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Post by Tommen_Saperstein on Feb 9, 2021 2:58:18 GMT
Didn't see a thread for this. Apologies if I missed it. This legendary Italian cinematographer just passed away yesterday. Lent his eye to Italian films from the 50s to the 90s, working with Fellini, Visconti, De Sica, and Wertmüller. He also worked on some auteur-driven Hollywood films like Carnal Knowledge and of course All That Jazz, which nabbed him his only Oscar nod. Dominated by striking earth tones and muted colors, his work left an indelible mark on cinema. RIP Mr. Rotunno. Any other fans? All that Jazz (1979)  Amarcord (1973)  goofing off with a sleepy Fellini   |
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Post by Martin Stett on Feb 9, 2021 3:41:17 GMT
That last image makes him look like the devil on Fellini's shoulder. But then, the devil on Fellini's shoulder would be half-naked and wearing BDSM gear, so scratch that.
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Post by TerryMontana on Feb 9, 2021 6:21:40 GMT
RIP.
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Post by pacinoyes on Feb 9, 2021 7:06:23 GMT
Reposting this from the Cinematography thread the other day - he was great, deserves all the attention.......**************************************** Not only did Giuseppe Rotunno shoot two horror masterpieces imo Toby Dammit - which is a flat out one and Argento's more arguable one but his last great movie at least The Stendahl Syndrome - he shot them both in oddly complex ways too. In Toby Dammit there is only a surreal light, almost no "real" or natural light - as evoked by car headlights - or other light sources (studio lights, cameras etc), never normal "sunlight" - the only light is to make us less secure of what the Stamp character is seeing. In fact, he's often shielding his eyes from light since it doesn't reveal it only obscures. Those scenes are all a little off and druggy - and the black is almost always the background to the white in the front of the frame - so light and dark are fighting - and the lighted object/person is either "too white" or offset with an eerie pink or orange glow. In The Stendahl Syndrome there's the Art - which is (almost) the only thing clearly shot, otherwise eerie light and various shades of darkness sometimes in the same shot fade in and out - because the character's reality is always shifting like that, dream-like (or nightmare like) between safety (white) and evil (dark). The Art is the only beauty in the world because the Art is outside her personal trauma. There's an extraordinary scene near the end where Asia Argento goes from light to an eerie half-darkness/partial shadow and the room does also : the scene where she has killed the psychologist in her apartment just a few feet away from her.....in her scenes of torture they are so black they are almost blackouts entirely and unable to be seen by us......the "river" scene is the opposite so beautiful it must not be "real" .......or at least, later isn't to her in the plot. He was really great at fulfilling the director's vision in these two movies. RIP   |
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Post by Sharbs on Feb 9, 2021 16:50:15 GMT
Love him. Shot Le Notti Bianche for crying out loud. It's not work that is out of this world compared to some of his other achievements, but paired with the production design his camera work creates an artificial sense of urgency within that location. It feels as though the city grows smaller the more they explore it. Really beautiful work and career. RIP  |
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