The Phoenix Network:
 
 
About  |  Advertise
Adult  |  Moonsigns  |  Band Guide  |  Blogs  |  In Pictures
 
Features  |  Reviews
FIND MOVIES
Find a Movie
Movie List
Loading ...
or
Find Theaters and Movie Times
or
Search Movies
2009-year-end-review-see-all

Prince of darkness

Gordon Willis at the Harvard Film Archive
By STEVE VINEBERG  |  November 18, 2009

0911_godfather_main
THE GODFATHER Good luck trying to read Marlon Brando’s eyes.

“Gordon Willis: The Man Who Shot The Godfather | Harvard Film Archive: November 20-30
Gordon Willis, the master cinematographer to whom the Harvard Film Archive pays tribute in a seven-film retrospective beginning this Friday, broke the rules about how to shoot a movie star when he refused to light Marlon Brando's eyes in The Godfather. His aim, he explains in the 1992 documentary Visions of Light, was to maintain Don Corleone's mystery, not to subvert Hollywood-style lighting. But he came into his own as an artist at a time — the Vietnam War era — when movies, influenced equally by the counterculture and by the infusion of innovative European pictures, were looking for alternative and generally darker visions. Moreover, he became a director of photography on the East Coast, far from the traditions associated with Hollywood soundstages.

Willis, who received his training in a film unit during the Korean War, didn't graduate to DP until 1970. He made four movies that year alone, among them Irvin Kershner's Loving and Hal Ashby's debut picture, THE LANDLORD, which closes the HFA series on November 30. The Landlord is an exuberant, sharp-witted piece about a white aristocrat named Elgar (Beau Bridges) who buys an apartment in a Brooklyn ghetto with the intention of tearing it down but instead finds himself being drawn into the lives of his tenants. And it's hard to believe this movie could have been turned out in the first year of any cinematographer's career. Willis gives it a warm, intimate feel, contrasting the summery sequences at Elgar's parents' Long Island estate, where there's a stylized excess of space and the sun drifts in through huge windows in every room of the house, with the dark, crowded Park Slope scenes, where the lives of the men and women in the building spill rudely into the streets. Willis isn't trying to tell us that the Brooklyn apartment house is claustrophobic — his point is that it's layered with humanity. Just by looking at the textured lighting, you understand what pulls Elgar in.

His fellow photographer Conrad Hall dubbed Willis "the prince of darkness" ("He has made an art of underexposure," Hall offers in Visions of Light), but that moniker seems better suited to the work he did on THE GODFATHER: PART II (November 29) than to THE GODFATHER (November 28). It's true that the famous opening shot of the earlier movie shows the face of the undertaker Bonasera (Salvatore Corsitto) against a black background; the setting comes slowly into focus as Francis Coppola tracks back, and it takes a while for us to register the details — a pair of doorknobs, a coffee-table top, the panels in Vito Corleone's study door. But though the film offers some memorable nocturnal images — like that of Sterling Hayden's Captain McCluskey, shadows dancing across his face, as he slugs Al Pacino's Michael Corleone outside the hospital where Michael's father is recovering from an attempt on his life — much of it is shot in the open, in wide, airy spaces. Coppola's work is firmly in the tradition of Jean Renoir and William Wyler; you can't imagine The Godfather without the use of the deep-focus lens. To pick the most striking example, the long sequence at the wedding of Don Corleone's daughter Connie (Talia Shire) — which alternates glimpses of the party with interludes where the godfather is shut up in his study with one petitioner after another — has an enveloping, sensuous depth. The combination of the meticulous period re-creations (the setting is the mid '40s) with Coppola's dense, layered staging and the way Willis lights the space makes it the least remote of all evocations of an American past.

1  |  2  |  3  |   next >
Related: In the realm of Oshima, Sweet smell of skill, True voices, More more >
  Topics: Features , Celebrity News, Entertainment, Sterling Hayden,  More more >
  • Share:
  • Share this entry with Facebook
  • Share this entry with Digg
  • Share this entry with Delicious
  • RSS feed
  • Email this article to a friend
  • Print this article
Comments

ARTICLES BY STEVE VINEBERG
Share this entry with Delicious
  •   PRINCE OF DARKNESS  |  November 18, 2009
    Gordon Willis, the master cinematographer to whom the Harvard Film Archive pays tribute in a seven-film retrospective beginning this Friday,
  •   AWAKE! AWAKE!  |  October 21, 2009
    Sleep No More , the second entry in the American Repertory Theater’s mini-season of revisionist Shakespeare, is the least orthodox production of Macbeth you’re likely to see. In fact, it’s linked to Macbeth as much by poetic allusion as by narrative — which is to say that it’s a little of both.
  •   BRUSH UP YOUR PORTER  |  September 16, 2009
    With its supreme Cole Porter score and its robustly entertaining book by Sam and Bella Spewack, the 1948 Kiss Me, Kate is surely one of the half-dozen best Broadway musicals.
  •   MONSTER MAN AND MORE  |  September 08, 2009
    James Whale's career as a purveyor of marvelous film entertainments was brief.
  •   SINS OF THE PLAY  |  September 02, 2009
    The title of Israel Horovitz's Sins of the Mother (through September 13 at Gloucester Stage) is an ironic misnomer.

 See all articles by: STEVE VINEBERG

MOST POPULAR
RSS Feed of for the most popular articles
 Most Viewed   Most Emailed 



  |  Sign In  |  Register
 
thePhoenix.com:
Phoenix Media/Communications Group:
TODAY'S FEATURED ADVERTISERS
Copyright © 2010 The Phoenix Media/Communications Group