“Mr. Turner”

Watching the cinematography of Dick Pope in “Mr. Turner” is not that different from viewing the paintings of the title character. The composition of each shot comes off like Turner’s paintings, capturing the nature around the title character with a grandeur that elevates the film as a whole. Along the same lines as Robert Yeoman’s work on “The Grand Budapest Hotel,” Pope, too, finds ways to encompass elaborate set pieces into the frame, whether it be the art gallery with paintings from floor to ceiling or whether it be a room with a giant window and Turner painting in the foreground. This is Pope’s second nomination following with nominated work on “The Illusionist” (2006). Not that far off from the period piece nature of that film, Pope, again, finds a way of creating a great sense of the era with his shot selection.

Who’s his competition? Despite this being quite the competitive category, Dick Pope’s real competition likely lies with last year’s winner, Emmanuel Lubezki and his work on the popular “Birdman” and Robert Yeoman’s highlighted work on “The Grand Budapest Hotel”. Pope finds himself next to one of the most Academy nominated cinematographers, Roger Deakins, but with “Unbroken” not winning any popularity contests, Pope will likely be able to stand above that and the black-and-white work of Lukasz Zal and Ryszard Lenczewski and their foreign entry “Ida”.

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// Produced by Georgina Lowe // Directed by Mike Leigh //
// Dated Viewed: Saturday, January 31st, 2015 // Laemmle Playhouse //  29 films – 23 days //

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