Best Cinematography, 2004
(Click on the linked film titles for reviews of the corresponding films.)
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Nominee Robert Richardson The Aviator 1:1 |
Scorsese's movies are never visually subtle, and neither are the winners in the category. The Aviator's Barnum-like collage of aerial shots, vibrant colors, and over-the-top lighting effects should put former winner Richardson (JFK) in good stead. |
Except for a possible religious revival or a groundswell behind Daggers or Deschanel, which both face their own problems, I doubt Richardson has much to worry about. |
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Zhao Xiaoding House of Flying Daggers 5:2 |
The film's voluptuous play with wide and sumptuous color fields, combined with its dreamlike action in treetops and billowing
fields, make it a visual tour de force. Fans of Hero will also be backing this film, even with a different D.P. Scads
of critics' awards.
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Daggers was abandoned at the nomination level by lots of groups who you'd think would have been impressed: costume
designers, art directors, the foreign-language committees, even plain ol' directors. Being pretty isn't enough to win you
this trophy, especially if you're a foreign-language picture.
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Caleb Deschanel The Passion of the Christ 3:1 |
Deschanel is now a five-time nominee and a well-respected name who deserves a win somewhere along the way. Say what you
will about The Passion, it generated some of the year's most memorable imagery.
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Divisive opinions about the film won't help; nor will the fact that technicians don't tend to benefit from the "payback"
principle of overdue or compensatory wins by which actors and directors are sometimes rewarded.
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John Mathieson The Phantom of the Opera 25:1 |
Based on this nomination, some people apparently think "best cinematography" means, "Wow! Look at all those colorful gowns!
Look at all that fake mist!"
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Thankfully, or at least presumably, or at least hopefully, other people realize that "best cinematography" means good
cinematography, preferably in a genuinely good movie.
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Bruno Delbonnel A Very Long Engagement 25:1 |
The lenser of Amélie is back with his second nod, this time adding some sepias and some earth-toned battle scenes to his already wide repertoire of colors and textures. |
A Very Long Engagement wasn't the popular hit that Amélie was, and House of Flying Daggers will probably
steal the subtitle vote.
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