insight in creating the look of Fallen Angels (1995)

Jonas Hümbs · October 4, 2022

Since "Fallen Angels" has been re-released several times in Berlin cinemas in the past few weeks, and the choice of lenses has already been discussed at length here, watching it again I was confronted with the question of which visual "effects" (non-computerate) are so formative for the look.

With that, I specifically wonder if and what filters might be used for the special look of the highlights/lamps back in the day,
what stock(s) they used (negative-wise aswell as on the side of the positive/copy, insofar as this plays a role)
and
if it is known that a special development process in the lab was used in the development.

Thanks for your thoughts and shared knowledge!

David Mullen ASC · October 5, 2022

I vaguely recall reading that Fuji film was used, perhaps pushed 250T. I also think some ProMist filters were used.

Luis Hartmann · January 27

I finally found my copy of the ASC Mag February 1998 again, there's a little article about Fallen Angels in "Production Slate".

About the filmstock:

Quote

While the earlier film had been shot on discontinued Agfa XT320 Stock, the cinematographer this time utilized Fuji Super F-250 8551 for it's "colder" feeling.

The black and white scenes were actually a mistake, caused by the assistant fetching expired filmstocks.

Quote

Upon discovering of this gaffe, Universal Labs technician Carmen Lui suggested duping the spoiled stock onto high-contrast black-and-white emulsion, for printing back onto color film.

Luis Hartmann · January 27

About the filters, from February 2001, "Production Slate" - In the mood for love.

Quote

Doyle used variations of warm or black Tiffen ProMist filter ranging from 1/8 to 1 throughout the film, which he has done on all of his collaborations with Wong.

I couldn't find anything in the ASC Mags about the chemical processes, but as a side note I happened to see a 35mm projection of Fallen Angels last year and the image was quite "neutral", for example the green flourescent tint must have been introduced in later (blue ray) versions.

Edited January 27 by Luis Hartmann

Phil Rhodes · January 27

I was looking at this just recently and I'm sure I found a reference somewhere to the use of some very wide angle lens which then had a wide angle converter added, for an effective focal length in the single digits.

Luis Hartmann · January 27

Yes, I think that "mystery" has been solved by now, but just for completions sake, from the 98' Article

Quote

"To me, the 18mm was a long lens," Doyle notes. "We were usually on a 9.8 with an adapter, which brought it down to 6.3mm - almost a fish-eye."

And as for camera choice:

Quote

In the smaller spaces, Doyle used an Arriflex 35-III to supplement his Arri 535 and BL-4.

Phil Rhodes · January 29

Yes, and the optical quality is pretty variable as a result. Someone will always say that this kind of thing is a look which works, and here I'd agree, especially as that wide angle is leveraged so successfully to get so much out of the locations. Still, it's... A look.