Official Nominations: Barry Lyndon. The Day Of The Locust. Funny Lady. The Hindenburg. One Flew Over The Cuckoo’s Nest.
One of these is not like the others. The Academy just had to nominate a Streisand movie for something so Funny Lady gets five nominations, this the least deserved. I don’t know if One Flew Over The Cuckoo’s Nest really needs to be here either, but The Hindenburg is worthy even if it isn’t all that great a film. The Day Of The Locust is the only real competition here – while the set design is the highlight, the overall look of the film is strong enough to stand out. Barry Lyndon is the only choice here, with John Alcott and Kubrick working in tandem to create one of the most beautiful looking films of all time – from gorgeous interior lighting to the wide exteriors of various locations it’s of the easiest wins in this category.
My Winner: Barry Lyndon
My Nominations: Bite The Bullet. The Passenger. Barry Lyndon. Jaws. Picnic At Hanging Rock. Deep Red.
There are a number of notable snubs this year – Jaws being the most obvious omission. When I was young, the visions of Amity, the visions of the beach and the ocean were my first glimpses of what North America Summers really looked like – in Northern Ireland it’s grey 90% of the year, so those hazy visuals were like dream. Where the look truly excels from a technical standpoint is the variety of shots – not only the famous zoom to Brody, but the underwater creeping shots, the on the surface bobbing, the longer shots conveying the isolation of the three men in the ocean, and more. From a purely visual point of view, The Passenger may be the only film this year to rival Barry Lyndon, with long shots which are never less than stunning and make you wonder how they were achieved.
Bite The Bullet is all but forgotten now, a shame given it was directed by Richard Brooks and features Gene Hackman, James Coburn, Jan Michael Vincent, and Candice Bergen. It’s basically a bunch of different characters involved in a cross country horse race – think Cannonball Run but without the comedy and cars, but it looks great and showcases plenty of stunning locations. Deep Red, while not as visually stunning is certain later work, features Dario Argento honing his style alongside Luigi Kuveiller. Finally, Picnic At Hanging Rock dazzles not only because of its uncertain ending and chilling tone, but because of the way the cinematography complements the ambiguity, everything looking idyllic and dreamlike.
My Winner: Barry Lyndon
Let us know your winner in the comments!
Official Nominations: The Towering Inferno. Earthquake. Chinatown. Lenny. Murder On The Orient Express
Three period pieces and two disaster movies make up the list this year, with Joseph Biroc and Fred J Koenekamp picking up a deserved win for The Towering Inferno. Earthquake is a fun, effects filled movie but pales to the winner in most aspects, while Lenny is the least interesting looking of the period films. Murder On The Orient Express uses all of the landscape and sets inherent in the story well, while Chinatown has an almost sepia touch throughout giving a subtle sense of age.
My Winner: The Towering Inferno
My Nominations: The Towering Inferno. Chinatown. Murder On The Orient Express. The Godfather II. The Texas Chainsaw Massacre. Blazing Saddles.
Three make it to my list, and joining them is The Godfather Part 2 – lets face it, it’s probably going to be nominated for every applicable category. The Texas Chainsaw Massacre is another unsurprising inclusion by me, a film with a look which has been mimicked countless times, but never matched – not even when Daniel Pearl returned for the remake decades later. Blazing Saddles gets on because it’s always nice to nominate when a comedy has a more or less unique look, while The Conversation has a moody, claustrophobic feel glimpsed through the narrowed lens of long distance shots. Finally, The Sugarland Express sees Spielberg make his first outing with the renowned Vilmos Zsigmond – a partnership which would eventually lead to an official win.
My Winner: The Godfather Part II
Let us know in the comments which film you pick as winner!
Official Nominations: Cries And Whispers. The Exorcist. Jonathan Livingston Seagull. The Sting. The Way We Were.
The official winner this year was Sven Nykvist for Cries And Whispers – arguably a career award for his overall work with Bergman, though there is no doubting that the transition to colour use is stunning here. The Exorcist isn’t a film I typically think of when I think of award-winning cinematography, though once again there are a range of shots which encapsulate claustrophobia and heighten tension. Jonathan Livingston Seagull is not good, but again no getting away from how good it looks at times, while The Sting is at least notable for looking good, even if I attribute this more to the authenticity of costumes, sets, and music. Finally, The Way We Were seems like an unnecessary inclusion to drum up support for Streisand, Pollack, and Redford.
My Winner: Cries And Whispers
My Nominations: Cries And Whispers. The Exorcist. Enter The Dragon. Badlands. Don’t Look Now. High Plains Drifter. The Wicker Man.
Only two migrate to my list. Joining them is Bruce Lee’s biggest film Enter The Dragon, a film which still looks superb today with wonderful shots tracking the progress of the tournament from high above, interspersed with the close up work for the central fights. Malick’s debut Badlands is beautiful at regular intervals along with both Don’t Look Now and The Wicker Man which showcase optimal usage of location. Finally, another film whose power is derived in a great part from location is High Plains Drifter. I’d be happy with any of those last four films picking up the win.
My Winner: Badlands
Let us know in the comments which film of 1973 you think deserves the Best Cinematography award!
Official Nominations: Cabaret. 1776. Butterflies Are Free. The Poseidon Adventure. Travels With My Aunt.
Cabaret gets the expected nomination and win but there’s only one winner in this category for me. 1776 is not a film many will remember or know, a musical overshadowed by Minnelli, Fosse and co. It’s based around George Washington and all that stuff, but it’s a bit crap. I’ve no idea why Butterflies Are Free is nominated here and I could say the same for Travels With My Aunt.
My Winner: The Poseidon Adventure.
My Nominations: Cabaret. The Poseidon Adventure. Aguirre, The Wrath Of God. Cries And Whispers. Deliverance. The Way Of The Dragon. The Godfather. Images. The Last House On The Left.
Only the big two make it onto my list. Cries And Whispers would get the official win next year, but as it’s a 1972 film it makes my list here. The Godfather bizarrely was not nominated so we fix that mishap, The Way Of The Dragon deserves at least a nomination for Cinematography – maybe the only realistic category it deserved to get a shot in, and Aguirre is a gorgeous film underrepresented by The Academy. Images is a very interesting piece with an interesting look. The Last House On The Left is stark in imagery and tone but is a perfect example of making beauty out of something ugly. My win goes to Vilmos Zsignmond for Deliverance – he would get an official win later but his work here deserved attention.
My Winner: Deliverance
Let us know in the comments which film you pick as winner of the Best Cinematography of 1972!
Official Nominations: Fiddler On The Roof. The French Connection. The Last Picture Show. Nicholas And Alexandra. Summer of ’42.
A decent bunch to choose from this year, with Oswold Morris picking up the official win for Fiddler On The Roof. It’s okay, with a few particular shots which stand out but it isn’t something I feel should get the win, especially given the competition. The French Connection is a much better choice, the gritty style perfected and peppered with some scenes made more iconic by the camera work. The Last Picture Show with it’s gorgeous black and white’s giving a feel of both nostalgia and a sense of an era fading away is another fine choice, while Nicholas And Alexandra is the expected epic nomination of the year. Summer Of ’42 falls into a similar bracket with The Last Picture Show, except offering heated colour and shots which spread into the distance like a summer’s day which never wants to end.
My Winner: The French Connection
My Nominations: The French Connection. Summer of ’42. The Last Picture Show. A Clockwork Orange. Dirty Harry. Duel. A Fistful Of Dynamite. Vanishing Point. Walkabout.
I have to add a bunch of classics to my list – A Clockwork Orange being iconic for a variety of reasons, including John Alcott’s cinematography. Cinematography isn’t the first thing to pop into the mind when you think of Dirty Harry but it features consistently strong work throughout, while Duel is a film which relies heavily on how the camera moves and what it allows us to see. A Fisftul Of Dynamite is Leone and Western, this time with Giuseppe Ruzzolini helping out while Vanishing Point allows for free-flowing shots of cars and the stripped away highways of America. Finally, my winner is Walkabout with Nicholas Roeg showcasing the outback as equally dangerous, haunting, hypnotic, beautiful – a freedom which could swallow you whole.
My Winner: Walkabout
Let us know in the comments which film of 1971 you would pick as the winner of Best Cinematography!
Official Nominations: Ryan’s Daughter. Patton. Airport. Tora! Tora! Tora! Women In Love
Some good picks this year, but Lean’s film is really the only choice with Freddie Young picking up the official win for giving Americans false ideals of what Ireland looks like on an average day. The other movies are each fine efforts and each look great, but they don’t stand a chance here.
My Winner: Ryan’s Daughter
My Nominations: Ryan’s Daughter. Patton. Tora! Tora! Tora! The Conformist. Little Big Man. MASH. Zabriskie Point.
It’s a close one between Freddie Young and Vittorio Storaro. In the end, Ryan’s Daughter simply isn’t unique enough – while it looks great, it doesn’t do anything new – The Conformist takes its visuals to the next level making them an indelible part of the story and is unique. Storaro also did The Spider Stratagem and The Bird With The Crystal Plumage this year – the man is a beast. I add MASH and Little Big Man, but they have no hope of winning – the only other possibility being Zabriskie Point with Alfio Contini’s stunning work deserving of praise.
My Winner: The Conformist
Let us know in the comments which film of 1970 you think has the Best Cinematography!
Official Nominations: Butch Cassidy And The Sundance Kid. Anne of The Thousand Days. Bob & Carol & Ted & Alice. Hello Dolly. Marooned.
A clear winner this year, with Anne Of The Thousand Days, Hello Dolly, and Marooned more notable for their interior scenes. I’ve no idea what Bob & Carol & Ted & Alice is doing here.
My Winner: Butch Cassidy And The Sundance Kid
My Nominations: Butch Cassidy And The Sundance Kid. Battle Of Britain. The Gypsy Moths. The Italian Job. On Her Majesty’s Secret Service. The Wild Bunch. Downhill Racer.
I’ve only brought over one film from the official list and I’ve added a few which seem much more deserving than those who did get a nod. The Italian Job speaks for itself, with all those exterior car scenes looking wonderful – the same goes for On Her Majesty’s Secret Service. Battle Of Britain’s features stunning flying scenes photographed by Freddie Young, while in Downhill Racer Brian Probyn compares and contrasts the vast emptiness of the outdoors with the torment and void of its characters. The Wild Bunch of course gets a vote, while The Gypsy Moths does for skydiving photography what Battle of Britain did for aircraft.
My Winner: Downhill Racer.
Let us know in the comments which movie of 1969 is your winner for Best Cinematography!
Official Nominations: Romeo And Juliet. Ice Station Zebra. Star! Oliver! Funny Girl.
There is one obvious outcast here, and that one will obviously be my choice of winner. The other nominees each feel and look too much like stage adaptations to deserve a Best Cinematography win under my criteria so therefore my winner is Ice Station Zebra and Daniel L Fapp.
My Winner: Ice Station Zebra
My Nominations: Ice Station Zebra. Planet Of The Apes. Bullitt. Hell In The Pacific. Once Upon A Time In The West. The Charge Of The Light Brigade.
It’s bizarre that in a year filled with so many stunningly shot films that The Academy fell back upon its old traditional ways and awarded wins and nominations to films which would look essentially identical on stage as they do on film. In that light, my list is almost completely different to the official one, with Planet Of The Apes shooting Earth as a foreign land and offering one of cinema’s most memorable shots and Bullitt showcasing a violent San Francisco in an all American ultra-modern fashion. Hell In The Pacific is a frequently beautiful looking film which doesn’t shy away from showing the wrath of nature and how insignificant man is, while The Charge Of The Light Brigade looks great even if it is largely forgettable. My winner is no surprise, with Tonino Delli Colli again working wonders with Sergio Leone in Once Upon A Time In The West to depict wide barren lands sparsely populated with distant bandits and assassins who seem to hang on the edge of a horizon.
My Winner: Once Upon A Time In The West
Over to you, which movie of 1968 do you think has the Best Cinematography? Let us know in the comments!
Official Nominations: Bonnie And Clyde. Camelot. Doctor Dolittle. In Cold Blood. The Graduate.
An unsurprising mix of movies make the cut this year, with Bonnie And Clyde picking up the official win, Burnett Guffey ensuring that his experience of shooting noir films gave a certain edge to the proceedings. Both Camelot and Doctor Doolittle look stunning but are let down in other areas by being too generic. The shooting of authentic locales with black and white photography gives In Cold Blood a unique look while The Graduate manages to capture a moment in time which remains both timeless and fixed.
My Winner: Bonnie And Clyde.
My Nominations: Bonnie And Clyde. Doctor Dolittle. In Cold Blood. The Graduate. One Million Years BC. Le Samourai. The Fearless Vampire Killers. The Shooting.
I’ve added a few unlikely but worthy picks for my personal nominations, with perhaps the most obvious being One Million Years B.C – a film known for iconic visual moments rather than plot, acting, or direction. The Mediterranean beaches are transformed into realistically threatening pre-historic vistas and as a child watching we never doubt that what we’re seeing isn’t real. The rarely seen The Shooting has a stylized vision which few Westerns have emulated while Le Samourai went on to be highly influential. Finally, The Fearless Vampire Killers is a bizarre mixture of surreal dreamlike imagery and Hammer style atmospheric shots.
My Winner: The Fearless Vampire Killers.
Which film of 1967 do you feel has the Best Cinematography? Let us know in the comments!
Official Nominations: BW: Who’s Afraid Of Virginia Woolf? The Fortune Cookie. Georgy Girl. Is Paris Burning? Seconds. Colour: A Man For All Seasons. Fantastic Voyage. Hawaii. The Professionals. The Sand Pebbles.
Who’s Afraid Of Virginia Woolf? and A Man For All Seasons picked up the wins this year, increasing their impressive respective tallies. Arguably strange choices in both places, particularly as Is Paris Burning? and Seconds have much more impressive and innovative work. On the colour side the winner is an expected and fine choice, but each of the other nominees could arguably be a better choice.
My Winner: BW: Seconds. Colour: Fantastic Voyage
My Nominations: The Bible In The Beginning. The Good, The Bad, And The Ugly. The Plague Of The Zombies. Is Paris Burning? Seconds. Fantastic Voyage. Hawaii. The Sand Pebbles.
Only five films from the official nominations make it over to my list, and to those I add an epic and two genre classics. Giuseppe Rotunno would gain fame later with a nomination for All That Jazz, but his sweeping shots of the approach to The Ark and the generally lavish shots in The Bible: In The Beginning deserve more recognition. Similarly, The Plague Of The Zombies leaves a lsasting impression on the viewer thanks to Arthur Grant’s bleak, atmospheric shots of a claustrophobic English village. The undisputed winner, and yet another shocking omission by The Academy, must be Tonino Delli Colli’s work on The Good, The Bad, and The Ugly. Taking all the tropes of the famous US Westerns of previous decades, and continuing on the path laid out by Dallamano on the previous Dollars movies, the film remains uncompromisingly vast and beautiful today. Horizons stretch out endlessly, specks in the distance draw the eye just as much as the full screen withered faces of the cast – how much of this is actually down to Leone is up for debate. Either way, it’s a clean winner.
My Winner: The Good, The Bad, And The Ugly.
What is your pick for the Best Cinematography of 1966? Let us know in the comments!