American cinematographer (Jan-Dec 1959)

Much as we should like to include here a complete description of the lighting and photographic techniques employed by Shamroy in photograph¬ ing all of the major scenes in “Porgy and Bess,” the limited available space unfortunately places a limitation on this report. But the techniques so far revealed also were employed for the rest of the picture. For Leon Shamroy, “Porgy and Bess” is another milestone — the bright¬ est, perhaps — in his long and illustri¬ ous career. Into this fine picture went Shamroy’s greatest and most imagin¬ ative efforts to date. He has every right to be justly proud of the achievement. BLACK & WHITE IN COLOR Continued from Page 487 The make-up of the players also was subdued to tone down even the natural pigmentation of the skin. White grease¬ paint was used to subdue eyebrows and lips — and yet, great care was taken so that the faces would not appear mask¬ like. On the contrary, the fragile con¬ tours of Audrey Hepburn’s face were lighted to create the effect of an ani¬ mated Dresden figure. The face of the Mother Superior, symbol of authority and detached benevolence, was rimlighted in such a way as to produce almost the aura of a halo. By way of contrast, the face of Peter Finch (who plays the virile and cynical jungle surgeon, Dr. Fortunati) was lighted to accentuate his rugged masculinity. All this is in key with Planer’s conviction that a face is made interesting on the screen, not by means of make-up or tricks of diffusion, but by effective lighting of the facial planes. The nuns seen in the convent se¬ quences were actual nuns and nothing relative to them or their attire could be changed. The habit of the nun is, of course, black and white — two “colors” usually considered too contrasty to be photographed in color without modifi¬ cation. Nevertheless there was no sub¬ stitution of off-white or off-black fab¬ rics made. The habits were shot “as is” and the result is not harsh or disturb¬ ing on the screen. Since the story is basically a study in character, there is a great deal of emphasis on closeups. Both Zinnemann and Planer were opposed to shooting the film in one of the ultra wide¬ screen processes because, whereas the anamorphic lens is perfect for captur¬ ing the sweep of an outdoor epic in which space itself becomes an “actor,” it is not very satisfactory in achieving the intimacy demanded by a more closely confined dramatic subject, be¬ cause ultra wide-screen closeups must necessarily be composed with an ex¬ cess of space at the sides of the frame. For this reason, Zinnemann decided to film “The Nun’s Story” in the mod¬ erate wide-screen aspect ratio of 1.85to-1 just as he did with his Academy Award-winning film, “From Here to Eternity”. All of the exteriors of the convent sequences, which were filmed in var¬ ious cities in Belgium, were purposely shot on overcast days to accentuate the desired somber mood. And yet, the ef¬ fect is not depressing. These scenes have their own subtle beauty, even though there is no brilliant color in evidence. There is a kind of muted glow one finds in old tapestries or oil paintings softened by the patina of centuries. The results are very much in key with Planer’s preference for work¬ ing with subdued exterior light. “Artists always favor skylights on the north side of a studio because they know that true color does not exist in bright sunlight,” he explains. “An even light renders colors in a much more honest way, and from the camer¬ aman’s viewpoint it is technically much more staisfactory since he need not struggle with the problem of hav¬ ing to compromise between exposing for the keylight while trying to get some luminosity into the shadows.” In dazzling contrast to the convent sequences are the scenes shot in the Belgian Congo. The verdant lushness of the foliage itself, the foaming tur¬ bulence of jungle rivers, the colorful trappings of the natives — all combine to produce an almost kaleidoscopic ef¬ fect. In psychological contrast to the earlier sequences one is made striking¬ ly aware that here is life — primitive, violent and surging with color. Thus, one can empathize with the inner ex¬ citement of the young nun as her new and colorful surroundings begin to act as a catalyst — stirring up old fires, re¬ activating dormant emotions, creating acute conflict between dedication to an idealistic goal and the urge to live in the full freedom of worldliness. The photographic quality of the Congo scenes has a character uniquely its own. Instead of sharp contrast there is a peculiar softness (almost as if the sequence had been shot through a light diffusion filter ) which imbues the ac Specialized service > AUGUST • 1959 499