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O, the cinema. Where images come to life. After centuries of visual entertainment being restrained to static scenes in paintings and photographs, moving pictures allowed us to see beyond the image. A story told in 24 images every second. Combining the visual beauty of paintings with the engaging storytelling of literature. Over the decades of cinema’s existence has come with it the task in making these images look as beautiful as they can be. To have them carry the same emotional weight that paintings provide with a simple snapshot. These five films used their superb cinematography and art direction to prove that the moving image has to the ability not only to depict breathtaking images worthy of framing on a wall, but take us into a world in a fashion that only cinema can deliver.
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‘Apocalypse Now’ (1979)
Director: Francis Ford Coppola
Director of Photography: Vittorio Storaro
When it comes to war films, there are plenty to choose from that masterfully use the camera, whether it is the single shot journey in ‘1917’ (2019), the heart wrenching intensity of ‘Saving Private Ryan’ (1998), or ‘The Thin Red Line’ (1998) and its transcendent portrayal of nature torn apart by war’s destruction. Yet, none do it quite like Francis Ford Coppola’s ‘Apocalypse Now’ (1979) a haunting showcase of the chaos, brutality, and mental deterioration that war provides. The film’s images are engulfed in orange and yellow colors, to represent both the smoke of napalm in the morning and the dark themes of man’s evil tendencies to set the world on fire. With large set pieces and a psychedelic atmosphere that blends perfectly with the 1970s aesthetic, the visual language of ‘Apocalypse Now’ succeeds in providing a harrowing journey into the darkest corners of human inclinations. By the film’s final act with the devilish Colonel Kurtz helming the scenes, the lighting and set pieces become darker and devilish, straight out of hell. Its success sealed by the cinematography done in some of the most difficult conditions a film has ever seen.
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‘Mad Max: Fury Road’ (2015)
Director: George Miller
Director of Photography: John Seale
Action movies are known for their intense fight sequences and impossible stunts, yet are rarely recognized for having alluring images. ‘Mad Max Fury Road’ (2015) is the antithesis of this. Helmed by Australian mastermind George Miller, the crazy car chases and complex action set pieces are paired with an intense color palette. The stark contrast between the clear blue skies and rough brown dirt and hills lends to the film’s visual spectacle as a small but essential piece to the experience. Instead of shooting close with dizzying shaky cam and restricting the audience’s view, ‘Fury Road’ displays large wide shots of the action while still maintaining the intensity and suspense that one expects from a high budget, adrenaline filled blockbuster. But, ‘Fury Road’ transcends all other action films by portraying the beauty in its action. Past the extravagantly dressed characters and over the top action, George Miller takes moments to display the wonder of the scene such as the sand storm or when enemies become friends and work together against their shared nemesis. It is all tied together by the masterful choices in direction and visual presentation that are a small part in the triumph of ‘Mad Max Fury Road’ being labeled as a modern action masterpiece.
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‘Stalker’ (1979)
Director: Andrei Tarkovsky
Director of Photography: Alexander Knyazhinsky
Any film from Russian Auteur Andrei Tarkovsky is deserving of a spot on any list of gorgeous looking films. His unregulated talent in portraying nature is matched by only a few. However, ‘Stalker’ (1979) is his masterpiece that triumphs over the rest. Much like others on this list, the film succeeds when displaying wide shots of the characters in their environment, absorbing the audience member into it rather than keeping them as an observer. The sets are grounded, yet ethereal and out of this world. Singular shots that can go on for minutes, immersive in the film’s beautiful and dirty dystopian world. Despite its long length and slow pace, one cannot look away from ‘Stalker’s almost surreal cinematography that takes the audience into a science fiction world not too unlike our own.
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‘Barry Lyndon’ (1975)
Director: Stanley Kubrick
Director of Photography: John Alcott
Few mastered the art of the moving image better than Stanley Kubrick whose miniscule filmography numbers only a dozen, yet contains multiple masterpieces with each considered one of the best in their respective genres. In terms of displaying gorgeous images, Kubrick knew what to do as he started as a street photographer in New York who, at a young age, mastered how to elicit an emotion or story by simply composing an image. His genius in such fields were no better used than on ‘Barry Lyndon’ (1975). While it is not as popular as some of his much revered classics, ‘Barry Lyndon’ is the film in which he put the most work towards making the period piece look gorgeous as well as part of the time period it takes place in. Most notable was how he invented a new camera to support lenses with advanced aperture and focal length so that he could film the movie in as much natural light as possible. Despite the barriers this would seem to form, ‘Barry Lyndon’ succeeded in its cinematography. Multiple shots look as if they were 18th century paintings thanks to the lighting and artful composition. Kubrick’s usual long shots with slow zooming camera movements are present and work wonders in the grand battle sequences. If there was any film needed to go by in order to make films look like paintings, ‘Barry Lyndon’ is the one to study.
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‘The Tree of Life’ (2011)
Director: Terrence Malick
Director of Photography: Emmanuel Lubezki
Not only can any Terrence Malick directed film be considered for this list, but any film with its cinematographer as Emmanuel Lubezki is worthy of such honor. When the two collaborate, the film is bound to present some of the most gorgeous images available for the human eye. ‘The Tree of Life’ (2011) delivers in the greatest respect to this promise as there are countless sequences in the film that are out of this world, transcending in their lighting and camera movement. Spiraling around the characters sometimes unnaturally. Malick does not shoot the film in a conventional state, preferring wide angle lenses with deep focus and an unhinged wandering of the camera instead of tripod locked down, planned out shots. This gives ‘The Tree of Life’ a freeful, abstract aura where the audience member themself feels like a participant in the character’s journey. Twenty minutes of the movie are dedicated to a gorgeous look into the formation of this universe from the big bang to the arrival of dinosaurs and bringing us back to the main storyline in 1950s Texas, all of which is presented with images which no other film looks like. It is a large-scale demonstration of Malick’s style that for as unconventional as it may seem, stands as a unique visual spectacle and one that audiences can find wonder in.
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Honorable Mentions of beautifying images
It is only fair to recognize a few other films known for their great looks as this article can continue many more pages on this topic. The two films of the ‘Blade Runner’ franchise are worthy of a mention as each pushed the boundaries of what a science fiction film can look like in their respective time periods. The original Ridley Scott directed picture features breathtaking cyberpunk landscapes and timeless visual effects paired with otherworldly synth music by Vangelis. Denis Villenueve’s sequel, ‘Blade Runner 2049’ (2017) has revered cinematographer Roger Deakins on its side using light and color to produce some of the best looking images in all of science fiction cinema. In the same genre is Christopher Nolan’s ‘Interstellar’ (2014) which showcases some of the most breathtaking visual effects depicting space travel unmatched by very few as well as Hoyte Van Hoytema’s impeccable eye for composition and scale.
Going back in time, ‘Lawrence of Arabia’ (1962) has flawless framing across its whole runtime and manages to appear as a modern film with its enormous desert landscapes and set pieces. Finally, deserving of a mention is ‘Amelie’ (2001), the fabulous international french success from Jean Pierre Jeunet and the appraised cinematographer Bruno Delbonnel who managed to create a whole fantasy version of Paris with expressive colors and quirky camera movements to take the audience into the world of an introverted young girl try to connect with others.
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It goes without saying that to make a film look great, it takes more than fancy lenses and correct coloring. An entire creative process in art direction is used to develop the look and feel of the film based on the script and the director’s vision. The film’s tone and feel can be interpreted by how a director of photography chooses to shoot it. All of these films mastered such and in today’s world where cinematic technology is advancing daily, it will take a lot of work and creativity to make a film visually standout.
By Elijah van der Fluit
Click here to read The Hollywood Insider’s CEO Pritan Ambroase’s love letter to Cinema, TV and Media. An excerpt from the love letter: The Hollywood Insider’s CEO/editor-in-chief Pritan Ambroase affirms, “We have the space and time for all your stories, no matter who/what/where you are. Media/Cinema/TV have a responsibility to better the world and The Hollywood Insider will continue to do so. Talent, diversity and authenticity matter in Cinema/TV, media and storytelling. In fact, I reckon that we should announce “talent-diversity-authenticity-storytelling-Cinema-Oscars-Academy-Awards” as synonyms of each other. We show respect to talent and stories regardless of their skin color, race, gender, sexuality, religion, nationality, etc., thus allowing authenticity into this system just by something as simple as accepting and showing respect to the human species’ factual diversity. We become greater just by respecting and appreciating talent in all its shapes, sizes, and forms. Award winners, which includes nominees, must be chosen on the greatness of their talent ALONE.
I am sure I am speaking for a multitude of Cinema lovers all over the world when I speak of the following sentiments that this medium of art has blessed me with. Cinema taught me about our world, at times in English and at times through the beautiful one-inch bar of subtitles. I learned from the stories in the global movies that we are all alike across all borders. Remember that one of the best symbols of many great civilizations and their prosperity has been the art they have left behind. This art can be in the form of paintings, sculptures, architecture, writings, inventions, etc. For our modern society, Cinema happens to be one of them. Cinema is more than just a form of entertainment, it is an integral part of society. I love the world uniting, be it for Cinema, TV, media, art, fashion, sport, etc. Please keep this going full speed.”
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Elijah van der Fluit is a writer for The Hollywood Insider based in California with aspirations to write and direct films for a professional career. In his spare time, Elijah enjoys watching and discussing movies of all genres as well as reading, hiking, spending time with family, and being one with the world. Elijah believes that art, whatever form it may take, has the ability to inspire and broaden people’s perspectives in a positive way and he hopes to use his work in film and writing to do so.
Elijah van der Fluit is a writer for The Hollywood Insider based in California with aspirations to write and direct films for a professional career. In his spare time, Elijah enjoys watching and discussing movies of all genres as well as reading, hiking, spending time with family, and being one with the world. Elijah believes that art, whatever form it may take, has the ability to inspire and broaden people’s perspectives in a positive way and he hopes to use his work in film and writing to do so.
