Word: cameraman
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Dates: during 1960-1969
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Director Elio Petri is apparently the chief villain, both for taking on so uneventful a screenplay and for composing such ugly shots. Petri used the technicians and the cameraman who worked with Antonioni on Red Desert. He has proven how effectively a film-maker can nullify such technical contributions by composing his images with the carelessness of a soap-opera director...
...little authenticity, there are occasional film clips from a 1944 cameraman who was infinitely more skillful than the one used last year. The clips serve to point out how much wiser it would have been to make Paris in documentary form--for television. The soundtrack is perhaps second only to Muzak in its exasperating qualities. There is, in short, absolutely nothing favorable one can say about this movie except that it is, in its own way, monumental. It goes beyond (or below) mediocrity to achieve a really first-rate bad movie status; in fact it probably will become the classic...
...rescue with more antistate, antichurch, antedated spoofery than he can gracefully handle. His rhythm is erratic, as though he were trying to make a movie in five or six different styles at the same time, none wholly his own. But even the deadly slow stretches are redeemed by Cameraman Henri Decae, whose breathtakingly sophisticated photography is a show in itself, imperceptibly shaded as the action moves from lush Rousseau tropics to the cabaret scenes that exude a smoky golden haze in which Moreau and Bardot appear like creatures of Lautrec or Degas, ineffably alluring...
Laughing 20's melts resistance with the team's first co-starring effort, Putting Pants on Philip, made in 1926 under Supervising Director Leo Mc-Carey, with George Stevens as cameraman. Stan plays a kilted skirt-chaser, accompanied by shamefaced Ollie through shrewdly orchestrated slapstick etudes. From Soup to Nuts is a tiny masterpiece of physical comedy, as rigorously controlled as ballet in its step-by-step demolition of an elegant dinner party by two nincompoop waiters for whom a dog, a banana peel, three whipped-cream cakes, and a lady in a sliding tiara...
...have failed to mention two of the film's outstanding accomplishments: the luminous, plastic photography of Raoul Coutard. Godard's cameraman on his ten films, beginning with Breathless (1961); and the score, which owes its beauty to Beethoven's string quarters and its effectiveness to Godard's superb timing. I've also omitted the film's verbalism. Signs and the printed word play a key part in most Godard films, from the Bogart poster of Breathless to the flashing neon lights of Alphaville, and they crop up again and again in The Married Woman. But why they are used...