Rembrandt mentioned “all is mild.” If our reference is the visual universe, I feel he’s proper. In motion pictures, even feelings are dependent at the approach a movie is lighted. That is why I feel DP (director of images) is this kind of an important a part of a movie group, in all probability as necessary because the Director herself.
Two fresh and one previous motion pictures convey house the purpose very forcefully — The Illusionist (2006), Marie Antoinette (2006), and The Guy Who Wasn’t There (2001).
The darkish, muted and dusty green-brown-sepia mild of The Illusionist was once a really perfect selection for this film. That flickering, out-of-focus at the edges mild scheme informed you at one glance that this was once an “previous” film and we have been staring at one thing that came about “within the far-off previous.” The entire film was once shot within the colours of yellowing paper. I particularly liked the beautiful pale out boring vegetables and burnt-wheat browns. It was once the illumination of a pre-electric technology torch and fuel mild that matched the tale rather well. The sunshine itself was once a personality in and of itself on this Edward Norton thriller with a twisty finish that resembled The Standard Suspects (1995).
Marie Antoinette, then again, has used a lights with transparent colourful colours that refused the “tale that takes position prior to now” categorization. Not anything was once pale on this film. Not anything was once darkish or muted. The brilliance of the reds, blacks, yellows, blues, violets and particularly the billowing pinks had the magic impact of transporting us, the audience, again to the Versailles of overdue 18th century. Because of such lights, we have been not more got rid of from the environment (like within the Illusionist) however have been part of it. Why? For the reason that lights screamed “nowadays and now,” no longer “lengthy way back.” This movie made a time system out of the sunshine.
Black and white lights has lengthy been the touchstone of maximum movie noir items, even (unusually sufficient) when they’re shot in complete colour, like many of the French movie noir classics.
Alternatively, I’ve one movie in thoughts which is like a “gold same old” in my thoughts for B&W lights – the implausible and unforgettable The Guy Who Wasn’t There (2001) through Coen Brothers.
In some scenes the lights is so sharp, so beautiful, so breathtakingly uncompromising that you simply disregard the tale and need to relish each body for its aesthetic worth, simply to have fun the gorgeous new language that simply two major colours, with none grays in between, carve out of house and time.
The Guy Who Wasn’t There represents absolutely the minimal in lights past which the visual universe ends. However in all probability that is additionally the place all of it starts. Possibly sheer black and white, with out a grays, act because the binary gatekeepers to that a part of the visual universe that falls inside our frequency spectrum. Is that why B&W creates this kind of do-or-die urgency and emotional reaction at the a part of all movie noir lovers?