2 items from 2016
Joop van den Berg's 1929 poster for AtlanticE.A. Dupont achieved early fame for Varieté (1925), a grimly saucy slice of Weimar doom and spiciness, and followed it up with prestigious British productions Moulin Rouge (1928) and Piccadilly (1929), the latter starring Anna May Wong—but just as his career was on the upswing he fell prey to the advent of sound, producing a big-budget version of the Titanic disaster in English and German versions.Atlantic, or Atlantik, became something of a laughing-stock in Britain, owing to Dupont's unfortunate combination of Teutonic tendencies and technical trepidation. The actors were directed to communicate as slowly as possible, perhaps so that Dupont could follow what they were saying. His desire to inflect each syllable with suitable weight and portent robbed the film of any sense of urgency, despite it being set on a ship that starts sinking around twenty minutes in (none of the ninety-minute time-wasting »
- David Cairns
This week sees the release of the Point Break remake, which is directed by Ericson Core, cinematographer on the original Fast and the Furious movie, Payback, and Ben Affleck’s Daredevil. Core also handles the camera on the Point Break movie, which we reviewed earlier this week.
The film opens in cinemas from Friday, so to celebrate, we thought we’d take a look at the other top cinematographers turned directors.
So, let’s begin…
Ronald Neame – (Born 1911 – Died 2010)
Ronald Neame is a great place to start; the prolific filmmaker started life in 1929 working as an assistant with Alfred Hitchcock on Blackmail, and eventually worked as the cinematographer for forty-seven films starting with Happy (1933). His later works included One Of Our Aircraft Is Missing (1942) and Noel Coward’s In Which We Serve (1942). His final venture was another Coward-adapted play Blithe Spirit (1945), in which he worked with legendary director David Lean »
- The Hollywood News
2 items from 2016
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