American Cinematographer - March 2005 - 40

A lifetime

Through the Lens
wasn't the boss, but I could still

the

images. However, I can't
deny that at a certain point I was
upset when he changed things!"
Delli Colli proceeded to
create

make films with directors Carlo
Ludovico

Bragaglia and Mario

Bonnard. After the

war,

he honed

his

operating skills by working
with cinematographers Ubaldo
Arata and Anchise Brizzi. "I made

many films I can't remember
them all," he acknowledges.
so

The postwar

flowering of what is

period saw the
now known as

Italian Neorealism. Delli Colli
at

was

the heart of this movement,

which had

a

strong influence on

world cinema and
ous

style

American
was

inspired

numer¬

filmmakers. The

born in part because
short and filmmakers

money was

had

to

make do with what

hand. Real locations

instead of

lighting
sun

Above: Pasolini,

not a

production
designer Dante

me."

Ferretti and
Delli Colli

worked

on

several

pictures
together,
including The

Decameron, The

Canterbury
Tales and Sato.

Right: Delli Colli
gives Federico
Fellini

a

look

through the lens.

36

March 2005

tangible thing, it's just part of

wanted," Delli Colli recalls. "He

When Albertelli fell ill, Delli

the instructions, and I did the
preparatory work and went
gave

Colli took

on more

forward with it. He shot the

"Albertelli

was

and made the corrections. That's

responsibility.
suffering from an

ulcer, and often he let

me

do what I

how you

scenes

learn how to do things. I

or

sets

used

and stages,

was often done
natural ambient

"Black-and-white

was at

were

and
with the
sources.

the type

of
represented these
types of stories," says Delli Colli.
"The photography was very differ¬
ent from what is done today. I
really liked working with blackfilm that best

was



American Cinematographer - March 2005

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