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.