Cinematography of the third man

Cinematography of the third man


TODAY i talk about The Cinematography of the third man with an in-depth review that breaks down this classic gem for 31 Days of Oscar Blogathon as today for the crafts part of 31 Days of Oscar Blogathon as Its Oscars talk time again. Today as part of 31 Days of Oscar Blogathon which is hosted by Once Upon a Screen,Outspoken and Freckled and Paula’s Cinema Club. Thanks to the wonderful hosts for today’s event and check out others form this event.

The Third Man (1949) Opening shots. 

Similar to other international noir genres, British film noir hardly fits the rigid categorical definition of noir based on Hollywood films. It does, however, contain many of the conventions and traits of Hollywood film noir such as a focus on the underworld of society, base emotions, and melodramatic events that portray an unjust and often cruel world. Carol Reed’s The Third Man (1949) may be stand among the greatest movies ever made and it does rank almost among top British films ever made.


The third man follows  an idealistic American writer of Westerns as he arrives in the corrupted, disparaged city of post-WWII Vienna, Austria, which has been divvied into four sections: French, Russian, British, and American.  Holly Martins (Joseph Cotten) is an innocent, in some ways a clod, as he blindly follows a mystery, however dangerous, until its ultimate conclusion at the end. 

The third man has many key layers that it shares with american noir that may be a common thread of both ends of the great pond as its use of shadows and lighting really does also play a huge role into the movie.  A focus on the underworld of society of  Vienna, Austria. The base emotions, and melodramatic events that portray an unjust and often cruel world of post war  Vienna, Austria which is divided after the second world war into four zones French, Russian, British, and American.  Plot:Pulp novelist Holly Martins travels to shadowy, postwar Vienna, only to find himself investigating the mysterious death of an old friend, Harry Lime.

The third man is probably the greatest British thriller of the postwar by director Carol Reed and screenwriter Graham Greene set a fable of moral corruption in a world of near-Byzantine visual complexity: the streets and ruins of occupied Vienna which is far removed from the image of the rollicking erotic’s of Ernst Lubitsch or the wistful elegance and melancholy beauty of Max Ophüls. This Vienna is a movie milieu that really is vastly different form Curtiz’s Casablanca or Sternberg’s Morocco as it is unlike them, it is primarily the real Vienna, It is the real raw streets of the rubble and look of the bleak city after the second world war. The third man is shot by Reed and cameraman Robert Krasker in such a striking style which captures the city of Vienna. The camera work of Robert Krasker shot the movie in off-angle compositions and wide-angle lens distortions along that really does give some shots that really does feel striking to see unfold on the screen.

As you see in this scene above you see One of the many great Dutch-angled shots in The Third Man (1949) as truly it is giving you an oddball look at the city in a striking style.These striking camera shots really work to capture the raw city. The macabre landscape with the outstanding camerawork captures the city with  Anton Karas’ legendary zither score as the tale unwinds on the screen.

Two symbolic settings of the movie is a Ferris wheel towering above the city, and the shadowy chaos of the sewers. Holly comes face to face with the supreme evil, the supreme betrayal: both Harry’s and his own. The two settings play key part into that ultimate end. This is one element of the third man that vastly does tell you about how the raw core of the depths that harry faces into what some call his trip down a rabbit hole. Its two settings tell the viewer this idea as key part of its shots. This what the symbolic settings tell us all about the journey of the movie to its end.

Which ends as Anna walks down road as he looks upon her as farewell to her as he knows she is still in love with a killer and he must follow her down into that place as her love is misplaced and misguided. It’s her way as she must find her back to the light. The symbolic nature of the ending and the movie really does bring to light the nature of what we feel as descend into our chaotic worlds often.

Don’t be so gloomy. After all it’s not that awful. Like the fella says, in Italy for 30 years under the Borgias they had warfare, terror, murder, and bloodshed, but they produced Michelangelo, Leonardo da Vinci, and the Renaissance. In Switzerland they had brotherly love – they had 500 years of democracy and peace, and what did that produce? The cuckoo clock. So long Holly.


Harry Lime: Nobody thinks in terms of human beings. Governments don’t. Why should we? They talk about the people and the proletariat, I talk about the suckers and the mugs – it’s the same thing. They have their five-year plans, so have I.
Martins: You used to believe in God. Harry Lime: Oh, I still do believe in God, old man. I believe in God and Mercy and all that. But the dead are happier dead. They don’t miss much here, poor devils.

Both these great quotes by Orson Welles really address the nature of our world in a collective darkness about how we think about governments in truth and how we believe in a god. It’s a collective reflection that really does feel at home in the third man as the city of Vienna afterwards of world war II. As quoted often noir is a reflection of how America and the world felt afterward of the second world war. So we see this collective expressions of its scenes and many quotes in this wonderful gem of a movie.

Joseph Cotten was not  carol Reed’s first choice for Martins; the director preferred Cary Grant, or even Jimmy Stewart but he ended up with Joseph Cotten. Joseph Cotten really gives us one fine performance as we see him really play wonderfully as he gives Martins the necessary dumfounded ignorance toward Vienna the role requires to really give us a caracter that is taking into this wild trip down a rabbit hole. He truly nails home this performance.

Orson Welles plays the elusive Harry Lime whom is one of the best villains ever put to the screen even for his limited time on screen as he plays one very convincing villain. Orson Welles was considered to be overshadowing the production of the third man. He kinda does even overshadow the director in many ways as many more recall him then carol reed. Its truly one amazing performance.

Alida Valli gives us a very convincing performance as Anna Schmidt. Its her very subtitle performance as the girlfriend. She really has a very key role into comforting holly Martin but she ends up in the twisted web herself as she has many secrets hidden away about herself. She wonderfully plays the role in a very wonderful performance that really nails home another outstanding role for this movie.

Trevor Howard wonderfully plays the role of Maj. Calloway. He leads down the chase as we see him and the other cops chasing down holly martin in one of the most infamous scenes of the movie.  We truly see him give such an amazing performance in this wonderfully crafted role.

Bernard Lee as Sgt. Paine really gives us one wonderfully outstanding role as we see him really play this role wonderfully as this wonderful actor of range gives us such a good role on the screen. Everyone else in the cast gives us such outstanding role even the smaller and lesser role as each give us such raw depth to their performances making them really all work to bring to life this world  on the screen. 

Carol Reed and his Academy Award-winning cinematographer, Robert Kraske devised an outstanding cinematography. It shows a world out of joint in chaos that creates unforgettable visual style.   fantastic oblique angles. Wide-angle lenses distort faces and locations. And the bizarre lighting makes the city into an expressionist nightmare. During a stakeout for Lime, a little balloon man wanders onto the scene, and his shadow is a monster as he towers over others as we really believe he is towering and overshadowing everyone. Vienna in “The Third Man is unforgettable as they come as its striking and contrasted form the lovely image we normally see of cities in movies.  This is a striking and wonderfully crafted movie form reel one to its end.

Carol Reed’s tight direction really does come to life with Academy Award-winning cinematographer, Robert Kraske as both of them craft out such a layered expressionist nightmare with such wonderful writing by Graham Greene with each cast member bringing home the lines of the screenplay in its depth and raw and giving more to each performance. We have a very wonderful performance by orison Welles whom overshadows the cast in light. We have a wonderfully rich acting job by Joseph Cotten whom gives us one amazing performance. We have a wonderful roles by Alida Valli and Bernard Lee and Trevor Howard each of whom give us first class acting. Its acting as directed by the wonderfully pitch director carol reed really brings out such rich and complex roles for the cast as we see them all nailing home such wonderful performances with wonderful music by Anton Karas as who can forget the theme of the third man. Its truly an artwork of direction and craft by carol reed.

Of the many movies this one most completely embodies the romance of going to the movies. I saw first form a Blu-ray copy at home as it really captured me truly form the first moment of the movie to its end.  It told a story of existential loss and betrayal. It was weary and knowing, and its glorious style was an act of defiance against the corrupt world it pictured. The Third Man remains one of the finest movies ever crafted to the screen form its wonderful direction to its very wonderful screenplay to its rich and striking  cinematography to its wonderful acting. It’s truly a milestone of movies that hails among the best movies ever made for the screen. It ranks among top British films all time and among the best lists of movies by many lovers of movies worldwide. This is one outstanding classic you should see today.

The Ruth rating:five bette's


The Wonders of Film

The Wonders of Film


Cinematography is one of the key parts of any movie. It really makes up for part of the charm of the movie. Cinematography has been around since film began. It is the art of motion in the movies. The art of making motion pictures really makes the movie work is its Cinematography which roots as the word “cinematography” was created from the Greek roots κίνημα (kinema) i.e. “motion” and γραφή (graphé) “representation by means of lines” or “drawing”, together meaning drawing motion. You ever seen a movie and said wow that shot is amazing that is its Cinematography. So i talk about this art now.

Eadweard Muybridge successfully photographed a horse named “Sallie Gardner” in fast motion using a series of 24 stereoscopic cameras. The cameras were arranged along a track parallel to the horse’s, and each camera shutter was controlled by a trip wire triggered by the horse’s hooves. They were 21 inches apart to cover the 20 feet taken by the horse stride, taking pictures at one thousandth of a second.(wiki) The first shots of film was a horse running as this level of cinematography was good for its time as it was a shot done very short that started the world to cinematography of film. It was made in the year 1873

Annabelle Serpentine Dance was an early dance silent movie. Its dance was performed in succession. It is flowing showcase of her movements. It was made in the year 1895 as it truly something wonderful.  It was very simple framed videos for a while as the silent era lasted until 1929.

So in 1912 before Ernst Lubitsch and Cecil B. DeMille poked their heads into the bedroom, Ladislas Starevich directed The Cameraman’s Revenge a movie that was the first stop motion animated film as it’s a masterpiece. This short feature is way ahead of its time and remains to this day quite extraordinary with some outstanding cinematography that marks it as one of the early breakthroughs of cinematography. I posted it above so check out this early gem.

About two years before The Cameraman’s Revenge came out one movie that may really be first version of this classic tale as it was based on the musical not the book itself. It really did not even really feel as faithful to book as 1939 version even with changes the 1939 classic is the best version of this tale but it did have some great image work of cinematography that did capture some magical moments form the book. They all did of the silent movies following it too which were magical trips into oz before the movie was made in 1939.

Cleopatra is an early silent movie based on the tale of this legendary figure. a fascinating glimpse of early filmmaking as you really see no close-ups yet as they were not in use for this time. It’s a nice movie not going to win any favors by many but you can see what made early filmmaking click.

The real beginning of Cinematography as an art form begins in 1920 about. It started break out as movies really were starting take shape as they already have by 1914 as we see many early silent movies really having some outstanding work in that area. I will talk those in this outstanding silent gems that really brought the art to life before the talkie.

Way down east was one of D.W. Griffith’s finest silent gems. In what may have been his most brilliant surprise, D.W. Griffith transformed an archaic melodrama about a wronged woman into a transcendent love story of redemption. Lillian Gish plays such an outstanding role. It  1920 film is a triumph of humanity over cruelty, a work that brilliantly conveys emotion through environment.

The famous climax on the floating river of ice is still amazing as it is one of finest Cinematography shots all time as it’s a real shot really shot over such a dangerous condition. Lillian Gish showed true heroism as she braved all the dangers to bring out one of the most remarkable scenes all time. It was inspired by a scene in uncle tom’s cabin this famous scene. It was so dangerous that Lillian couldn’t stand it at all as she demanded a double it was same treatment for the double. Its truly one scene that did break ground in many ways. It’s truly one masterpiece for the ages.

Directed by and Starring Victor Sjostrom, this 1921 Swedish film is a true classic of silent cinema. It’s based upon the novel Thy Soul Shall Bear Witness! The Phantom Carriage has many Striking imagery abounds throughout The Phantom Carriage with such wonders of Cinematography as many striking images in the movie makes this movie a movie that marks some of the best of Cinematography.

The Phantom Carriage earns that mark because of its tale that really will be remembered by you fondly. It’s as dark As dark and shadowy as anything the German Expressionists produced that stands among the masterpieces of cinema.

THE HUNCHBACK OF NOTRE DAME (Universal, 1923), directed by Wallace Worsley, takes an important step in cinema history that has many outstanding scenes that does stand out as some of the cinema’s finest.  Its scenes have such wonderful Cinematography that stands out as a gem for the ages.

Lon Chaney gave out one of finest performances in this movie as he was the man of a thousand faces.  Its one of the true masterpieces.

Throughout his cinematic career, Buster Keaton was never particularly considered to be a producer of films that were socially or politically engaged. I would say this may not best take on Holmes yet it remains one of my favorites. They reflect issues of identity, alienation, and social individuality, together with an intelligent use of self-reflexivity and a number of innovative cinematic techniques. One film which stands up to critical re-discovery one of Keaton’s most celebrated Sherlock Jr (1924). It’s such a wonder this movie is a joy to watch. Buster Keaton is starring in a movie about It tells the story of the ‘Boy’ played by Keaton, a lowly cinema protectionist who dreams of becoming a famous detective yet it’s the wonders it does as he dreams as it breaks some amazing new grounds here as it’s a simple story that uses using pioneering cinematic techniques that would still evoke a sense of spectacle within modern cinema. Throughout the film, Sherlock Jr plays with ideas of reality and fiction and the distinction between them. The film employs two narratives, one imagined and the other set in the film’s diegetic reality. This parallel of narratives gives Keaton the ability to offer a comedic analysis of an individual’s identification with those on-screen. Sherlock Jr should be complex given its narrative and stories nature. It’s yet a wonder its simple idea of a dream makes many of the stunts seem so possible. Keaton is given license to instill a number of ‘gags’ which would seem implausible within a narrative set in reality. The cinema theatre is a good example of this, although there are several throughout the film. In one scene Keaton appears to jump through someone to escape, in another he jumps through a window into a moving car. By staging the narrative within a dream like world, Keaton can push the cinematic boundaries further than many comedians before him. Thus, Keaton can perform tricks than astound and amaze audiences while remaining somewhat plausible as its yet such scenes that make me smile at this marvel. Sherlock Jr is a highly imaginative and inventive film comedy that explores ideas of reality and cinema through experimental filmmaking techniques that make it something so inventive and fresh that it stands as one of the wonders of cinema with outstanding Cinematography marks it to be a true masterpiece.

As we can see that many silent movies did advance the art of it as it was noted that The Thief of Bagdad was also one of them that moved that art forward. Its era did advance the art as it ended in 1929 with the talkie we had movies really start to change form then to now. Now to talk about the outstanding works of Cinematography to modern times.

The Thief of Bagdad: Arabian Fantasie details of a classic.

The Thief of Bagdad: Arabian Fantasie details of a classic talks about the  Cinematography of one the finest movies all time. Its truly a masterpiece.

When one looks to modern movies we look to many ideas that been invented through years of working on movies Larry Butler invented the first proper chroma key process for the special effects scenes in this film as its use of blue screen for landscapes movement in this movie.

The use of blue screen may seem primitive compared to today’s computer-generated animation, but it has the advantage of using real-world subjects as it uses  a real man on a horse with the blue screen used to create movements to make it seem as it’s flying through the air.

The shot was made by combining real footage of Ingram, close to the camera, and Sabu, several hundred feet away as we see him as the genie looking bigger trough tricks of the camera.


The use of blue screen may seem primitive compared to today’s computer-generated animation, but it has the advantage of using real-world subjects. The flying horse, for example, is a real horse, with a real actor mounted on it. The flying carpet is a real carpet, with Abu standing on it. Both the genie and the thief seem real in all of their shots, because they are real as they are very crafted. Considering the beauty of scenes in this movie some of the depths and richness of such scenes. The cities may be tinted peach or blue, which makes them all the more fantastical because they are mattes made to look that way as its trough the lens its made to look more fantastical. A big hand was used for the scenes of the genie holding abu in the air as it was used in combination with mattes. One sees use of stop motion animated figures in this movie that create such amazing fantastical looking creations, The spider pit scene really is one standout as you have abu hanging as it’s a small spider but through the tricks of a camera made to look bigger. The seeing eye is created with reflection through a reflective lenses on a jewel like object.  famous matte artist Peter Ellenshaw, who was a young assistant artist on Thief had paintings used to create an illusion of depth that really made such rich and detailed scenes.

The famous shots of the genie in lamp is another trick of the camera as it seems like a small guy as it’s painted with mattes to see as such. . Rotoscoping was one way they did add effects to such movies like The Thief of Bagdad  as some scenes had been painted through this way to have animations created and more depth to the scenes. Each special effect scenes in this movie had such charm that really managed to make it really work greatly.

The casting of shadows are used to create some of the carpet scenes too trough wires.  The use of still camera really to craft some scenes. They had to exact the colors of many scenes then put them back together to make it look richer too. They painted the blue village to make it look bigger. They shot part of the shot then blacked out part of it,it added color space to the movie to have such richness. The sets of this movie are grand sets that really mixed with matte paintings to make it better. A lovely changeover from live action to matte making it made it look realistic in some scenes. The silvermane was done with hands beyond it as it was carefully made to look like a trick of it moving. The acting of Conrad Veidt is said to have inspired jafar as he really is jafar.  The scene with genie on the beach is done with blue screen work and tricks of the camera and smoke machine with a matte painted to look like rex is floating in air and such. You have feeling that it is fantasy coming to life. The lovely scene as we greet to the all seeing eye was created with matte painting. A String puppet for the spider created that big spider. The toys are many that are such wonderful creations of effects works in many different ways. One scene where a toy that had small men that had them do same thing over and over again as they rear projected it, it’s a magical looking and charming look. The The Thief of baghdad is daddy of visual effects movies as all of its ways make it really the daddy of everything to date for special effects.

The Thief of Baghdad has such great costumes. Its costuming is really richly detailed as each costume was carefully made to look like the real world counterpart of the movie’s settings as it really stands out with such in depth richness and epic and grand. The score was wonderful that has such richness to it. Its makeup work is one fantastic element too as it has such great work. It opened up door for today’s special effects as many first uses in this movie.   It is storybook like. ,this gem has such rich depths to it as it remains to be one movie to inspire movies even today.

The Thief of Bagdad: Arabian Fantasie review of a classic

When i first  discovered Alexander Korda’s (1940) Fantasy, THE THIEF OF BAGDAD,it blew me away as the movie is far ahead of time in many ways due to its wonderful effects. It is one of the greatest fantasy movies all time. Conrad Veidt is a delightful villain,who might have inspired Walt Disney for Aladdin as gives one of his finest roles on screen,the acting of everyone is just amazing and top notch. The script is poetic, simply and very beautiful. The costumes  are amazing and some of the best on screen ever.

Two men were responsible for everything from a magic flying carpet to the gargantuan genie who pops out of a bottle with a tornado-like black swirl: Lawrence W. Butler and Tom Howard. (Howard, incidentally, did the special effects for the 1961 version of this film. Both men had long and distinguished careers in technical wizardry as such wonderfully crafted work.

John Justin is both energetic & sensitive as the unenlightened king who must learn about the realities of live the hard way; Sabu gets a significant part of the action (when he’s not transformed into a dog) but Justin is appropriately athletic when needs must. Lovely June Duprez plays the endangered Princess of Basra, coveted by two very different men. Appearing late in the film, massive Rex Ingram shakes things up as a genie with an attitude as we have all of them giving us such great acting.

This enchanting fantasy adventure remains one of the finest classics all time with great acting and effects. The Technicolor in each was incredibly beautiful. Its to remain one of the classics for the ages.

The Red Shoes

In this classic drama, Vicky Page (Moira Shearer) is an aspiring ballerina torn between her dedication to dance and her desire to love. While her imperious instructor, Boris Lermontov (Anton Walbrook), urges to her to forget anything but ballet, Vicky begins to fall for the charming young composer Julian Craster (Marius Goring). Eventually Vicky, under great emotional stress, must choose to pursue either her art or her romance, a decision that carries serious consequences. The Red Shoes, the singular fantasia from Michael Powell and Emeric Pressburger, is cinema’s quintessential backstage drama, as well as one of the most glorious Technicolor feasts ever concocted for the screen.

Today i am going to talk about the red shoes.
I often list the red shoes among the best noir movies all time in my eyes as the movie is considered noir as it’s a backstage dance movie with such depths of darkness. I really do admire Jack Cardiff’s work on this movie. Michael Powell and Emeric Pressburger’s The Red Shoes is really spearheaded the notion of modus operandi with a harmony of visuals elements and aural elements, the British filmmaking partners known as The Archers embrace ballet in a very rich Technicolor feast on the eyes.


One of Hein Heckroth’s sketches for The Red Shoes ballet. This scene is one of the many collective scenes that is really a collective reflection of the mind of the dancer at time of the scene. She is very driven to an insane level to be dancer to perfect level that goes to levels of insanity.

The grotesque aspect combined with the style of the 1940’s makes this collective scene a nightmarish reflection. nightmarish images of the night remind of lost dreams that come back to haunt the viewers with jack’s richly detailed. Vicky the lead character is playing into the dance of the red shoes as she is dancing into madness. It is Vicky’s obsession. She does not understand life at all. She does not get anything beside to dance as her life is centered on dance. Her obsession on dance is insanity levels of madness. She is mad and crazy. I would say she has an obsessive personality.

Vicky’s possession by art transforms her from an aspiring performer to an accomplished dancer, until she transmigrates into something else altogether as she is driven by her  obsessive personality to madness. an unhinged vessel seized by art, thrust into a nightmare world from which there is no escape until her death in the finale. It really is also because of the others around her keep pushing to perfection it drives on her obsessive personality to the point of no return which ends up with her death on the stage.

If not for the mystical possession of Vicky by her art, the story could be mistaken for pure melodrama; but the indefinable miracles in even Powell and Pressburger’s most modest, seemingly realist works provide an element of fantasy. In its simultaneous realist and fanciful approaches, where the back-stage activities are examined while the ballet sequence uses an array of filmmaking techniques to astound the audience with its magic, The Red Shoes has been considered at war with itself as the movie shows her at conflict with herself and her obsessive need. It is her collective madness that does make it far more than a melodrama that turns it to noir levels of darkness that mirrors Andersen’s original story to a tee.

The ballet moves from a typical stage setting to Heckroth’s surrealist painted backdrops, into a world where a church of dramatically elongated shapes. Vicky’s character moves because the red shoes compel her to and because the twisted shoemaker (Massine) controls them like a puppeteer. Notice how the red shoes tie themselves into onto Vicky’s feet, or how all at once Vicky sees the ballet’s shoemaker character as both Lermontov and Julian, both her puppeteers in life. She is very much a puppet being played to perfection by those around her.  The sequence is as much a voyage into Vicky’s mind as it is a rendering of the ballet. Her dancing travels beyond space and time to engage the imagination, flowing together with a flawless unity of music and image. This colorful, limitless universe is where Vicky exists when she dances as we see her to a point of madness that leads to her death.

The Red Shoes, if anything, is accessible to a general audience; even the most cynical viewer cannot help but find themselves dazzled by the beauty of the production and the haunting nature of the narrative about a dancer driven to point of death because of her obsessive need to be a wonderful dancer. The red shoes captures Andersen’s original story  of the red shoes perfectly.

The plot combines Hans Christian Andersen elements with with elements of Dyagilev’s relationships with Nizhinskii and Myasin, and the effect of the younger men’s marriages. Dancer Vicky Page (Shearer) and composer Julian Craster (Goring) are taken up and encouraged by ballet impresario Boris Lermontov (Walbrook). It’s very powerful as it does build upon the elements to give us some rich depth to this idea. It’s very gripping and engaging. It’s interesting as this classic molds together the classic tales of Hans Christian Andersen in a surreal manner that’s a tribute to many classic tales as its very bold and surreal.

The story’s passion for ballet across to the audience. The story is and fascinating, due to the way it is told. The acting is outstanding as ever. The acting by Anton Walbrook, Marius Goring and Moira Shearer are outstanding as they all bring brilliance to the film. The music conducted flawlessly by Sir Thomas Beecham is a bold stand out. The music is just as outstanding as ever. It will stay with you as it does not move along the beats of the story it helps drive it home as it’s very powerful. The ballets shown are magnificently staged. The Red Shoes ballet by Sir Robert Helpmann and The Shoemaker by Leonide Massine, a giant in the world of ballet. His ballet is just outstanding in this classic gem.

The acting of everyone in the cast is really wonderful as ever. I would say Moira Shearer gives us one of finest performances all time. Marius Goring gives such a fine performance. Anton Walbrook gives us one of his finest hours. It is a wonderfully acted movie that really captures the rich wonders of ballet.

Brian Easdale’s musical score really captures the world of ballet to such Dramatic levels of depth. Its richly layered musical score is one of the finest of the golden age. It is a richly detailed musical score that captures the contrasts and layers of this movie.

Its a masterpiece of Cinematography, The glorious colors of the film will stay with you forever as each scene is just such a joy to see with the eyes. Cinematography by Jack Cardiff is just one of the boldest stand outs of this classic gem as it’s ever lovely and enchanting to watch this gem with that such wonders to its richness of its movie.

Michael Powell and Emeric Pressburger’s The Red Shoes is a wonder of  art. It will leave dazzled.The Archers team of Powell and Pressburger aimed high with ‘The Red Shoes’ and scored a bull’s-eye. The film is a feast for the senses: cinematography by Archers regular Jack Cardiff, music, acting and ballet are combined together to make this a truly outstanding classic in every regard. So everyone watch this movie today as it’s simply outstanding as ever. I hope you enjoyed talk about this amazing movie. I was trying address why this movie is masterpiece and considered one of the finest movies ever made.

Having talked about the classics that i felt were some outstanding outlooks of Cinematography by some classics that stand out as the best of movies. Its time talk all of it and really go into some depth about the many outstanding Cinematographers and their Cinematography that captured the magic of movies. Ill talk many outstanding best i can. Its a school of movies that stands among the classics all time.

The wonders of Cinematography

The main functions of the cinematographer really does highlight the best in movies as this tribute shows us how it has really such wonders to it. It is a wonder that movies even exist but without this art we wouldn’t have movies at all. So next time thank the cinematographer too because it’s his job to capture the world of movies.


This sequence was beautifully filmed and conveys a keen sense of Sister Clodagh being malevolently hunted; superb directing, superb camera work. The setting is haunting and atmospheric that makes it one haunting scene that really shows a wonder to cinematography.

We see Bogart in one scene that was shot by Jack Cardiff, Bogart talks about the river. It’s a very amazing scene that shows off some of the most amazing work ever by any cameraman. superb camera work and acting makes this scene a classic.

vertigo the 1958 American psychological thriller film directed and produced by Alfred Hitchcock. Cinematographer Robert Burks. Cinematographer Robert Burks captures the city by the bay in such a way that few people captured it is just a purely magical shot and scene that shows what is the best of the art of Cinematography. It conveys the city by the bay in such a lovely manner. It’s one of the finest scenes ever captured on film. It’s a haunting movie stands among the greatest of movies all time.

The Californian Robert Burks was Alfred Hitchcock’s favorite director of photography. They worked together in more than ten movies, including the successes Strangers on a Train (1951), Rear Window (1954), Vertigo (1968) and The Birds (1963). He is called one of the greatest all time many of his amazing shots such as the many outstanding city shots in vertigo stand out as some fine examples of this amazing artist of the camera. It was some of his shots in rear window that you see many things captured in such details that it brings magic to each scene. The birds you have him capturing tension and fear in a great way that brings out the details of those many wonderful scenes in that movie. It is the art of cinema you see throughout his many works that did bring cinema to new heights. He stands out as one of the masters forever. A legend for all time.

The British Jack Cardiff really stands out as the king of Cinematography, his many works of art in movies stand with many great directors and legends of the screen that worked in his works of art. He should have been a painter instead of being the best color cameraman in the world that captures the world in such details that you ask can any man do this. Well jack truly could capture such magic with such levels of depth you will always be amazed when you see his work.

John Alcott’s partnership with Stanley Kubrick was probably one of the greatest gifts film lovers have ever gotten. Having studied lighting and its naturalistic possibilities that really shines as he captured the raw levels of depth and beauty to such wonderful cinematography,

Wizard of oz was one of first movies I seen as a boy. Its Cinematography really is one enchanting trip down the yellow brick road as it captures the magical feeling really does capture the full magic of movies. It’s just timeless and enchanting as they come. Its story is fun and simple yet charming that’s just enchanting to its many wonderful musical numbers and scenes that showcase something special about this magical film. The wizard oz is timeless and magical as they come. it’s always enchanted me since forever having seen it so many times I can quote it endless and sing it endless any of its songs. It inspired me as a boy it still does its magic to me each day to remind me what’s magical about movies. The wizard of wizard offers the cinema lover looking for magic everything they want, it’s all here, in about two hours of pure entertainment in every way from its wonderful casting to wonderful score it’s lovely sets and makeup design that’s rich and detailed and its costumes that are so amazing too. It’s wonderful in every way to me. I love it just as much now as ever. I would say it’s a masterpiece.

The master of cinema is hitchcock. His many movies really does capture the true magics of cinema. 

Vertigo (1958) starred James Stewart, with Kim Novak as we see this trailer shot of them embracing as they are about to kiss it seems by the cutting process of the scene for the teaser yet the scene plays out differently in the movie which is very much a trick of cutting for the teaser to make something look vastly different. I really love how jimmy plays his character in vertigo with his charm that always has his charming voice and mannerism to his characters. It’s a shot you see really some close up magic of the camera that captures the feelings of both characters on screen.

The psychoanalysis theme plays out in this movie in many ways as the idea of locked doors of the mind. The dream sequence is one of those touches. It really uses the idea of Freudian dream interpretation, guilt complexes, and the miraculous power of psychoanalysis to pull us along into the movie along the way as its cinematography captures this nightmarish elements to such levels of perfection. It is just a masterpiece of the camera.

When one thinks of many outstanding works of cinematography you look to this movie. It captures the city in such levels of detail that few movies match ever. It is just a beauty to behold. It’s the wonders of the art of cinematography as one can see in many great examples today you see how this art really lends it way to crafting the tale of the movies. I hope you enjoyed this tribute to this art.  This is what makes the wonders of movies last forever. 


Sidney Poitier wins Best Actor

Sidney Poitier wins Best Actor Oscar for Lilies of the Field. A 31 days of Oscar blogathon article. Today i have the honor of writing for this year’s 31 days of Oscar blogathon under THE ACTORS! For the fourth consecutive year Once Upon a Screen (@CitizenScreen) joins forces with Kellee (@IrishJayHawk66) of Outspoken & Freckled and Paula (@Paula_Guthat) of Paula’s Cinema Club as they all host it to work in sync with the 31 days of oscar on tcm.Its a great honor to talk about one legend today. So to honor Sidney Poitier for his oscar win in Lilies of the Field.

31 Days of Oscar Blogathon 2016



So today i talk about Lilies of the Field which won Sidney Poitier his Oscar milestone that changed everything. When traveling African-American handyman Homer Smith (Sidney Poitier) stops by a farm in rural Arizona, he is welcomed by a group of Roman Catholic nuns who have emigrated from Germany. Realizing that the farm needs a lot of work, Homer takes on a number of repair projects for the women, who are led by the headstrong Mother Maria (Lilia Skala). Impressed by Homer’s kindness and strong work ethic, the nuns come to believe that he has been sent by God to help build them a chapel. Today is my talk about this wonderful movie.

A classic in the deepest sense that really does have Sidney Poitier give out such a fine performance that he just blew away the system of Oscar award winning forever. It is one of the finest performances by any actor in any movie. It has him play a role of homer smith as a handy man that truly shows a level of kindness to the nuns that many would not have shown. It’s truly one remarkable role for him as he gives out one of his finest performances even if i feel that his performance in A Patch of Blue and heat of the night are very much better. I do say this stands out as one of fine performance by an actor in a role. Everyone else in the cast gives out fine performances too. It has such a wonderful heart and soul as it stands among the classics of Hollywood as one of the finest movies all time.

The Ruth rating:five bette's

So it is Oscar night in 1964. It was a tense night we had one of the biggest shellshocks to happen to the Oscars ever as Sidney Poitier is handed his Oscar. It really is a game changer as much anything.

Sidney Poitier became the first African American to win the Best Actor Oscar and the only one until Denzel Washington for Training Day(2001).

38 years later. By a strange coincidence, Denzel Washington won the Best Actor award on the same night when Poitier received an Honorary Oscar. It was a great honor as Denzel Washington handed him his honorary as one of today’s finest actors handed the award to an actor that broke down the barriers forever. It was so much of an honor.

Sidney Poitier came to the fore of American culture in the 1950s and 1960s as a fine actor, and as an ambassador of America’s long-delayed civil rights movement. While other actors and actresses of color made impact before and after him, Poitier in his time leveraged his mesmerizing screen presence into a culture-changing force. His very first film set off a chain of events that freed his native Bahamas of British colonial rule, and from there he not only became the first black Best Actor Oscar winner – for “Lilies of the Field” (1963) – but was the number-one box-office draw too it truly broke the mold. He broke the ground forever as the first black legend to have a title on the screen.

He has earned our respect for ages. He is far from anyone normal he is one amazing guy that broke down all grounds that shows you anything is possible. Thank you so much to Sidney Poitier you sir did such wonders for the world. He is truly one amazing legend for the ages.