Word: storaro
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Bertolucci and cinematographer Vittorio Storaro do well with the movie's scenes of debauchery and debasement. A master of capturing erotica, Bertolucci takes advantage of Pu Yi's early imperial splendor and later playboy lifestyle in Tienstin to give cinema some of the most sensual images since Bertolucci's own Tango. Bertolucci and Storaro follow the emperor and empress (Chen) as rich and powerful friends seduce them. While the emperor continues to foster megalomanic visions of regaining the throne, his wife takes to opium...
...that One from the Heart means to set reality and artifice into felicitous collision. On the Zoetrope sound stages, Production Designer Dean Tavoularis has created a show-stopping amalgam of razzle and dazzle, sending skyrockets speckling over what looks like a mile-long Strip of surreal glitter. Cinematographer Vittorio Storaro has lighted these sets in gloriously garish Technicolor-pulsating magentas and ambers that mirror the characters' moods even as they assert the environmental imperative. Coppola has staged his scenes in long, sensuous takes. A single shot may comprise several scenes, several planes of action and setting, while the camera...
DIANE KEATON has never looked as utterly lovely as she does against Vittorio Storaro's mahogany-toned cinematography, with that fragile, ivory face and luminous eyes framed by curly wisps of brown hair. But she gives another fraudulent performance, characterized by an enormous gap between her lines and her head. She comes complete with her own outtakes--we can practically hear them in the nervous, senseless way she rushes through a speech as if it were a tongue-twister. Every line in her Method-y delivery proclaims, "I've been through analysis," making her an aural, if not visual anachronism...
...charmer, uses a torrent of words and his sweet-faced stare to persuade us that have Jack and his brand of robust idealism have meaning for a world-and a movie world-mired in cynicism and reaction. Beatty's soaring spirit infected the Reds crew, from Cinematographer Vittorio Storaro to Production Designer Richard Sylbert to Editors Dede Allen and Craig McKay. This is a young man's movie, vi tal, confident, itching to meet the challenges of life...
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...