Word: storaro
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Dates: during 1970-1979
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Luna's images are so hypnotic, erotic and beautifully shot (by Vittorio Storaro) that we enter the movie's unpleasant milieu easily and remain captivated throughout. While the film is full of golden Parma landscapes, the dominant visual fixture is the moon: it is the film's metaphor for characters whose mysterious dark sides only gradually reveal themselves. In Bertolucci's brilliant climax, set at an open-air opera rehearsal, his artis tic conceits all converge. As the camera constantly shifts its point of view, we see that Luna 's events form a different drama...
...river journey as a pretext to unveil a series of large-scale, self-contained set pieces-an impersonal tour of the war front. Though these sequences do not add up to a movie, they are feverishly imagined and brilliantly shot (by Bertolucci's favorite cinematographer, Vittorio Storaro). Indeed, the first of these war scenes may be the most spectacular battle ever created for a film. With a megalomaniacal officer (Robert Duvall) leading the charge, a cavalry of American helicopters wipes out an entire Vietnamese village. The display of aerial hardware is immense, the rush of explosions dizzying. Duvall...
...With the Wind and conjuring up phantoms of romantic fiction, is turned into a single huge stage set on which the plot to conceal the treachery is daily re-enacted like an eternal pageant. Bertolucci's ornate camera movements, along with the superbly lush lighting of Cinematographer Vittorio Storaro, stress the theatricality and artifice of the concept, making Tara a kind of sun-drenched cloister hewed out of time...
...inborn sense of beat, or rhythm," says the superb cinematographer Vittorio Storaro, Bertolucci's collaborator since The Spider's Stratagem. Storaro douses Bertolucci's films in ravishing light-working, as many cinematographers do, from ideas in painting. He and Bertolucci drew their inspiration for Tango not only from Francis Bacon but also from Vermeer...