Word: nykvist
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Dates: during 1970-1979
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...directed to nibble each other's necks and take decorously clothed swims and beach walks to demonstrate their affection. Swedish Film Maker Jan Troell, who has made terse, beautiful movies (The Emigrants, The New Land), here seems merely distant and befuddled, as does his usually superb cameraman, Sven Nykvist. The poorly shot concluding hurricane is supposed to be a sort of heavenly analogy to human passions we have been witnessing at play. In the circumstances a light breeze would have done...
...like the equally promising relationship between Violet and her prostitute mother (Susan Sarandon), is described only intermittently. Instead of coming to terms with the characters' emotions, Malle dithers away his movie on rowdy sequences that depict the upstairs-downstairs antics of his oldtime sporting-house setting. Despite Sven Nykvist's fine cinematography and a rousing jazz score, a little of the film's nostalgic atmosphere goes a long way. Padding, however lush, is still padding...
Bergman had wanted to make his film in black and white. When the producers resisted, he and his habitual partner, Cameraman Sven Nykvist, found a compromise. Says Nykvist: "Ingmar and I agreed to shoot color in black and white." Although most of the film captures the dark, gray quality of drab Berlin, Bergman has punctuated the gloom with bright and often zany scenes. "After years of crying for him," says Liv Ullmann, who plays Manuela, the nightclub entertainer whom Carradine loves, "Ingmar has finally allowed me to sing and dance." Wearing the scantiest of costumes, Ullmann was ordered to perform...
...afternoon, the Bavarian sky finally clouded and the light seemed right. Because it was so late, two scenes were shot simultaneously, Nykvist filming from one end of the street and Bergman from the other. "We don't have to even talk any more on the set," Bergman says of Nykvist, who has worked with him on 18 films. "We instinctively know what we want." Nykvist is hard of hearing in his left ear and Bergman in his right. "When we talk," says the jolly Nykvist, "we look like a pair of geese doing a mating dance...
Finally Bergman's crowd scene got into motion. Using dusk light for dawn, he shot tired Berliners plodding to work at the first light of morning-normality amid pending catastrophe -while buses, trolleys, cars and carts clattered around the curving street. At the other end of the set, Nykvist shot Carradine pushing through the crowds to arrive at Manuela's cabaret at twilight. The realism was enhanced by a cold rain that began to splash on cars and pedestrians. Soon the street lights were turned on and the final take of the parade...