Archive for Storaro

…and you know who else…

Posted in FILM, Mythology, Painting with tags , , , , , , , , , on January 18, 2011 by dcairns

…has been looking at Charles Laughton’s NIGHT OF THE HUNTER? Only William Friedkin, around the time he was making THE EXORCIST.

Or if not, it’s a w ild coincidence.

Of course, Friedkin has talked about how the famous poster shot of Father Merrin arriving at the house in Georgetown was influenced by René Magritte’s painting The Empire of Light (above), but I think it’s that close. Maybe he used that as a cue when discussing the scene with DoP Owen Roizman, and maybe Roizman thought of Charles Laughton and Stanley Cortez’s imagery. Or maybe Friedkin saw Bernardo Bertolucci making the much more reasonable claim that Magritte’s “day for night” painting was a reference point for Vittorio Storaro’s THE SPIDER’S STRATAGEM — the thought stuck in the sausage-meat electrical storm of Friedkin’s brain, and he later “originated” it by the simple procedure of opening his yap.

Then there’s this ~

Okay, not that close, and one might fairly ask how many ways there are of shooting somebody standing over somebody else who’s lying in a bed? Actually, quite a few, and most of them are in THE EXORCIST. So much of that damn film takes place in a single bedroom… I’m convinced that’s why they cast Max Von S: one look at him reminds you that long static scenes in rooms CAN be cinematically compelling.

At any rate, these two images have so much in common viscerally that leafing through film books as a kid, I think I somehow confused or conflated the two movies, imagining some kind of NIGHT OF THE EXORCIST.

What a messed-up film that would be. For, with its horror of female sexuality and the body, THE EXORCIST is more like the film preacher Harry Powell would have made if Warners gave him the money.

The Night of the Hunter (The Criterion Collection) [Blu-ray]

The Night of the Hunter (Criterion Collection)


I drank with a zombie.

Posted in FILM with tags , , , , , , , , on December 15, 2007 by dcairns


My partner Fiona and I were extremely lucky, a few weeks back, to have a pint with John Harrison, who was gearing up to direct an adaptation of Clive Barker’s THE BOOKS OF BLOOD (or one story from that collection, anyway) here in my native Edinburgh.

Putting aside all thoughts of “The SWINE! It should have been ME!” I settled down to my Guinness Extra Cold and found J.H. to be a very affable and interesting sort of chap indeed. I haven’t heard yet if his film has the final go-ahead, but I wish it the best.

Interesting stuff: John talked about his mentor, the literally towering George A. Romero, and how funding had been secured for G.A.R.’s latest zombiefest, DIARY OF THE DEAD, from an unusual source, the private fortunes of a sneaker heir. I think it was Reebok. The training shoe descendant asked how much a film would cost, they told him $20 million, he hemmed and hawed and said he didn’t think he could afford that, so they resourcefully suggested $2 million, and he consented. Fiona asked John if they’d had to product place sneakers on their zombie.

“We didn’t have to, but if we’d had to, WE WOULD HAVE.”

John, it turns out, in addition to scoring DAY OF THE DEAD and directing CREEPSHOW II, played the part of the zombie in DAWN OF who gets a screwdriver embedded in his lughole (censored in the U.K.). Fiona shook his hand. I texted my friend Sam Dale:

i just had a drink w the zombie who gets screwdrivered in dawn ot dead

He texted back:

r u at some kind of horror convention or r u just THE LUCKIEST MAN IN THE WORLD?

I guess it’s the latter.

John directed the TV miniseries of DUNE a few years back, and by strange chance I was at one point planning to work with both the stars of that. Alec Newman, a fellow Scot, who played Paul Atreides, had a nice story about working with Vittorio Storaro.

‘He asked me, “Can you walka downa thees corridor diagonal to the light,  so a-halfa you face ees een shadow, a-halfa een the light?”

‘I said, “I dunno, Vittorio, it doesn’t seem very natural.”

To which the great man replied:

‘”Koh! Alec! MOVIES ees no natural.

You said it, mister.

Now THAT’S shadowplay!

Posted in FILM, literature with tags , , , , , , , on December 10, 2007 by dcairns

Brilliant scene from “Barnyard” Bertolucci’s THE CONFORMIST.

The Professor Quadri character in this scene is given Jean-Luc Godard’s home phone number, a sign that Bertolucci was ready to “kill” his hero, JLG. The professor’s murder perhaps also echoes Pasolini’s death, and Pasolini was Bert’s other cinematic mentor. This is the film where Bertolucci conclusively stepped out from their shadows.*

Jonathan “J-Ro” Rosenbaum once wrote, superbly, that Fritz Lang’s THE INDIAN TOMB contains “the only cave in movies that’s worthy of Plato’s,” but Bertolucci and Storaro here evoke that same cave beautifully, in a professor’s study in 1930s Paris…

*As David Ehrenstein points out, very politely, in the comments below, I am talkng insane bollocks here, since at the time of IL CONFORMISTA’s production, Pier Paolo Pasolini was still VERY MUCH ALIVE. So Bertolucci’s film is one of a select few that Predicts The Future.