Word: storaro
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Dates: during 1990-1999
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...whispers seduction amidst shadowy figures in a dim and smoky room. Tango acknowledges and effectively uses these images, but it also creates a stylized, occasionally surrealistic atmosphere that carries the tango beyond its conventional setting. This highly theatrical effect is achieved by the creative talent of Italian cinematographer Vittorio Storaro, three-time Oscar winner for best photography in films such as The Last Emperor. The music is a combination of traditional tango music by famous Argentine composers and several original pieces by Lalo Schifrin, known in this country for his re-working of the Mission Impossible theme...
Tango is striking example of how a film can grasp an audience's attention with very little definitive action. A good sized portion of the film consists of dance numbers, in which Storaro takes advantage of the studio setting to use shadow, silhouette, distorted mirrors and moody lighting gels to create a dreamlike, often unrealistic effect. In the empty studio, Mario plays out his romantic fantasies and nightmares, always leaving a tinge of uncertainty as to what is real and what is imagined. Into this world Mario draws the other characters, helplessly entangled as their emotions become prey...
...half an hour passes with hardly a word spoken except in Tamashek, the language of the Tuareg nomads, with whom Kit hitches a fateful ride. But there are many profound images of the desert in all its pitiless grandeur, courtesy of Bertolucci and his peerless cinematographer, Vittorio Storaro. The wind sculpts mountains and minarets out of the shifting sand. On a rocky spot where Port and Kit have just made desperate love, the setting sun alights for a moment as if in benediction...