SHOCK looks at 15 visionary cinematographers in the genre.
A lot of a film’s style and vision is often solely attributed to the director and sometimes the screenwriter but often overlooked, but equally relevant (sometimes more relevant) is the cinematographer.
Can you imagine what celebrated films like THE LAST OF THE MOHICANS, STALKER or 2001: A SPACE ODYSSEY would have looked like without their associated DP’s behind the lens, pushing their fingerprint on the image?
Cinematography is key to a successful motion picture and horror films are no exception.
SHOCK examines 15 examples of outstanding, mostly contemporary, cinematography within the horror universe…
BLUE VELVET (1986) DP: Frederick Elmes
Early David Lynch lens-man Frederick Elmes (WILD AT HEART & ERASERHEAD) helped to paint the psychotic, nightmarish suburban look of BLUE VELVET. In conjunction with Lynch’s offbeat, surreal and rogue approach to film making, Elmes was always on deck to ensure this nightmare environment could thrive. My god…the scene where Ben lip-syncs “In Dreams” by Roy Orbison still haunts our psyche.
UNDER THE SKIN (2013) DP: David Landin
Even if you were not a fan of Jonathan Glazer’s English/American sci-fi flick, no one can deny its beautiful look. The shots through the fog and rain riddled treeline are totally nightmarish and David Landin’s (THE UNINVITED) work, although Kubrick-esque, is simply breathtaking and haunting.
ROSEMARY’S BABY (1968) DP: William A. Fraker
A timeless masterpiece from the brilliant, love him or hate him Roman Polanski and based on the novel by Ira Levin. William A. Fraker (SHARKY’S MACHINE & EXORCIST II: THE HERETIC) assisted in fleshing out the distinct style of this horror head-trip; recalling all of Rosemary’s exquisitely surreal nightmares makes us want to re-watch this for the hundredth time.
ALTERED STATES (1980) DP: Jordan Cronenweth
Lurking underneath Ken Russell’s psychedelic and terrifying assault on the mind is the seasoned craftsmanship of cinematographer Jordan Cronenweth (BLADE RUNNER & THE TOUCH OF SATAN). Cronenweth’s imagery complements the surreal flare associated with Russell’s genius (or madness.); his visions/hallucinations are horrifically euphoric. If only ALTERED STATES could be re-released to theaters!
JAWS (1975) DP: Bill Butler
Director of Photography Bill Butler (DEMON SEED & FRAILTY), even though relatively green himself, still managed, almost effortlessly to paralyze us in fear with his flawless camerawork in this early Spielberg classic. Remember the incredible focus pulling through some ratty glass of a building and out onto the open ocean? Cinematic purity!
THE COMPANY OF WOLVES (1984) DP: Bryan Loftus
Neil Jordan’s cult masterpiece is an adult fairy-tale still drooled over by cinephiles. The Direction is high-caliber; the costumes and sets are stunning and cinematographer Bryan Loftus (ANTI-SOCIAL) masterfully adds his own magic into THE COMPANY OF WOLVES – almost worth watching just for the photography.
THE HUNGER (1983) DP: Stephen Goldblatt
Not the best adaptation from its original source material, but Holy Hell, we’ll be damned if this isnt a gorgeous-looking horror feature. Stephen Goldblatt (OUTLAND & LETHAL WEAPON) delivers the Gothic style that has become synonymous with the late Tony Scott’s cult shocker. The drool-worthy intro sequence alone (seen above) captivates right away. The sex scene with Sarandon and Deneuve was also pleasant on the eyes.
PSYCHO (1960) DP: John L. Russell
Can’t have this kind of list without referencing the contributions from the master of suspense, Alfred Hitchcock. The cinematography in PSYCHO became the template or instruction manual for many horror films post-1960. John L. Russell (THE BEAST FROM 20,000 PHANTOMS) is the undisputed champ of early cinematographers.
THE EXORCIST (1973) DP: Owen Roizman
Aside from the mind-altering direction, THE EXORCIST’S distinctive feel can also be attributed to the talented DP Owen Roizman (THE FRENCH CONNECTION & THE STEPFORD WIVES). The footage of Father Merrin (Max von Sydow) standing before the statue of Pazuzu while dogs fight in the background across a dusty desert landscape scares the crap out us just thinking of it.
REQUIEM FOR A DREAM (2000) DP: Matthew Libatique
Yes, not literally a horror, but it is still one of the most terrifying films ever made. Horror or not, Matthew Libatique (long-time Aronofsky collaborator – Pi & BLACK SWAN) delivers a high-octane, visceral, yet hauntingly epic cinematography experience. The pier shots are gorgeous! The unforgettable climax at various hospital locations will leave you clutching your stomach in queasiness while making you fall in love with the experience.
THE SILENCE OF THE LAMBS (1991) DP: Tak Fujimoto
One simply has to watch the Blu-ray commentary to get the extent and caliber of the cinematography involved in Jonathan Demme’s take on Harris’ novel. Check out Tak Fujimoto’s (BADLANDS & DEATH RACE 2000) style during all the quid pro quo sequences at the Baltimore State Hospital and later when a caged Dr. Lecter embraces Clarice’s anecdote about the screaming lambs – simply spectacular.
ALIEN (1979) DP: Derek Vanlit
Easily top of its class, Derek Vanlit’s (DRAGONSLAYER & X-MEN) contribution to the look of ALIEN is magnificent to say the least. The cinematography is so imposingly great that one could simply watch this film with no audio and be mesmerized. The slow tracking movements through the corridors of the Nostromo are amazing, especially when the camera moves past massive metal doors and into a hanger…the dripping water onto the lens was an added touch.
ANTICHRIST (2009) DP: Anthony Dod Mantle
Anthony Dod Mantle (28 DAYS LATER & DREDD) literally takes us into the intoxicating bowels of hell with this Lars von Trier horror entry. The visual atmosphere clings to you like a filthy second skin. The framing and camera movements inside the cottage are off the charts. The cinematography escalates as we delve into the thick of those sinister woods; so powerful it is almost soul-draining.
THE SHINING (1980) DP: John Alcott
This film would likely make anyone’s list…the cinematography in THE SHINING is what aspiring filmmakers strive to achieve. The continuous tracking shot behind Danny on his tricycle throughout the hallways is still jaw-dropping. John Alcott (A CLOCKWORK ORANGE & THE BEASTMASTER), a long time colleague of Kubrick, helped to forge the classic atmosphere lurking within the Overlook Hotel.
SE7EN (1995) DP: Darius Khondji
Earning top marks is David Fincher’s hallmark achievement, and let’s be honest, his cinematographer Darius Khondji (THE CITY OF LOST CHILDREN & THE BEACH) deserves to share in the credit as well. The cinematography is so pure and potent it almost becomes a character; there are too many wonderfully executed shots and compositions to mention, but in particular, the climactic sequence in the open fields under massive hydro towers is cinematic heaven (and it is the only time in the film when there is legitimate sunshine). We could write an entire piece on this film alone and many have.
