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October 20, 2018, 06:30:45 AM
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 1 
 : Today at 06:06:27 AM 
Novecento - Novecento
Oh wow, they're airing it on UK TV so soon after the theatrical release?

 2 
 : Today at 06:04:08 AM 
PowerRR - Novecento
- they often use a hard light to harshly light the faces of the actors (including Clint). Some cinematographers have used this to great effect, but in FAFDM's case, just like in the TV shows of that time, this was just a stupid "lit the face with all you have so the audience see the face - also, i don't know anything about lighting a color film" case.

But he was hardly going to use soft light to "glamorize" their faces! And with TV shows wasn't it more to do with the studio lighting of the time?

 3 
 : Today at 04:42:24 AM 
PowerRR - stanton
I think the director does/should does the framing.

Actually the DoP should only do what the director wants him to do. Of course I know that reality often looks different.

 4 
 : Today at 03:58:13 AM 
noodles_leone - Jordan Krug
I watched a good chunk of it at lunch today. Almost nothing new, mostly stuff weíve read elsewhere, but itís nice to see Sergio Leone utter the words.

The only thing I donít remember reading elsewhere, so far, is that they released both short and long versions of OUATIA in VHS in the US (after a very, very short theatrical release, that was stopped by Warner who didnít want OUATIA to challenge Amadeus at the oscars). While the long version was twice as expensive, they sold several times as much long version VHS as copies of the short one. Sergio says ďThatís where they saw they had lost.Ē

Thanks for summarizing the vid. Just curious if he mentioned anything about the different versions of GBU?

 5 
 : Today at 02:14:58 AM 
PowerRR - noodles_leone
I donít agree with the premise that FAFDM has bad cinematography - though it doesnít have a scene with bravura camerawork that calls attention to itself like Ecstasy of Gold, the Trio, or Jillís arrival at Sweetwater. Anyway, there is more to a movie than cinematography amd camerawork. If you only gave me one movie for my desert island, itís FAFDM.

The production design, the look, the feel, the grittiness, the faces of all the bad guys, the scenes in the church, Gian Maria Volonte - there is plenty that FAFDM has better than the others.

I hope I donít sound like I am bashing the others: if FAFDM is my #1, the other Leone films are all close behind at #2, #3, etc. There is sublime greatness in all of them - and none of the flaws that are in OUATIA, btw, which is a mess and a masterpiece at the same time ;) I donít even think that the missing 25 mins. or so explain everything. Maybe the additional missing hours would.

But I digress ...

I love the grittiness of FAFDM too, Leone never went that gritty afterwards and I would have loved him to.

To be clear, I'm specifically talking about cinematography, not directing. So Leone's directing is great (although not as impressive as in other works, it was very inventive, maybe more so) but the way the DoP executed the shots is lacking: absolutely terrible lighting and not very precise framing/lens choice (although, once again, the "idea" of the shots and their framing is good most of the time).


I think photography got easily better in every decade, due to technical advance, and of course the DoP's copied what was achieved by others.

Two huge ligthing deal breakers that have nothing to do with technical advance and that they do a lot in FAFDM:

- they often use a hard light to harshly light the faces of the actors (including Clint). Some cinematographers have used this to great effect, but in FAFDM's case, just like in the TV shows of that time, this was just a stupid "lit the face with all you have so the audience see the face - also, i don't know anything about lighting a color film" case.
- they VERY often put the source of the light very close to the camera, which results in a lot of flatened out images without any contrast.

In other words, a good chunk of the film looks like it was shot by a paparazzi with a huge flashlight right on top of his camera.

Leone's films after FAFDM were not really superior to many others, but surely superior to the then standards.

You may have a case for indoor cinematography, but some of Delli Colli's outdoor work in GBU or OUATITW stayed unmatched for over 30 years. Especially what he did with close up shots. His (extreme) wide shot game was way above the competition too, but his main trick (secret contrejour) was easy to copy. When it comes to the framing of a shot, he was great too but in the way Deakins is nowadays: terrific but totally by the book, which means not that inventive or innovative.

 6 
 : Today at 01:54:07 AM 
greenbudgie - greenbudgie
                                                                             GUMSHOE (1971). Rated 8/10.

Albert Finney is a bingo caller. He fantasises about being Humphrey Bogart. Giving a Sam Spade type narration and wearing a trenchcoat. He trawls greasy spoon cafes and darkened alleyways on the trail of a character called the Fat Man. This film comes across as both a spoof and a homage to the 1940s private eye movies. The music is also evocative of that period. This is a crime comedy which gives respect to the genre that it's spoofing.

 7 
 : Today at 01:47:31 AM 
Novecento - greenbudgie
I heard the director Peter Jackson talking on the radio about how he made it. Sounds like a lot of hard work he put into it. I look forward to seeing the colourisation of the WW1 footage. I probably won't see it until it's aired on TV on November 11th.

 8 
 : Yesterday at 08:34:23 AM 
dave jenkins - drinkanddestroy
This is all so arbitrary, I wonder why he wasn't able to find more than 100 films ...

... just like he did not found any of the "shooter and shootee in one frame" kind of scenes. ;)

I only mentioned those examples of what you are calling "arbitrary." There are numerous specific examples. You have to check the book. I can't write it all up.

 9 
 : Yesterday at 07:00:43 AM 
noodles_leone - Novecento
Thanks for sharing this btw

 10 
 : Yesterday at 06:57:14 AM 
Leonardo - Novecento
And here is already the problem, the McBain scene is the same in all versions. It's one of those which are not longer in the 178 min ital. version. Nor in any other version we know.

Yeh -what's that about?

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