Best cinematography
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Best cinematography
As much as the story, noir is known for its distinctive lighting and cinematography. Which film would you consider as having the best? Which one really works for you?
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MissGoddess
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I'm no expert, but the cinematography in ON DANGEROUS GROUND really made an impression upon me. Perhaps it was the contrast of the usual, dark, shiny-wet urban scenes to the glaringly white outdoor scenes. And thirdly, the way the scenes in Ida Lupino's house were shot were entirely different---they felt human and warm while everything else had been barren.
The two which immediately come to mind are OUT OF THE PAST, with evocative cinematography by Nicholas Musuraca and THE BIG COMBO, featuring the brilliantly inventive work of John Alton. These two men (imo) contributed more dazzling technique and overall beauty than anyone else in the genre, one that was overflowing with creative geniuses. But these two are, without a doubt, my favorite examples of noir cinematography at its finest.
Musuraca's handiwork can be found in the amazing STRANGER ON THE THIRD FLOOR (1940) which is generally considered to be the first true American noir film, as well as several of the great Val Lewton-produced horror noirs (CAT PEOPLE, LEOPARD MAN, I WALKED WITH A ZOMBIE).
Alton's noir films were invariably low-budget "B" pictures helmed by interesting directors (Anthony Mann's T-MEN and RAW DEAL), Joseph H. Lewis' THE BIG COMBO and Bernard Vorhaus' THE AMAZING MR. X). The lack of financial resources generally allowed for Alton to rely upon sparse, minimalist effects to create highly emotional visuals. THE BIG COMBO is a classic illustration of this.
Musuraca's handiwork can be found in the amazing STRANGER ON THE THIRD FLOOR (1940) which is generally considered to be the first true American noir film, as well as several of the great Val Lewton-produced horror noirs (CAT PEOPLE, LEOPARD MAN, I WALKED WITH A ZOMBIE).
Alton's noir films were invariably low-budget "B" pictures helmed by interesting directors (Anthony Mann's T-MEN and RAW DEAL), Joseph H. Lewis' THE BIG COMBO and Bernard Vorhaus' THE AMAZING MR. X). The lack of financial resources generally allowed for Alton to rely upon sparse, minimalist effects to create highly emotional visuals. THE BIG COMBO is a classic illustration of this.
MissG wrote: "ON DANGEROUS GROUND really made an impression upon me."
That was George Diskant's stellar work on director Nicholas Ray's great film. He was able to create a masterful look for both "halves" of the film--the first section in the urban jungle of Robert Ryan's nightmarish life as an emotionally overextended cop then later in the snowy rural upstate region where is redemptive rehabilitation takes place. As close to a perfect film as the noir style will permit. Good call MssG!!
That was George Diskant's stellar work on director Nicholas Ray's great film. He was able to create a masterful look for both "halves" of the film--the first section in the urban jungle of Robert Ryan's nightmarish life as an emotionally overextended cop then later in the snowy rural upstate region where is redemptive rehabilitation takes place. As close to a perfect film as the noir style will permit. Good call MssG!!