Rotunno, Giuseppe
International Dictionary of Films and Filmmakers
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2001
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Copyright 2001, Gale Group. All rights reserved. Gale Group is a Thomson Corporation Company. (Hide copyright information)
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ROTUNNO, Giuseppe
Cinematographer. Nationality: Italian. Born: Rome, 19 March 1923. Career: 1940—still photographer; 1945—camera assistant to G. R. Aldo; 1955—became director of photography; 1962—first film with Fellini, Boccaccio '70. Award: British Academy Award for All That Jazz, 1980.
Films as Cinematographer:
- 1954
Senso (Visconti) (cam)
- 1955
Pane, amore e . . . (Scandal in Sorrento ) (Risi)
- 1956
The Monte Carlo Story (Monte Carlo ) (Taylor); Tosca (Gallone)
- 1957
La ragazza del Palio (The Love Specialist ; The Girl Who Rode in the Palio ) (Zampa); Le notti bianchi (White Nights ) (Visconti)
- 1958
Borgo a Mozzano (Gandin); Anna di Brooklyn (Anna of Brooklyn ) (Denham); The Naked Maja (Koster); Attila, flagello di Dio (Attila the Hun ) (Francisci); Fast and Sexy
- 1959
On the Beach (Kramer)
- 1960
Jovanka e le altre (Five Branded Women ) (Ritt); The Angel Wore Red (La sposa bella ) (Johnson); Rocco e i suoi fratelli (Rocco and His Brothers ) (Visconti)
- 1961
I due nemici (The Best of Enemies ) (Hamilton); Fantasmi a Roma (Ghosts in Rome ; Phantom Lovers ) (Pietrangeli)
- 1962
"Il lavoro" ("The Job") ep. of Boccaccio '70 (Fellini); Cronica familiare (Family Diary ) (Zurlini); Il gattopardo (The Leopard ) (Visconti)
- 1963
Levi, oggi, domani (Yesterday, Today and Tomorrow ) (De Sica); I compagni (The Organizer ) (Monicelli)
- 1966
La Bibbia (The Bible ) (Huston)
- 1967
Lo straniero (The Stranger ) (Visconti)
- 1968
Lo sbarco di Anzio (Battle for Anzio ; Anzio ) (Dmytryk); Candy (Marquand); Histoires extraordinaires (Spirits of the Dead ) (Fellini, Malle and Vadim)
- 1969
I girasoli (Sunflower ) (De Sica); Satyricon (Fellini); The Secret of Santa Vittoria (Kramer)
- 1971
Carnal Knowledge (Nichols)
- 1972
Roma (Fellini); L'uomo della Mancha (The Man of La Mancha )
- 1973
Amarcord (Fellini); Film d'amore e d'anarchia (Love and Anarchy ) (Wertmüller)
- 1974
Il bestione ; Tutto a posto e niente in ordine
- 1975
La divina creatura (Patroni and Griffi)
- 1976
Il Casanova de Federico Fellini (Fellini's Casanova ) (Fellini); Stürmtruppen (Samperi)
- 1977
The End of the World in Our Usual Bed in a Night Full of Rain (Wertmüller)
- 1978
Prova d'orchestra (Orchestra Rehearsal ) (Fellini)
- 1979
All That Jazz (Fosse)
- 1980
La citta delle donne (City of Women ) (Fellini); Popeye (Altman)
- 1981
Rollover (Pakula)
- 1982
Bello mia bellezza mia ; Five Days One Summer (Zinnemann)
- 1983
E la nave va (And the Ship Sails On ) (Fellini)
- 1984
"Paris" sequences of American Dreamer (Rosenthal); Desiderio (Tato); Non ci resta che piangere (Troisi)
- 1985
The Assisi Underground (Ramati); Red Sonja (Fleischer)
- 1986
Hotel Colonial (Torrini)
- 1987
Julia and Julia (del Monte)
- 1988
The Adventures of Baron Münchhausen (Gilliam); Haunted Summer (Passer); Rent-a-Cop (London)
- 1989
Rebus (Guglielmi)
- 1990
Mio caro Dr. Gräsler (Dear Dr. Gräsler ; Bachelor ) (Faenza)
- 1991
Regarding Henry (Nichols)
- 1992
Once Upon a Crime (Levy)
- 1994
Wolf (Nichols); The Night and the Moment (Tatò)
- 1995
Sabrina (Pollack)
- 1996
La Sindrome di Stendhal (Stendhal's Syndrome ) (Argento)
- 1997
Marcello Mastroianni: mi ricordo, sì, io mi ricordo (Marcello Mastroianni: I Remember, Yes I Remember ) (Tatò)
- 2000
The White Hotel
Publications
By ROTUNNO: articles—
In La bottega della luce: i direttori della fotografia, by Stefano Consiglio and Fabio Ferzetti, Milan, 1983.
Positif (Paris), no. 266, April 1983.
Cahiers du Cinéma (Paris), no. 355, January 1984.
Cinema Nuovo (Bari), May-June 1986.
Cinema Nuovo (Bari), January-February 1991.
Cinema Nuovo (Bari), November-December 1993.
On ROTUNNO: articles—
Focus on Film (London), special cinematography issue, no. 13, 1973 + filmo.
American Cinematographer (Hollywood), vol. 69, no. 3, March 1988.
American Cinematographer (Hollywood), vol. 70, no. 3, March 1989.
Film Comment (New York), vol. 25, no. 5, September-October 1989 + filmo.
American Cinematographer (Hollywood), vol. 75, June 1994.
* * *
From Kramer's On The Beach to Fellini's Satyricon, Visconti's The Leopard to Fosse's All That Jazz, Zurlini's Cronica familiare to Altman's Popeye, Giuseppe Rotunno, more than almost any other European lighting cameraman, has explored every corner of filmmaking. Despite his popularity with American directors, his best work has been in Italy, especially with Visconti, whose operator he was on Senso and who later used him on nearly all his films, including The Leopard, the glorious sun-struck Sicilian exteriors of which suggest that Rotunno, in slightly different circumstances, might have been one of the cinema's great photographers of vistas.
Rotunno is essentially a cameraman of colour. While Gianni di Venanzo, on films like La notte, L'eclisse and Salvatore Giuliano, was refining a style of matte blacks and blisteringly pale whites, Rotunno plunged into a sensual Goyaesque darkness (of which there is only a hint, sadly, in his shooting of Henry Koster's murky Goya bio-pic The Naked Maja ). The prevailing sense in Rotunno's photography became one of rich colour, thickened and diluted with black. Before Gordon Willis won the title, he was surely cinema's reigning "Prince of Darkness," a fact which makes doubly odd Visconti's decision to use Pasquilino de Santis on The Damned, the most penumbral of all his films.
In Mario Monicelli's The Organiser and Valerio Zurlini's under-rated Cronica familiare, Rotunno showed he could adapt his style to working-class reality, but he truly established himself as a master with Visconti's episode "The Job" for the omnibus film Boccaccio '70, where a wealthy wife suggests, out of boredom and perversity, that she replace, for money, her husband's latest mistress. His lighting of the voluptuous Romy Schneider as she strolls half-nude around her claustrophobic lush bedroom perfectly conveys the life of people so gorged on sensation that they've lost their ability to relish anything but gutter flavours. Obviously the style ignited Fellini's interest, since he used it (and Rotunno) on almost all his later films, including Satyricon, the blackest and most gross of them all.
As European cinema declined in the 1970s, Rotunno worked increasingly in the United States, though seldom on films as interesting as his lighting of them. Often working for directors with reputations as mavericks or martinets (Altman on Popeye, Mike Nichols on Carnal Knowledge and Regarding Henry, Alan Pakula on Rollover, Bob Fosse on All That Jazz ), he has had a bumpy Hollywood career, not helped by the fact that all his films, including even the staid Five Days One Summer with Fred Zinnemann, have almost uniformly flopped. But from the man who photographed The Leopard, much may yet be expected.
—John Baxter
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