Honorable Mention
Dog (2001)
Like much of Andrea Arnold’s work, her short film, Dog, is captured with a hand held camera
and in a grainy texture. It’s great to see two filmmaking pioneers like Arnold
and Bobbitt creating something together, if ever so briefly. I would love to
see what these two would do on a feature film together.
10. Wonderland
(1999)
Michael Winterbottom’s Wonderland
was the first feature film Bobbitt shot, and while it looks raw as hell (the
film was shot on grainy 16mm stock), the look of the movie is an early capture
of the aesthetic styles Bobbitt would become known for, including natural lighting
vs. neon lighting, vast depth of field shots, and trapping subjects in
by their surroundings.
9. Hysteria
(2011)
What’s most noticeable to me in the period pieces Bobbitt
has shot is the way he manages to infuse vivid color in otherwise gloomy
settings. Hysteria is a great example
of this. The film is set during the Victorian era and much if it is captured
intentionally in natural, depressed lighting, making the bits of color pop
right out.
8. On Chesil Beach
(2017)
Two things to note about Bobbitt’s work for On Chesil Beach. First, I love his
insistence on shooting on film; not many cinematographers have the luxury of
shooting on film today, but Bobbitt’s always makes the investment worth it.
Second, On Chesil Beach is a fine example of Bobbitt trapping emotionally and physically repressed characters in
the frame.
7. Stronger
(2017)
The single take scene in Stronger
where Jeff (Jake Gyllenhaal) has bandages removed from his recently amputated
limps is cause enough for the film to be included here. Bobbitt is a great
practitioner of long takes, and this one is one of his most gut wrenching.
6. Oldboy (2013)
Spike Lee’s Oldboy
didn’t exactly turn out how anyone (Lee included) expected. Regardless, Bobbitt’s work remains a highlight of the film. The central fight
scene (even though it curiously isn’t presented in a single take) is a
breathtaking example of Bobbitt’s mastery of camera choreography.
5. Byzantium
(2012)
Neil Jordan’s Byzantium
covers a lot of time in the life of two vampires, and Bobbitt’s
cinematography is perfectly suited for every setting. I love how he blends some of
the modern, neon-soaked set pieces with the gloomy dread of the 19th
century.
4. The Place Beyond
the Pines (2013)
The Place Beyond the
Pines is a big film with a large scope, and Bobbitt’s cinematography
ingests each sequence of the film with tireless energy. The hand held long
takes, the realistic bank robberies, the manic motorcycle chases, it all helps
to keep Pines well paced and
exciting.
12 Years a Slave
was greeted favorably by the Oscars (it was nominated for nine awards and won
three, including Best Picture), but of all the films Bobbitt has shot, I am
stunned his work didn’t merit an Oscar nomination here. 12 Years a Slave has something that many period films lack: a
visual aesthetic that is continually engaging. Whether it’s the long,
excruciatingly patient shot of Solomon (Chiwetel Ejiofor) hanging, or the
brutal, hand held beating of Patsey (Lupita Nyong’o), 12 Years a Slave may not
be easy to watch, but it was captured
with such a skillful lens that it’s impossible to look way.
2. Shame (2011)
Steve McQueen’s Shame
is one of my favorite films of all time. It’s arguably the movie I’ve discussed the most on this blog. I’ve never been one to shy away from an
opportunity to talk about Sean Bobbitt’s contribution to the film, simply
because it so ingeniously traps us in the tortured mind of the movie’s main
character, Brandon (Michael Fassbender). I love everything about Shame, which includes every long, meticulously thought out shot within it.
1. Hunger (2008)
I once spent two consecutive weeks taking screenshots of
every single shot in Hunger, as a way
of showcasing the skills of Sean Bobbitt and Steve McQueen (in addition to
editor Joe Walker). The movie contains 468 shots total, which was more than I
thought before I began, but my idea was to visually illustrate how every shot
in the film is not only important, but beautiful in its uniquely poetic way.
Make no mistake, Hunger is an ugly film in its brutality, but the lyricism
of its cinematography is a huge achievement. Every time I brave a new viewing
of Hunger, I am absolutely transfixed
from frame one.
Holy shit, I forgot he shot Wonderland as it's one of my favorite films by Michael Winterbottom. The look of that film is one of the reasons why I love it as I'm someone who is fond of grainy cinematography.
ReplyDeleteThe stuff he's done with Steve McQueen is incredible as I'm also excited for Widows. I love what he did in The Place Beyond the Pines as well as Dog and Stronger that I saw 2 months a few ago as I love what he does as a photographer.
I honestly forgot he shot Wonderland as well. I'm so happy to hear you like that movie as well. I love its grainy aesthetic. Soooo excited for Widows.
DeleteThe three films he did with Mcqueen + Byzantium are my favorites. Those were beautifully shot.
ReplyDeleteRight?! His collaboration with McQueen is one of my favorite director/DP collabs in film right now.
DeleteI had no idea the same guy shot all of those, very versatile! Yeah, Shame is my favorite here too. Love the shots you posted particularly the imposing one of him standing over Mulligan
ReplyDeleteThat whole scene in Shame is so damn dangerous. You have no idea what these two people are going to do. That shot is so terrifying. Like, "Oh, no. What the hell is about to happen here?"
DeleteI've seen numbers 2 through 6 and they are all fantastic looking films.
ReplyDeleteThe Oldboy remake is an odd curiosity for me. The hammer fight does look great. Glad you recognized it. The movie as a whole is a miss, but I don't think it's as quite as big a miss as people make it out to be. For that reason, I'm hopeful Spike's director's cut sees the light of day at some point. Both he and Brolin swear it's far superior to what we were given. And this is coming from someone who, even though a Spike Lee fan, did not want him to do this film at all.
Now, I have to see Hunger.
Completely agree about Oldboy. I didn't think it was nearly as bad as the majority made it out to be. I remember when it was released, Spike was uncharacteristically tight lipped about his thoughts on the film. Which, to me, seemed like Spike was under contractual obligations to not speak badly about the film. But now that there's some distance since its release, he's been more open about how the studio had full control over Oldboy, which is not the way to handle a Spike Lee film. Basically, I would love to see a director's cut of that movie as well.
DeleteAnd YES, please see Hunger when you can. It is a brutal film, but so very well done.
Great list that invites me to pay closer attention to the work of Sean Bobbitt.
ReplyDeleteI've seen the films on positions 2,3,4 and 6 on your list, and they're all works of art that I have a great deal of respect for. This includes Spike Lee's misguided remake of Oldboy which, as you rightly point out, offers plenty for us to chew on and appreciate.
Hunger is one that has been sitting pretty on my must-watch list for a long time. Honestly, I'm a bit fearful of it. I think it may be one of those works that I am only capable of watching once whilst trying not to fall into a depressive mood that may drape over me for days. Like Hunger, there are other films like it on my list. Sometimes, my mind wants to partake into these cinematic adventures, but my heart can't take the suffering. :P
Thanks so much! I totally get your apprehension of watching Hunger. It is a very brutal and dangerous film. But it is also incredibly patient and slow paced at times. It's really unlike anything I've ever seen. Sort of a motion picture as art installation. Incredible, though. Would love to hear your thoughts on it!
Deletethanks for featuring his work...
ReplyDeletemuch I've not seen and some pieces I'd love now to revisit.
Thanks so much! Widows would DEFINITELY be on here too.
DeleteI really need to get around to watching Shame and Hunger. I own both on blu-ray and they have been in my movies to watch pile forever now. As for the movies i have watched here, i would say The Place Beyond the Pines is my favorite. The movie itself kind of drags at parts in my opinion, but it always looks stunning.
ReplyDeletePlease let me know when you watch Shame and Hunger. Two of my all-time favorite films. They are so damn powerful and unflinching.
DeleteI'm such a big fan of his work. That image you chose from Byzantium was really captivating (Neil Jordan's films are always such a visual feast) and of course I loved his work in Hunger and Shame (masterpiece). That scene of dialogue between Cunningham and Fassbender is terrific, and I couldn't pick just one moment from Shame... I also liked a lot some parts from The Place Beyond the Pines, the way they show at the beginning Gosling's character, his introduction, is great too.
ReplyDeleteSo happy you're a fan! It was so hard to pick just one (or a few) images for each film. I absolutely love Bobbitt's style. He did great work with Widows as well!
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