Word: nykvist
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...Stalker (1979) sealed Tarkovsky's fate as a picturemaker on the way out. Within a few years, he was. He went to Italy to make Nostalghia (1983), about a Russian estranged from his homeland, and to Sweden for The Sacrifice with Ingmar Bergman Stalwarts Erland Josephson and Cinematographer Sven Nykvist. Tarkovsky now lives in Paris, ailing from cancer...
...interviews with Dorothy after she became famous, and blood-drenched flashbacks to the afternoon of the murder, is that you know the ending, and must wait uncomfortably for the violent climax. The acting is uniformly excellent, the camera work unobtrusively effective, and the cinematography by frequent Bergman collaborator Sven Nykvist superb. Sleazy glitter is shown in a drab light that seems to have been filtered through all of the cocktail lounges in Los Angeles. But it is difficult to appreciate technical virtuousity while trying to distance yourself from the film and its imminent ending. Though Fosse wants you to identify...
This is the Depression as a dream - no breadlines, no sitdown strikes, no Dust Bowl. Cannery Row is visibly a movie set, splendidly designed by Rich ard MacDonald and photographed by Sven Nykvist a subtle shade away from the realistic. The burns and hookers who inhabit it are seen as sweet dreamers whose great preoccupation is bringing together Doc (Nick Nolte), a sometime baseball pitcher, and Suzy (Debra Winger), a reluctant "floozy" who talks tough but is as lost in fantasy as everyone else...
...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...