The Deft Touch of Bradford Young: Anamorphic-Widescreen use in A Most Violent Year
Immediately noticeable during my recent screening of this understated but not under acclaimed gem is the film’s wide compositions had to scream inside the mind of any cinephile, “this has got to be anamorphic.” Alongside Selma, the film deservedly should be consider as some of the top notch work in the particular year 2014. And some of the best anamorphic work in ages. Understated but impossible not “feel” the awareness of it all, this is the quality of work which shows what the power and effect of anamorphic can be. And therein lies the amazing kicker. The two films are shot by the same talent DP Bradford Young (Pariah, Middle of Nowhere. Ain’t Them Bodies Saints, Mother of George).
A director of photography whose poetic and focused work has earned acclaim from these recent works as attested by the numerous articles written about the skills of this new DP on the scene. Do not be surprised if you see the letters A.S.C. after his name in the credits soon.
Another impressive fact is the film’s ability to give film aficionados a window into the power of digital photography. Definitely a film which shows filmmakers, ‘okay, here is a film where digital competes admirably with film stock/cameras.’
Beyond the anamorphic/widescreen compositions which destroys the notion 1.85 is the king of the aspect ratio, is a nuanced film complemented by its cinematography where thewonderfully alternating balance of stuffy interiors and expansive open form exteriors capture the 1981 milieu not only to full effect, but even more powerfully, produces a timelessness.
The slight jerkiness of the camera throughout the film aids another level of tension among several other expressive lighting components to this film which I could (handheld and steadicam movement, warmtones and topicallighting reminiscent
of The Godfather), but do not touch upon here.
A deft collaboration between director JC Chandor and Young which demands more work together. The BTS interviews with director and DP were informative (thank you finally for a non rental versionRedbox). From tech specs and interviews, the Zeiss Master Anamorphic and the Angieniux HR Anamorphic were the primarily lens’ utilized.
That all said, I look forward to following future work of said DP.
Articles and Interviews about Bradford Young and his work:
