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Joseph Cortese

Review: Windows

[Originally published in Movietone News 64-65, March 1980]

When Richard Fleischer visited the Seattle Film Society last spring, he bridled at the suggestion that Sven Nykvist, rather than he, had been responsible for the frame compositions in The Last Run: “That’s something a lot of people don’t understand.” Certainly no theory of film directing I ever entertained left room for the supposed metteur-en-scène to farm out that particular responsibility to the cameraman; yet it is a fact that there is a Wyler-like look to Ball of Fire (to grab the first Pantheon-class example that springs to mind) that is to be found in no other film by Howard Hawks, and the Wylerian on the premises was almost certifiably cinematographer Gregg Toland. In the lower reaches of film authorship it is not at all difficult to follow the visual spoor of, say, James Wong Howe as he labors for some mightily undistinguished directors (the best “films of Sam Wood” tend to have been shot by Howe and/or production-designed by William Cameron Menzies). And in the wretched The Drowning Pool of Stuart Rosenberg, a recurrence of insinuatingly asymmetrical widescreen compositions and lustrously dim tonal patterns flashes GORDON WILLIS, GORDON WILLIS like a neon sign.

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