A Dive into the Visuals: ‘Fallen Angels’ through Christopher Doyle’s Lens
Every frame in Wong Kar-wai’s ‘Fallen Angels’ is a painting brought to life by Christopher Doyle’s masterful cinematography. The visual storytelling is amplified by the daring lens choices made throughout the movie, setting it apart from its contemporaries.
The film delves into a realm where reality melds with surrealism, largely thanks to the use of wide-angle lenses, a somewhat unorthodox choice back in 1995. These lenses stretch and pull at reality, carving out scenes that are as dramatic as they are visually arresting.
The decision to go wide wasn’t a mere whimsy but a thoughtful choice to offer a distinct visual narrative. By opting for an ultra wide-angle lens, the movie invites viewers into a larger-than-life world while keeping them close to the characters — a dynamic that aligns perfectly with the narrative’s emotional beats.
In cinematography, the focal length of a lens is a storyteller. While a range of 35 to 50 millimeters often mimics how our eyes perceive the world, ‘Fallen Angels’ treads an unconventional path. The film dips into the ultra-wide end of the spectrum, offering a viewing experience that’s both intimate and surreal.
An iconic scene set in a cramped noodle shop captures this lens magic. Discussions among cinematography enthusiasts hint at the use of a 9.8mm Kinoptik lens, although this isn’t officially confirmed. The lens’s short focal length, around 9.8mm or possibly even 6.8mm as speculated, provides a very shallow depth of field, which adds to the film’s dream-like ambiance. This shallow depth of field allows for a sharp focus on characters in the foreground while rendering the background in a soft blur, thus heightening the emotional resonance and visual appeal of the scenes.
From an interview, Christopher Doyle said
‘When we did Fallen Angels, i started with a 9.8mm lens. I thought that was rather distorted but Wong Kar-Wai said “let’s go further.” So we went to 6.8mm. Michelle Reis turned her head and her nose became like Pinocchio; it just extended through the whole frame [Laugh]. I said, “what we are going to do?” and Wong Kar-Wai said, we don’t show her the rushes, do we?” ’
Wide-angle lenses often have larger maximum apertures (lower f-numbers), which allows more light to enter the camera. This characteristic is beneficial in low-light environments, and in ‘Fallen Angels’, it helps in capturing the nightscapes and dimly lit interiors with a rich texture and ambiance.
The lens choices in ‘Fallen Angels’ also facilitate dynamic camera movement. The sweeping, fluid motions coupled with the wide-angle perspective create a dreamlike yet immersive visual experience. The ability of these lenses to capture a wide swath of the environment while moving through space adds a kinetic energy to the narrative, reflecting the restless, yearning spirit of the characters.
The wide angle lens is more than a technical feat; they’re a narrative tool. They create a visual vocabulary that speaks to the themes of intimacy and alienation explored in the film. The synergy between Wong Kar-wai’s narrative vision and Doyle’s lens craft makes ‘Fallen Angels’ a celluloid poem that continues to captivate audiences and film aficionados alike.
This deep dive into the lens choice reveals more than just technical brilliance — it opens up a discussion on how cinematography can transcend the screen to echo the emotional landscape of a narrative, marking ‘Fallen Angels’ as a hallmark of cinematographic creativity.
If you enjoyed this article, feel free to drop a tip if you’d like! It helps keep the lights on and the words flowing. Cheers!
