The Cinematographers of Summer

Three of last year’s nominees for Best Cinematography came from movies released during the summer months. The Hurt Locker, Inglourious Basterds, Harry Potter and the Half Blood Prince. Four, if you count the Cannes premiere of The White Ribbon. Since 2009 was the first case in recent memory when the awards season was front-loaded so early with such superb camerawork, it can’t be called a trend. But yesterday’s beautiful new teaser for The American, shot by Martin Ruhe, has me thinking about the prospects for this year’s summer cinematographers. (I’m forcing The American into my premise even though it’s set for a September 1 release — because Labor Day isn’t until September 6.) Seven cinematographers whose work I’m looking forward to seeing over the next few months:

• John Mathieson — Robin Hood (May 14) — Two-time Oscar nominee (Gladiator, The Phantom of the Opera) Mathieson also shot Brighton Rock, another prestige project due out later this year. (pedigree: Graham Greene, dir. Rowan Joffe, Helen Mirren, John Hurt, Sam Riley)
• John Seale — Prince of Persia: Sands of Time (May 28) — One reason I’m interested in seeing PoP:SoT is the for the subdued beauty 4-time Oscar nominee Seale brings to all his movies (Witness, The Talented Mr Ripley, Cold Mountain, The English Patient, The Perfect Storm, Rain Man). Did I say ‘one reason I’m interested’? Make that the only reason.
• Javier Aguirresarobe — Twilight: Eclipse (June 30) — Shut up. Say what you will about the Twilight Saga, but Summit can afford to splurge on top-notch film artists to put a glossy sheen over any shortcomings. Aguirresarobe’s work on The Road was one of about 6 Oscar nominations that magnificent movie deserved.
• Wally Pfister — Inception (July 16) — Odds are likely that Pfister will continue his 3-picture streak of being Oscar-nominated every time he makes a movie with Christopher Nolan (Batman Begins, The Prestige, The Dark Knight). Nolan’s penchant for practical effects in lieu of CGI provides Pfister with plenty of opportunities for in-camera flourishes.
• Robert Elswit — Salt (July 23) — Won his first Oscar for There Will Be Blood and was previously nominated for Good Night, and Good Luck, Elswit barely misses having two candidates for consideration this summer, with Ben Affleck’s sophomore directorial effort coming to theaters on September 10. Ah, hell, the winter solstice autumn equinox isn’t until Sept 22, so let’s include The Town too.
• Robert Richardson — Eat Pray Love (August 13) — Already with one strong contender on his resume for 2010, but will Shutter Island have time to be re-evaluated as the masterwork it is since its February release? Or will the Academy give Richardson his 7th nomination for the movie that’s more postcard pretty?
• Martin Ruhe — The American (September 1) — From the looks of yesterday’s teaser trailer, Ruhe’s sophisticated palette promises to be some of the most elegant camerawork in an action film since Casino Royale. This is going to be a thriller with a thoroughly European attitude, so I’d advise setting aside any preconceived notions.

No doubt there will be more brilliant cinematography emerging at Cannes in a coupe of weeks, but I’m only focusing on more mainstream summer releases right now. I’m especially interested to see what visual magic Jean-Pierre Jeunet and Tetsuo Nagata have in store for us with Micmacs. But I’ll confess I don’t even have a clear picture in my head of the Cannes line-up yet. Maybe some of you will have a few names whose work you’re anticipating to add to our watch list.