The Not-So-Silver Screen
Continuing to explore the theme of colour this month, we put on our cinematic mood ring and take a brief look at pixelated pigment on the big screen.
That the way films are put together visually tells as much of their story as the dialogue or the action within it is hardly a revelation. The idea that the cues we take from colour, however, are as potent as those we might receive from a film's soundtrack or score is ground a little less well-trodden. Yes, there is a whole series of Wes Anderson Colour Pallette images relating to his meticulously assembled set designs and wardrobe choices – but colour does not belong to one man alone.
From the iconic green of the final scenes of Wim Wenders' Paris, Texas to the blues and whites of Steve McQueen's Shame, the omnipresence of red in Spike Jonze's Her and the constantly shifting colouration of Tom Ford's A Single Man, colour is more than an aesthetic choice – it's a parallel method of storytelling that can, on some occasions, outshine the more obvious layers of its narrative.
With that in mind, we've put together a gradient of film stills that have taken on a peculiar life of their own, existing beyond those fleeting seconds of screen time, and which cumulatively play out as a kind of automatic mood ring – or a short in colour.
...and if these aren't doing it for you, well, here's a four-minute, 86-film supercut covering everything from The Shining to Monsters Inc. that just might do the job.
Share this article