-cop movie with a comic twist, this sequel is a full-fledged comedy that takes a parodic twist on cop movies. The original worked because the relationship between stars Richard Dreyfuss and Emilio Estevez was so comfortable. In this one, the considerable talents of Rosie O'Donnell have been added to the mix, lifting it to another comic level. Recommended.
Flesh and Bone: **1/2
Starring Dennis Quaid, Meg Ryan, James Caan. Written and directed by Steven Kloves. Paramount. 122 min. Rated R for violence, strong language, brief nudity, sexual content.
This is a moody, atmospheric suspense film that's hard to categorize. Viewers will be reminded at various times of ``Blood Simple,'' `Badlands,'' ``The Grifters'' and even ``The Last Picture Show.'' The story concerns a vending machine salesman (Quaid), his evil father (Caan), a runaway wife (Ryan) and several murders. The pace is slow, but this quiet thriller is something out the ordinary.
Mr. Jones: turkey
Starring Richard Gere, Lena Olin. Directed by Mike Figgis. Columbia/TriStar. 114 min. Rated R for strong language, some sexual content.
Richard Gere unleashes the full force of his emotional acting skills in this one, and it's not a pretty sight. He plays the title character, a giddy, suicidal manipulator who tries to drag others, including psychiatrist Olin, into his fantasy world. The film is long, dramatically unsatisfying and finally painful to watch.
The Essentials:
Visions of Light ****
FoxVideo. 95 min. Unrated, contains no objectionable material.
by CNB