Also, Tati’s Playtime and Dreyer’s Gertrud.
Gertrud?
The Darjeeling Limited, Days of Heaven, The Thin Red Line, Ran, The Last Emperor
Gun mit dem Wint
vhere der Kapitan Rhett sagen, “Frankly mein Dare, ich nicht give ein Damnit!”
:-)
Another vote for ‘Vertigo,’ ‘Days of Heaven’ and ‘The Red Shoes’.
Also:
‘Cries and Whispers’ (thematically this is some of the most stunning use of color I’ve ever seen)
‘Death in Venice’ (the whole thing is so beautiful it almost hurts, and the final images of Tadzo in the sea are truly breathtaking, regardless of your sexual orientation)
‘Star Trek: the Motion Picture’ (the tripartite journey into the heart of the alien ship is a work of art in its own right; watch it in black and white and then in color, and the difference is a revelation)
‘Twilight of the Ice Nymphs’ (Without the color this wouldn’t be half as much a cinematic dream as it is now).
I think Vertigo looks great in color. Such vibrancy.
Ashes of Time Redux!!!!!!!!
By far
In the Mood for Love
2046
If you saw Ashes of Time, you’d see it’s Wong’s most beautiful film.
Ran. In my opinion it is the most beautifully shot color film ever made.
But let’s not forget The Searchers. And what about Bergman? Cries and Whispers is pretty colorful as far as he goes.
The 2nd part of Godard’s “In Praise of Love”
Ashes of Time is just so beautiful that you don’t mind it is impossible to experience any other way.
Prospero’s Books has amazing colour …but then again which Greenaway doesn’t
What about Wenders?
Don`t come knocking ist very well colored. Very beutyfull production design + Franz Lustig.
Ashes of Time
In the Mood for Love
Ran
Raise te Red Lantern
2001
Thief of Bagdad
Days of Heaven
Fantasia
The Cook The Thief His Wife & Her Lover
Suspiria
Lady Vengence (Chan-wook)
Hero (Yimou)
The Last Emperor is the Citizen Kane of cinematography. Storaro is a genius and work like that will never be duplicated.
Hi folks. I’m new here. Since I got a DVD player 6 months ago, I’ve been watching films like mad and I am rarin’ to talk film….My only little observation on this topic is that those films done in Technicolor seem to generally have a color vibrancy I’ve never seen elsewhere. And I mean even those done in the 30’s. Off the top of my head,f or example, the colors of “Gone with the Wind” were incredible; but, of course, I did not continue to watch this astonishlingly bad RACIST film. It’s hard to beleive that Vivien Leigh , whose acting in the film was awful, is the same person who did Blanche in “A Street car named Desire”, an incredible astonishing performance. Anyways, I love watching Technicolor films… Marco
Band of Angels by Raoul Walsh
Third vote for EYES WIDE SHUT. Deep, vivid blues, yellows, oranges, reds, purples, greens, teals…the whole nine yards.
Also another vote for SUSPIRIA…great use of gradient between colors!
Curse Of The Golden Flower (Yimou)
House Of Flying Daggers (Yimou)
Kwaidan (Kobayashi)
The Red Shoes (Powell Pressburger)
The Quiet Man (Ford)
Blue Velvet, Vertigo, another vote for Eyes Wide Shut and for Suspiria! (probably my all-time favourite use of colour.)
The River (1951), by Jean Renoir.
>>My only little observation on this topic is that those films done in Technicolor seem to generally have a color vibrancy I’ve never seen elsewhere. And I mean even those done in the 30’s. Off the top of my head,f or example, the colors of “Gone with the Wind” were incredible; but, of course, I did not continue to watch this astonishlingly bad RACIST film<<
Hello, Marco.
Yes, there really was nothing to rival 3-strip Technicolor for years & even the single strip color film developed in the 1950s shows Technicolor processing to be superior to other companies’, such as Eastmancolor and Pathe.
I think we’re getting back somewhat to 3-strip’s vibrancy and depth of color now that there are computer programs to tweak color in post-production. Recently saw THE FALL and the color there is gorgeous.
Also “Vertigo” — the green light coming through the window which turns into a backdrop for the lover’s embrace. Hitchcock was a great colourist. I seem to remember a lot of interesting colour in “Torn Curtain,” a film that felt me otherwise underwelmed. Its ages since I’ve watched it, but I’m sure the ball scene in “To Catch a Thief” will offer plenty of eye rhymes.
Lola Montes is stunning — each flashback has its own colour scheme, and the chromatic weavings created by the costume and choreography in the circus scenes are overwhelming. The colour turns the film into a mordant beauty — you can get the restored edition on R2 now. Renoir’s “The Golden Coach” has a wonderful use of blue lights and backgrounds and takes its scheme from the harlequinade. Also in watching Sirk its interesting to note how the dramatic effect of his colours vary from film to film — the softer romantic spectral blues and reds of “All That Heaven Allows” compared to the harsh, gaudy plasticky colours of the apocalyptic “Written on the Wind.”
“Leave Her to Heaven” is indeed a great technicolor film — the main colour bearers in that film are Gene Tierney’s costumes and lipstick. The film has country settings (muted greens and browns) which create the striking contrast with her clothes, it gives the film a weird kind of hyper-reality. Not quite expressionism but something close. Rouben Mamoulian was a pioneer of technicolor and he made one of the great colour films with “Blood and Sand”, using El Greco paintings as his inspiration. Nicholas Ray’s “Bigger Than Life” is a good colour film (I still see the scene with all the yellow taxi cabs). And “Bonjour Tristesse” is a personal favourite. I would also have to mention King Vidor’s “Duel in the Sun” — the ketchup red desert where the lover’s ultimately shoot each other to death.
As for post-technicolor films — I’ve just watched The Bitter Tears of Petra Von Kant in the last couple of days and loved its stlyization. Absolute epitome of chilly 70s euro-chic. And Scorsese’s colour sense is one of the main reasons why I watch his films — especially “The Age of Innocence”; “Casino”; and the faux technicolor of “The Aviator”.
2001
Moulin Rouge
Suspiria (don’t ask)
Oh, and I just forgot to mention one of my all-time favourite films — Minnelli’s “Some Came Running”. He said he wanted it to look as if it ahd been shot from the inside of a jukebox — the carnival climax is extraordinary and hellish. Stunning.
Cosign on In The Mood For Love and Contempt. Any Malick really, but particularly Thin Red Line for me. Also, has anyone mentioned Black Orpheus?
Solaris
Stalker
Once Upon a Time in The West
Days of Heaven
The Thin Red Line
The New World
César
Vertigo
2001 Space Odyssey
Kill Bill
Crouching Tiger Hidden Dragon
A Room with a View
Howard’s End
In the Mood for Love
2046