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Posts Tagged ‘Francis Ford Coppola’

Prince of Darkness

May 19, 2014 | by

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Willis, left, on the set of Annie Hall with Woody Allen.

Gordon Willis, the cinematographer Entertainment Weekly has called “the closest thing Hollywood had to a Rembrandt,” died yesterday, at eighty-two. Over the course of his remarkable career, Willis photographed Francis Ford Coppola’s The Godfather—parts one, two, and three—and many of Woody Allen’s most enduring films, such as Annie Hall, Manhattan, and The Purple Rose of Cairo. The A.V. Club writes, “His expressive use of warm-toned light and deep shadows—which led fellow cinematographer Conrad L. Hall to nickname him ‘The Prince of Darkness’—left an indelible mark on cinema.” And Variety quotes Roger Ebert’s astute observations on Manhattan:

All of these locations and all of these songs would not have the effect they do without the widescreen black and white cinematography of Gordon Willis. This is one of the best-photographed movies ever made … Some of the scenes are famous just because of Willis’ lighting. For example, the way Isaac and Mary walk through the observatory as if they’re strolling among the stars or on the surface of the moon. Later, as their conversation gets a little lost, Willis daringly lets them disappear into darkness, and then finds them again with just a sliver of side-lighting.

“People don’t understand the elegance of simplicity,” Willis said once. “If you take a sophisticated idea, reduce it to the simplest possible terms so that it’s accessible to everybody, and don’t get simple mixed up with simplistic, it’s how you mount and present something that makes it engaging.”

Here are Manhattan’s iconic bridge scene and an hour-long interview with Willis. Read More »

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In the Darkroom with W. Eugene Smith

November 20, 2013 | by

James Karales, Lower East Side, New York, 1969, black and white photograph, 13 1/2 X 16 5/8 inches.

James Karales, Lower East Side, New York, 1969, black-and-white photograph, 13 1/2 X 16 5/8 inches.

In early March of 1955, W. Eugene Smith steered his overstuffed station wagon into the steel city of Pittsburgh. He’d been on the road all day, leaving that morning from Croton-on-Hudson, New York, where he lived in a large, comfortable house with his wife and four children, plus a live-in housekeeper and her daughter. He was thirty-six, and a fuse was burning inside him. He had recently quit Life, after a successful but troubled twelve years, and joined Magnum, and this was his first freelance assignment. He had been hired by renowned filmmaker and editor Stefan Lorant to shoot a hundred scripted photographs for a book commemorating Pittsburgh’s bicentennial, a job Lorant expected to take three weeks. On Smith’s horizon, however, was one of the most ambitious projects in the history of photography: he wanted to create a photo story to end all photo stories. His station wagon was packed with some twenty pieces of luggage, a phonograph, and hundreds of books and vinyl records—he was prepared for an eruption.

A hundred and eighty miles southwest of Pittsburgh, in Athens, Ohio, James Karales was finishing up a degree in photography at Ohio University. He had studied Smith’s work in class; Smith was a hero. While Smith was crawling all over Pittsburgh, day and night, several cameras wrapped around his neck, fueled by amphetamines, alcohol, and quixotic fevers, Karales was getting his diploma. Little did Karales know, his path and Smith’s were about to become one, and he would get an education no college could provide. Read More »

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William Kennedy on ‘Chango’s Beads and Two-Tone Shoes’

November 29, 2011 | by

Revolutionary times fuel William Kennedy’s newest book, Chango’s Beads and Two-Tone Shoes, which follows the career of journalist Daniel Quinn. The novel’s first half takes place in 1957 Cuba, where Quinn gets writing advice from Ernest Hemingway (“Shun adverbs, strenuously”), falls in love with a gunrunner named Renata, and hikes through the jungle for the ultimate journalist’s prize—an interview with Fidel Castro. The second half finds Quinn, eleven years later, witnessing another kind of revolution, this one in his hometown of Albany after Bobby Kennedy’s assassination, as the city hovers on the verge of race riots. The eighth novel in Kennedy’s Albany Cycle—which includes the Pulitzer Prize–winning IronweedChango’s Beads has a cast of characters that will feel familiar to readers of the earlier books, characters united by jazz, corruption, heroics, journalism, politics, and the perpetual revolution of history. I talked with the eighty-three-year-old Kennedy at his home in Albany—a townhouse where Jack Diamond, gangster, bootlegger, and the subject of Kennedy’s second novel, Legs, was shot to death. Read More »

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