Monty Cristo here.
Bruce Surtees 1937-2012
Yesterday, the New York Times annouced the passing of a supremely talented man who was responsible for the cinematography of some of the greatest films as well as some pop favorites, particularly some of my favorite films of the 1970's.
Bruce Surtees started his career as a camera operator, and ended it most directly associated with the work of Clint Eastwood from the 70's to the mid-80's.
He started out camera op on movies no less than COOGAN'S BLUFF and TWO MULES FOR SISTER SARA, and quickly moved up to director of photography on THE BEGUILED, PLAY MISTY FOR ME, and DIRTY HARRY.
Surtees was truly an artist with lighting, never happy to just blow something out and, as Eastwood is quoted in the Times piece (I'm paraphrasing), he never just lit things like a drugstore. His next few films as DP highlighted this admirably, from exteriors in CONQUEST OF THE PLANET OF THE APES, HIGH PLAINS DRIFTER, and THE OUTFIT to dark, inky interiors and nighttime setting in LENNY and NIGHT MOVES.
In 1976 alone, we got four beautifully-shot movies, including SPARKLE (whose remake is currently being rushed to completion), Gordon Parks' brilliant (and shot in Texas) LEADBELLY, one of the great westerns in THE OUTLAW JOSEY WALES, and the poignant John Wayne swan song THE SHOOTIST.
He shot the movie that was credited as having ended Sam Fuller's career (WHITE DOG, a misunderstood film if you ask me).
In the 80's he shot blockbuster pop movies like RISKY BUSINESS, BEVERLY HILLS COP, and LICENSE TO DRIVE, the "Two Coreys"...classic. Sprinkled throughout were more movies with Clint, including PALE RIDER, HONKYTONK MAN, FIREFOX, and others.
If for nothing else, he deserves healthy respect for making THE SUBSTITUTE look so good.
We'll miss how pretty (dark, gritty, and real) he made the pictures.
Moisés Chiullan
"Monty Cristo"
Email
Follow Me on Twitter
