Geoffrey Unsworth, director of photography
Unsworth does marvelous tricks with his lighting. He gives us a fuller sense of the glory of God.
William Clothier, director of photography
Certainly the snowy climax is impressive enough, but I adore those mountains and rivers and officers' tents. Beautiful work.
Edward Colman, director of photography
Really: it never left the soundstage, yet that exterior is perfectly lit! But, of course, I have to go with the iconic chimney sweeps and the Bird Woman, with that Vaseline sheen on the edges.
MY FAIR LADY
Harry Stradling, director of photography
Also a soundstage show, Stradling gives us equally beautiful day and night.
THE UNSINKABLE MOLLY BROWN
Daniel L. Fapp, director of photography
Subtle work, solidly done.
Oscar and I once again team up to bring you the champion:
MY FAIR LADY
I could have danced in this light
How does one choose here??
Each cinematographer perfectly captured on celluloid the unique nuances, served their stories and stood out as works of art on their own.
I know this is partly owing to special effects, but...the lighting of the live actors in the animated sequence in Mary Poppins, the feeling of close quarters and precarious heights in the Love to Laugh sequence, and the silhouettes when the chimney sweeps dance, is pure magic.
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