"When a director dies, he becomes a cinematographer." That softly devastating one-liner, initially applied, I believe, to Josef von Sternberg, perhaps comes from a prejudice against the purely visual and formal elements of film, a feeling that they should never be allowed to dominate the dramatic elements, the plot and performances. But what about directors who started life as cinematographers?
Carlo Di Palma, best known for his shiny, cool, hypnotic work with Antonioni in the sixties and after, and for a long string of Woody Allens in the eighties and nineties, directed only a few films. Blonde in Black Leather (1975), his second, offers clues as to why, as well as making one regret that he wasn't more prolific. Co-written with Barbara Alberti & Amedeo Pagani (who previously collaborated on The Night Porter), it's a female buddy road movie with one foot in the western genre, another in the gangster flick, and...
Carlo Di Palma, best known for his shiny, cool, hypnotic work with Antonioni in the sixties and after, and for a long string of Woody Allens in the eighties and nineties, directed only a few films. Blonde in Black Leather (1975), his second, offers clues as to why, as well as making one regret that he wasn't more prolific. Co-written with Barbara Alberti & Amedeo Pagani (who previously collaborated on The Night Porter), it's a female buddy road movie with one foot in the western genre, another in the gangster flick, and...
- 8/26/2010
- MUBI
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.