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Beach Scenes

Gavin Millar

1 August 1985
A Man with a Camera 
by Nestor Almendros, translated by Rachel Phillips Belash.
Faber, 306 pp., £9.95, June 1985, 0 571 13589 7
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Players of Shakespeare: Essays in Shakespearian Performance by 12 Players with the Royal Shakespeare Company 
edited by Philip Brockbank.
Cambridge, 179 pp., £12.50, June 1985, 0 521 24428 5
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Year of the King 
by Anthony Sher.
Chatto, 208 pp., £10.95, June 1985, 0 7011 2926 3
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... NestorAlmendros is one of the world’s most sought-after directors of cinematography. He is most closely associated with the French cinema, having shot nine of Truffaut’s films and seven of Rohmer’s, but ...
1 August 1985
Immoral Memories 
by Sergei Eisenstein, translated by Herbert Marshall.
Peter Owen, 292 pp., £20, June 1985, 0 7206 0650 0
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A Certain Tendency of the Hollywood Cinema: 1930-1980 
by Robert Ray.
Princeton, 409 pp., £48.50, June 1985, 0 691 04727 8
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by David Thomson.
Secker, 274 pp., £8.95, May 1985, 0 436 52014 1
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Cahiers du Cinéma. Vol. I: The 1950s. Neo-Realism, Hollywood, New Wave 
edited by Jim Hillier.
Routledge with the British Film Institute, 312 pp., £16.95, March 1985, 0 7100 9620 8
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... unaware of the proximity of her audience, though, really, both the actress and the audience know this is a fiction. For the first idea (our eyes on the back of her head) the great cinematographer NestorAlmendros reminds us in his glowingly honest memoir A Man with a Camera of the trick of the 1940s lighting-man to which Thomson refers – the placing of a ‘light behind to show off the stars ...
8 March 1990
Emotion Pictures: Reflections on the Cinema 
by Wim Wenders, translated by Sean Whiteside and Michael Hofmann.
Faber, 148 pp., £12.99, November 1989, 0 571 15271 6
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Scorsese on Scorsese 
by Martin Scorsese, edited by David Thompson and Ian Christie.
Faber, 178 pp., £12.99, November 1989, 9780571141036
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... only really good part of the episode film New York Stories), starts with an opening iris, one which discloses a brightly coloured surface thick with paint. Scorsese’s episode was photographed by NestorAlmendros, who was responsible for the shots which moved Wenders in L’Enfant Sauvage: but one could hardly call Life Lessons chaste or uncoercive in style. A maestro’s sensuous tour de force, it ...

The ashtrays worry me

Emilie Bickerton: Eric Rohmer

19 March 2015
Eric Rohmer: Biographie 
by Antoine de Baecque and Noël Herpe.
Stock, 605 pp., €29, January 2014, 978 2 234 07561 0
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Friponnes de porcelaine 
by Eric Rohmer.
Stock, 304 pp., €20, January 2014, 978 2 234 07631 0
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... confusedly for something beyond the immediate and sensual. The radical visual style of the film contributed to the impression it made. Rohmer’s cinematographer was the young and untested Néstor Almendros, who had escaped Castro’s Cuba and was therefore shunned by many left-wing intellectuals when he arrived in Paris. Rohmer, though, made friends with him and they went on to collaborate for decades ...

How We Remember

Gilberto Perez: Terrence Malick

12 September 2013
... the part they play on that epic stage lends them dignity and, in turn, the landscape acquires human significance. But while the landscape in Days of Heaven is surpassingly beautiful – Néstor Almendros deserved his Oscar for the cinematography – human things look out of place in it, whether the transient, oppressed farmhands or the farmer’s lofty Victorian house, sitting alone like some ...

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