American Cinematographer - February 1993 - 24

InofUniversal's
Scent
a Woman, A1recent
Pacinorelease
plays Lieu¬
tenant Colonel Frank

Slade,

a

bit¬

terly cynical blind man. When his
handicap finally drives him to con¬
sider suicide, Slade decides to go
out with a bang. He and hired com¬

panion Charlie (Chris O'Donnell),
a
prep school senior, embark on a
final weekend of debauchery in
New York City. Slade, an affluent
man

of the world, introduces schol¬

arship student Charlie to the gilded
charms of Manhattan nightlife. The
tour passes

22

through New York's
highlight

take advantage of the inimi¬
table flavor of the city's grandest
old hotels, including the Waldorfscenes

Astoria, the Plaza, and the Pierre.
The film takes its name
from Slade's boast that he can de¬
scribe a woman's physical and
emotional makeup simply from her
scent. But as he and Charlie begin
to bond,

it's Slade's own emotional

makeup that is clarified - not only
to Charlie and the audience but to
Slade himself. In the wake of self-

evaluation, Slade's decision to com¬
mit suicide is

landmark locations;

newfound

American

February 1993

Cinematographer

challenged by
affinity for life.

a

Working for the second
time with director Martin Brest, cin¬

ematographer Don Thorin, ASC
faced an intriguing lighting task: to
juxtapose the dark force of Pacino's
character with Charlie's ultimately
enlightening naivete. The tension
would be resolved (ironically
enough, given Slade's sightless¬
ness) against the luxurious visual
backdrop provided by the exclu¬
sive Manhattan hotels. One wild

card was shuffled into the deck:
Thorin had been hired to replace a

previous director of photography
who'd shot about 10

days worth of



American Cinematographer - February 1993

Table of Contents for the Digital Edition of American Cinematographer - February 1993

American Cinematographer - February 1993 - 1
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