American Cinematographer - January 1987 - 96

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With video sales and rentals
to

continuing

increase, the alternative to Saturday

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reality. The theatrical release of motion
pictures creates public interest and sells
videos. The video marketplace has yet
to develop strategies that would over¬
come a necessary allegiance to the the¬

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ships anywhere in the world

atrical release. Yet, there are those rare
theatrical bombs that do a video turn¬
around. Heaven's Gate and Bolero
come to mind. We are a curious public.

Many films don't get the the¬
push they need when they are
first released. Video gives them a sec¬
ond chance. Edocating Rita, Blood
Simple, and Dreamchild are excellent
films now reaching larger audiences
thanks to home video (and also cable
TV).
atrical

Home video is here to stay.
Half inch formats such as Beta and VHS

someday fall by the wayside and
be overtaken by 8mm video. Laser discs
may
are

still here and will be for awhile.
Electronic media will take

forms in the years to come.
might as well enjoy what we

many new

So,

we

have while we have it. Here are some
recommended videos which are avail¬
able for sale or rent:
An American in Paris. Pro¬
duced by Arthur Freed, directed by Vin¬

Minnelli, music by George
Gershwin, lyrics by Ira Gershwin, pho¬

win B. Willis and

Keogh Gleason; and
Johnny Green and Saul
Chaplin. Gilks and Alton also took Os¬
cars for their fine color cinematography.
A delight to the eye and the
Best Score,

ear,

be

An American in Paris is

enjoyed again and again

on

a

film

to

the home

screen.
*

*

*

Pee-Wee's Big Adventore.
Produced by Robert Shapiro and Rich¬
ard Gilbert Abramson, directed by Tim

Burton, starring Pee Wee Herman, Eliz¬
abeth

Daily, Mark Holton, Diane Salin¬
Omen. (92min. - Warner

ger, and Judd
Home Video)

Paul Reubens (alias Pee-Wee
Herman) has created a comic character
as potent as Langdon, Lloyd, Keaton, or
Chaplin. Pee-Wee, in his childlike way,
is playing as if to children and to a child
within his adult audience at the same
time. Pee-Wee's Big Adverntore is a
colorful romp beautifully photographed

by Victor J. Kemper, ASC.
The film glows with a kind of
magic that is so rare in the films of
today. If you find infantile behavior of¬
fensive this film isn't for you. If you can
find the child within yourself and share
in Pee-Wee's Big Adventore, this is
the kind of candy box you'll want to
open.

*

*

*

cente

tographed by Al Gilks, ASC and John
Alton, ASC. Starring Gene Kelly, Leslie
Caron, Oscar Levant, George Guetary,
and Nina Foch. (115min. - MGM/UA

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Singing in the Bain, Top Hat, Fiddler
the Roof, The Wizard of Oz
No
collection of this genre would be com¬

terms.

on

of classic
to

mind:

...

plete without An American in Paris.
Recognized by the Academy
of Motion Picture Arts and Sciences as
the best production of 1951, An Ameri¬
can

in Paris also received Oscars for

SALES & RENTAL

best art direction, Cedric Gibbons and
Preston Ames; best writing, Alan Jay

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Video)
With so many concert videos
available these days, it's hard to find
one that is different or has a look of its
own. Pete Townshend's Deep End
overcomes MTV special effects and

Home Video)
When one speaks
musicals certain titles come

CRICKET

Pete Townshend's Deep
End: The Brixton, England Concert.
Directed by Keef. (87min. - Atlantic

January 1987

over

production and exists
The

on

its

own

work is

thoughtful
and the editing slick. There are dynamic
elements in the videography that sug¬
gest a definite visual plan. Joe Alves,
production designer of Jaws, is credited
as

camera

visual consultant. Put this

shelf with

one on

the

Stop Making Sense. The

Last Waltz, and

Bring On the Night.
A
American Cinematographer - January 1987

Table of Contents for the Digital Edition of American Cinematographer - January 1987
