American Cinematographer - May 1988 - 102

Cinematographer

In theory, true cinema is a primarily visual
experience. Many popular films of today,
however, seem to use images to merely
augment plot structure and storyline, rather
than to make powerful thematic statements

of their

own.

The inarticulate nature of

images perhaps gives them a less broad
appeal, yet therein lies their potential to
have strong thematic and emotional impact.
Emotion is also of

an

inarticulate nature.

These films may

be beautifully, even stun¬
ningly photographed, but still unable to
exploit the visual possibilities of cinema.
The Unbearable Lightness of Being (Sven
Nykvist, ASC, director of photography) is a
welcome exception to this trend.
Dialogue is not unimportant in
this film, but it is a partner, rather than a
dictator, to the screen image. There are
many long stretches with little or no dia¬
logue that are directly and inextricably tied
to character and

the

story development. Here
cinematographers role goes beyond

mere

moodsetter and towards

These stretches

100

American

are

storyteller.

not the tired musical

Cinematographer

as

Storyteller

shots

Attempts to understand more than that are
fruitless, but this does not preclude happi¬

and intercut shots of Tereza and her
camera are a revelation for the audience.

and appreciation for the beauty in life.
For the camera, the mysterious beauty of
the female form is an expression of the

montage sequence in which a series of

conveniently and shallowly shows a
budding romance. The Prague street riot

scenes

They give us an effective sense of her
growing identity and a better understanding
of an aspect of her personality than reams
of dialogue could evoke. The audience is not
spoon fed this understanding, and as a
result, some may find her subsequent defec¬
tion from Tomas incongruous. In fact, it is
part of a perfectly natural progression. The
documentary nature of the riot footage only
helps these scenes ring true. This is not
choreographed, rehearsed and carefully
rigged Rambo violence, but immediate and
powerful human violence.
The idea of the visual image as
communicator of thematic statement is
taken a step further in The Unbearable

Lightness of Being. The film is an exultation
of life, despite its transiency and mystery.
The characters learn to take
come,

things

as

they

and to savor moments when possible.

May 1988

ness

mysterious beauty of life. Sex is

a

celebra¬

tion of aliveness. The screen images during
these scenes display for us the comedy,

tragedy and mystery that is life. Nykvist's
graceful and subtle treatment of these sub¬
jects is a potent ingredient in the film's
recipe. His vision, allied on equal footing
with the dialogue, storyline, and the craft of
the actor, forms one of the main themes of
the film: that of life as bittersweet but
beautiful.

Cinematic vision such
can

as

this

separate film as artistic expression from

ordinary diversion. The integral contribution
of the cinematographers creative images
to the telling of a story helps cinema
take another step

toward fulfilling its vast

potential.
-D.H.
American Cinematographer - May 1988

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