Favorite Forgotten Films

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by Hiro Narita, ASC

By the early fifties, Japan — where I spent my early childhood — began to recover from the devastation of World War II, and movies became the most popular form of entertainment. I loved them; I used to save up my pennies to go to German, French, and of course, American films. In the cool dark of the makeshift theaters, the flickering images served as my window to the world beyond Japan. I recall being especially fond of French detective stories at an early age — especially anything featuring Jean Gavin. Dozens and dozens of such films filled my Saturday afternoons, so many that they seem to blend into one another. Yet, in retrospect, I believe it was these early experiences, those almost forgotten films seen in childhood, that eventually led to my becoming a cinematographer.

For instance, long before I was even conscious of having an interest in cinematography, the black and white work of cinematographer Arthur Miller ASC, on John Ford's How Green Was My Valley, cast a spell on me. Though this classic can hardly be called a forgotten film, every frame seemed sheer poetry to me — worthy of study not only as the choreographed photography we call cinematography, but also as a still or painting. I read somewhere (perhaps in Peter Bogdanovich's work on Ford) that Ford and Miller achieved the film's eloquent nuances while shooting less than a 2 to 1 ratio — in order to prevent the studio from altering the finished product. If true, the achievement is even more amazing.

 

[ Forgotten Films ]

[ AMERICAN CINEMATOGRAPHER ]