Thanks to Monique for sending this. This composition illustrates JF's early mastery of lighting and composition. The period ambiance is perfectly established in the details of wardrobe and setting. That baby spot on Vernon's face is arresting, illuminating Orlof's secret internal disturbance, his desire to redress, control and experiment with the female form.
And that's ORLOF with one F!
The New Busy is not the old busy. Search, chat and e-mail from your inbox. Get started.
5 comments:
That's a great still.
Pacheco's work on this and BARON VON KLAUS, Nieva's work on DR. ORLOFF'S MONSTER, and Ulloa's cinematography for DIABOLICAL DR. Z all have great black and white cinematography.
I was pleasantly surprised by the cinematography of GRITOS. It adds to the wonderful atmosphere the film has (and the characters are better defined than in the 1982 and 1987 remakes).
And it is a great still, indeed.
Nieva also worked in the first episode of TALES TO KEEP YOU AWAKE, a Spanish TV series by the Narciso Ibañez Serrador, the director of THE HOUSE THAT SCREAMED. I recommend it, but it must be quite hard to find (it hasn't been released on DVD yet, unlike the other episodes which were shot on video, this one was made on 16mm film stock).
Nieva also worked in the first episode of TALES TO KEEP YOU AWAKE, a Spanish TV series by the Narciso Ibañez Serrador, the director of THE HOUSE THAT SCREAMED. I recommend it, but it must be quite hard to find (it hasn't been released on DVD yet, unlike the other episodes which were shot on video, this one was made on 16mm film stock).
Sounds interesting, Franchesk. I like the work he did on the crazy GRAVEYARD OF HORROR, also.
All those early B&W films have a unique look very much different from JF's subsequent work.
Post a Comment