Won the 1960 Academy Award for Best Color Cinematography
4 Responses
Thanks for posting this frames. What I think is amazing about Surtees’ cinematography in this film, besides the 2.76:1 frame, is the use of color and the tonal range. Some frames almost look like paintings. I was looking at the chariot race scenes and the shots on the ocean. I think the use of blue and red in some scenes are really amazing. This is a fine example of how a cinematographer can use color to tell the story and create a mood.
For sure. The technicolor and 70mm work so well for this film.
It’s interesting that according to his biographer in “A Talent For Trouble: The Life Of Hollywood’s Most Acclaimed Director, William Wyler” Wyler only accepted the 2.76:1 aspect ratio grudgingly. He thought it was too difficult to fill the frames and compose the shots.
4 Responses
Thanks for posting this frames. What I think is amazing about Surtees’ cinematography in this film, besides the 2.76:1 frame, is the use of color and the tonal range. Some frames almost look like paintings. I was looking at the chariot race scenes and the shots on the ocean. I think the use of blue and red in some scenes are really amazing. This is a fine example of how a cinematographer can use color to tell the story and create a mood.
For sure. The technicolor and 70mm work so well for this film.
It’s interesting that according to his biographer in “A Talent For Trouble: The Life Of Hollywood’s Most Acclaimed Director, William Wyler” Wyler only accepted the 2.76:1 aspect ratio grudgingly. He thought it was too difficult to fill the frames and compose the shots.
Photo’s are of very good clarity. Some photo’s are missing, but a very big THANK YOU for posting this number of photo’s. Keep up the good work.