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Low Key Lighting In The Godfather

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1. The Godfather series is known for their dark and Gordon Willis is an American cinematographer whose most well-known work includes his work with Francis Ford Coppola and The Godfather series. Willis is most known for his use of extremely low lighting where in some scenes, it is so dark it is almost impossible to actually see what is happening on the screen. The beginning scene of The Godfather starts with a low-key light setting where you only see the Godfather and the person he is talking to while the entire background is darkened out. The specific video I chose shows how dark scenes in The Godfather actually are. Gordon Willis uses mostly low-key lighting in the entirety of the film. Low-key lighting makes the scene seem more eerie and
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The crime scene at the beginning of the film, for example, used a low angle view to show the body floating from underwater. Low key lighting is often represented when scenes are shot inside Norma’s home. The interior shots are also tightly framed shots with extreme camera angles it gives off a depressed, claustrophobic environment. In the exterior shot, the scenes are in high key lighting and use realistic lighting to give off a lively atmosphere that Joe does not experience while inside the home.

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Donnie Darko is a fiction movie written and director by Richard Kelly and release for a sci fi, drama, tragedy, romance and thriller. It is a serious exploration of physical and metaphysical reality. This movie explains the meaning of madness, the ability to perceive the divine, and the possible overlap between them. This complex demonstration can be translated as heroism and sacrifice in the everyday life of Donnie Darko. The movie is centered around a young 17 year old biy names Donnie Darko.

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These different lighting techniques are applied in the movie to help set the tone and mood for the film scene. The

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Mr. Burns has multiple instances of the lighting affecting the overall mood of the play. As previously mentioned, the first act has a generally somber mood, and the lighting of the first act is very tactically dim. The lights would shift to focus on the speakers but would strategically be low so that our main focus was on the actors and not everything around them. The second act requires a lot from the set so there are a lot more lighting, and it’s a lot brighter all across the board. The third act has more serious tone so the lighting is brighter than the first act but very minimal.

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In both films, a lot of the actions were taking place outside, so mostly sunlight was used and for the interviews the light was adjusted

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What makes The General significant is its use of diffusion and backlight. Bert Haines (1896-1991) shot the film on panchromatic film in sepia tone. Giving the film a pleasing dynamic image. Throughout the film, Haines capitalizes on the recent technological innovations in the 20’s with lighting instruments. Lighting the exterior of most shots balances the interior so that there are no harsh shadows on any of the faces.

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In the movie, Edward Scissorhands, Tim burton uses low-key lighting when Peg meets Edward for the first time in a castle. Edward was sitting in a dark corner and there was just enough light to see his face but not his clothes. This shows the amount of loneliness of Edward and that he was sad and frightened but also willing to make a friend when he approaches Peg. Also, in the movie, Charlie in the

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The only lighting that is shown was a natural lighting coming from the window of the apartment. Tarantino has a great

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The critically acclaimed film, Goodfellas, is a gangster crime drama that features an incredible amount of talent. Household names such as: Robert De Niro (Jimmy Conway), Joe Pesci (Tommy DeVito), Paul Sorvino (Paul Cicero), and promising stars like Ray Liotta (Henry Hill) and Lorraine Bracco (Karen Hill), attracted numerous Oscar and Golden Globe nominations. That type of cast power, linked with the signature talent of Martin Scorsese as a director, made for cinematic gold. Unquestionably, the actors and actresses did an excellent job augmenting the verisimilitude of this film and compelling audiences to empathize with their characters. But the cinematography in this film plays just as large a role in having audiences feel what the characters

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The use of background light was an important focus in this picture, there was less attention to lighting the actors faces but in almost every frame there is well placed background light often combined with a moving light source. Repetition was also evident within the visual composition of the frame, the actors were rarely positioned within the center of the frame but always to the left or the right with a light source covering them from behind. Ridley Scott perfectly matches colorful high key light with low key lights creating impeccable contrast, this lighting used could be described as a modern Citizen Kane style. Although this is overall a very dark and low light film, the motif of shadows and darkness allows the beauty of light to truly be

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Tim Burton 's use of this helps show the contrast of the insider and outsider world. When the viewer is watching they get a sense of suspense and start to second guess whether or not they should trust the outsider. In Edward Scissorhands Burton uses a high-key low-key light contrast when Peg is in her car and sees Edward 's house in her side mirror. When the viewers are watching they get a frightened sense and wonder whether or not Edward or whomever is in the house will

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As a result, The Godfather ends up becoming a successful blockbuster, but it’s also artistic, and reflective of our society. The Godfather caters to both casual and critical audiences. Coppola uses graphic violence to draw in casual viewers, but he draws in critical viewers by having the film become a social critique of society. Auteur films are meant to give us a view of the world. In addition, the film draws parallels between the mafia and the police, by essentially stating that our society is corrupt.

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The use of contrast and the play with light and darkness is fascinating. It has a great psychological effect on the audience. The Don Corleone’s office is submerged in darkness and the characters in the scene come in and out of the light, thereby directing the focus onto them. A very large part of the film is shot in low key lighting, to emphasize on the theme of the film which is essentially, the life story of the Mob in

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To represent this low key lighting is used in Charlie’s home to show that the reality of his life is there living in poverty. This pattern continues in the cult classic Edward Scissorhands. The town that Edward is welcomed into is in high lighting to signify that it is the life that he never had. He wants to be accepted and loved and this is the place that his wish comes true. Unfortunately we know that his fantasy is unrealistic and there is no way he can live normally.

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The film Lord of the Rings: The Fellowship of the Ring makes use of low key and high key lighting. The low key lighting is seen when Gollum is first introduced in an ominous dark blue lighting that creates suspense and suggests an air of mystery. Further on the unnatural chiaroscuro is created when the Nazgul on his horse stands on a cliff with a lit up background surrounded by a dark forest. This makes the Nazgul seem more mysterious and threatening to the audience.

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