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A group of unique directors and the essential works that you've got to see.

||| John Huston |||
John Huston

Over the span of his impressive career director John Huston created one of the most distinctive signatures in the history of the movies without limiting the incredible range of his subject or choice of genre.

At first it's hard to believe that macho director John Huston could be responsible or such a sweet and touching story of a Novitiate nun (Deborah Kerr) and a Marine (Robert Mitchum) dependant on one another as they hide from the Japanese on a Pacific island, but for those familiar with "The African Queen" it isn't hard to see his influence on the strong yet subtle impressive performance he draws from Mitchum and the ever present excitement he creates in this WWII drama. In Widescreen!

Only a director as abundantly macho as John Huston could so adeptly handle such testosterone laden stars Sean Connery and Michael Caine in this rousing Rudyard Kipling adventure set in 1800s India. Huston masterfully balances the fun of male camaraderie with constant imminent danger as the two soldiers attempt to dupe a remote village of their gold by passing off Connery as a god, and in the process produces a Kipling adventure to rival "Gunga Din". Widescreen

Huston co-wrote this gritty and trend-setting drama about a gang of small-time crooks who plan and execute the "perfect crime". This is the grand daddy of caper films executed with a firm expert hand that unflinchingly guides the raw performances (including Marilyn Monroe in her first role) of these dark and ill-fated characters.

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Oscar Handicap 2014: Cinematography

By EdwardHavens

March 1st, 2014

For this article, we will examine how the directors of photography stack up against each other.

Oscar Handicap 2014: Cinematography

(For explanations as to how our scoring system works, make sure to read our first article in the series, Best Picture of the Year, linked at the bottom of this article.) The discipline of making lighting and camera choices when recording photographic images, the Cinematographer works with the director to decide the overall look of the film. Purists have lamented the rise of digital intermediate technology, where the director and cinematographer can fine-tune the look of individual scenes and even single frames by computer, is quickly killing the fine art of cinematography, but until the Academy creates a Best DI category, this is what we'll have to deal with.

The Breakdowns
1) Oscar winning cinematography has come from lensers also nominated for the same award at the BAFTAs 31 of the last 35 ceremonies (88.57%). Advantage: Delbonnel, Lubezki, Papamichael
2) Shooters of stories predominantly set outside the past twenty years have won 30 of 35 (85.71%). Advantage: Delbonnel, Le Sourd
3) As long as you're not the nominee in the lowest grossing film at the time of the nominations, you've won 29 of 35 (82.86%). Advantage: Deakins, Delbonnel, Lubezki, Papamichael
4) Cinematography winners have come from films whose directors have also been nominated 28 of 35 (80%). Advantage: Lubezki, Papamichael
5) Cinematography awards have been given to films also nominated for Best Achievement in Production Design 27 of 35 (77.14%). Advantage: Lubezki
6) Winners here have come from Best Picture nominees 27 of 35 (77.14%). Advantage: Lubezki, Papamichael
7) A previous nominee for Best Cinematography has gone on to win 20 of 35 (57.14%). Advantage: Deakins, Delbonnel, Lubezki
8) The winner of the Best Cinematography Award from the American Society of Cinematographers has won here 10 of the 27 years the ASC has given out awards (37.04%). Disadvantage: Lubezki

By The Numbers
Lubezki's work in helping to create zero-gravity will likely win here, while eleven-time nominee Deakins, inarguably the greatest living cinematographer, will once again go home empty handed.
Roger Deakins, "Prisoners": -1, -2, +3, -4, -5, -6, +7, -8 (98 of 272, 36.03%)
Bruno Delbonnel, "Inside Llewyn Davis": +1, +2, +3, -4, -5, -6, +7, -8 (150 of 272, 55.15%)
Phillipe Le Sourd, "The Grandmaster": -1, +2, -3, -,4 -5, -6, -7, -8 (68 of 272, 25%)
Emmanuel Lubezki, "Gravity": +1, -2, +3, +4, +5, +6, +7, +8 (177 of 272, 65.07%)
Phedon Papamichael, "Nebraska": +1, -2, +3, +4, -5, +6, -7, -8 (116 of 272, 42.65%)


All articles in this series:
Best Picture of the Year
Best Director
Best Actor and Best Actress
Best Supporting Actor and Best Supporting Actress
Best Cinematography
Best Original Screenplay and Best Adapted Screenplay
Best Foreign Language Film
Best Animated Feature