![]() The characters are an extension of the colour, and story and theme a true invocation of the film’s aesthetic. ![]() It is close in execution to a field in high summer and drought dry, dehydrated, radiating heat. The entire film is awash with what Huston calls ‘a diffuse amber color’. John Huston, determined to give his screen adaptation of Carson McCullers’ short novel a hue that would reflect the psychological and emotional complexity of its characters, worked with the Italian Technicolor lab to achieve the truly beautiful, heated, yet melancholy golden effect that marks Reflections in a Golden Eye (1967). When the golden title sequence comes to an end I think I will see Marlon Brando and Elizabeth Taylor’s skin tones as I have seen them before, but I am wrong. Beneath the dirt and amidst the scratches of a tired 35mm print is a shade of yellow I have never seen onscreen, so far as I am aware. ![]()
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