With a square - shaped pastiche (Cronenberg never
uses cinemascope) he paints with an almost silent film - like nerve, as if the great F.W. Murnau himself were guiding his hand.
But of course, Fuller
used the Cinemascope frame to its maximum extreme, and the pan-and-scan version is virtually useless.
Not exact matches
The
CinemaScope process was well
used here, with panoramic shots of Manhattan accompanied by Newman's entire orchestra performing his composition Street Scene in prolog and epilog shots.
Starring Marilyn Monroe, Betty Grable and Lauren Bacall, Fox's hugely popular hit was the first comedy to be shot in
CinemaScope and the second film ever to
use this format.
The movie looks tremendous as well, thanks to Kore - eda's decision to shoot in the
CinemaScope format, something the writer - director hasn't
used before.
«Contempt,» a satirical drama starring Brigitte Bardot and Jack Palance, was released in 1963 and is regarded as one of the finest films ever made in
CinemaScope, an anamorphic lens
used from 1953 to 1967.
Fox's intransigence simply pushed U.K. producers to
use various
CinemaScope clones that, combined with black - and - white film, achieved a mix of novelty and economy.
Fox tried to encourage the diffusion of
CinemaScope by making the
use of its Bausch and Lomb lenses free for short films, but its policy of mandating the
use of colour was poorly suited to the U.K. industry that mainly made black - and - white films including intimate dramas that were (at least initially) considered poorly suited to widescreen.
It's impossible to imagine this movie not being presented in
CinemaScope, as the widescreen format is integral in supporting the imaginative
use of split - screen techniques.
The Techniscope format was a cheap way to get a widescreen image by only
using half as much film as true
CinemaScope (i.e., anamorphic) requires, and this presentation seems to reflect the reduced effective resolution of the material, evincing a softness around the edges that's sometimes exacerbated by missed focus.
Nostalgic references to classic Hollywood — like that «Presented in
CinemaScope» title card in the beginning and the two main characters» first date at a screening of Rebel Without a Cause — don't excite me as much as they
used to, and nor does a movie that, to my mind, simple - mindedly posits the John Legend character as a kind of villain for daring to think progressively about jazz — an entirely noble and necessary endeavor, whatever you may think of the music his character actually creates — rather than remain rooted to the past like Ryan Gosling's character does.
For this exhibition she has selected some of her most significant landscape drawings and collections of found natural objects and has created a body of new work culminating in a major, one hour - long, two - screen 35 mm
Cinemascope film, Antigone, which
uses multiple exposures to combine places, people and seasons into a single cinematographic frame.