The Principle
Tonino Delli Colli's career is one of the most extraordinary in cinema: from the stark, documental austerity of Pasolini's radical cinema to the operatic, mythological grandeur of Leone's Westerns, from the gentle comedy of Benigni to the decadent formalism of Fellini's late work. He did not have a single "look." He had an absolute command of the relationship between light and story, and he could tune that relationship to serve any director's vision.
His partnership with Sergio Leone produced the definitive visual language of the Spaghetti Western. The extreme close-up — the eyes of Eastwood, Van Cleef, and Wallach filling the Techniscope frame in The Good the Bad and the Ugly — is Delli Colli's signature as much as Leone's. He understood that at that magnification, lighting becomes SCULPTURAL: every pore, every wrinkle, every bead of sweat becomes a landscape. The skin of the face, lit by the hard Almerian sun, takes on the texture of the desert itself.
His partnership with Pasolini was the philosophical opposite: stripped, honest, often using non-professional actors in real locations with available light. The Gospel According to St. Matthew looks like a documentary shot in Bronze Age Palestine — the faces of southern Italian peasants, lit by the same sun that lit the actual biblical landscape, become the faces of apostles and prophets. Delli Colli won no Oscar, but his influence runs through every Western, every Italian film, and every cinematographer who has understood that the same sun can illuminate both myth and reality.
Light
The Almerian Sun
The Good the Bad and the Ugly (1966, Leone): The Spanish desert standing in for the American Southwest during the Civil War. Delli Colli used the direct Almerian sun as his primary — and frequently ONLY — light source. The result is extreme: hard shadows cut across faces at midday, the sun bleaches the sand to near-white, squinting eyes become slits against the glare. This is not romantic "golden hour" Westernism. This is the PUNISHING light of a landscape that is trying to kill the characters. The light is an antagonist.
The final three-way standoff in the cemetery — Delli Colli shot this in late-afternoon light for maximum shadow length, so the three figures cast elongated shadows across the circular clearing. As the camera cuts faster between the three faces in extreme close-up, the light angle remains constant but the FRAMING intensifies — tighter, tighter, until only the eyes are visible. At maximum magnification, the desert sun sculpts the orbital bones, the crow's feet, the capillaries of the eyeball itself. Faces become geological formations.
Once Upon a Time in the West (1968, Leone): The opening sequence at the railroad station — fifteen minutes of near-silence in blazing sun. Delli Colli lets the light DO the work: a fly buzzes around Jack Elam's face in such bright light that every hair on the fly's body is visible. Water drips onto Woody Strode's hat. The sun is so present it becomes audible — you can HEAR the heat in the visual texture of the light.
Sacred Realism
The Gospel According to St. Matthew (1964, Pasolini): Southern Italy standing in for ancient Palestine. Delli Colli used available light almost exclusively — the Mediterranean sun on limestone villages, the diffused light of overcast days for interior scenes, the pre-dawn blue for the Nativity sequence. The faces of the non-professional actors — actual peasants from Matera and Calabria — are lit with the unsentimental directness of a documentary. No fill light softens the deep lines of a farmer's face pressed into service as an apostle. The sacred is found in the ORDINARY, and the light insists on that ordinariness.
Hawks and Sparrows (1966, Pasolini): The road sequences — Toto and Ninetto walking along a dusty Italian highway. Delli Colli shoots in flat, midday light that refuses to romanticize the landscape. The light is democratic, even, uninterested in beauty. This is the light of the Italian working class — the same sun that beats down on construction sites and agricultural fields. Comedy and philosophy unfold in the most quotidian illumination imaginable.
The American Elegy
Once Upon a Time in America (1984, Leone): The amber nostalgia of 1920s New York. Delli Colli created a consistent warm amber tone for the prohibition-era sequences — all practicals, gas-lamp-era fixtures, window light filtered through period glass. The opium den sequences push this warmth to an extreme: the light becomes golden, diffused, almost narcotic in its softness, matching the drugged consciousness of Noodles. The 1960s sequences, by contrast, are cooler, harsher, lit by modern fluorescents and flat institutional light. The entire film's emotional structure is encoded in the color temperature of its light.
Color
The monochrome epic. Delli Colli's black-and-white work with Pasolini (Gospel, Accattone, Mamma Roma) uses a high-contrast, documentary-adjacent approach: bright skies, deep shadows, the stark tonal separation of Mediterranean light. The B&W is not "beautiful" in the pictorialist sense — it is HARSH, honest, confrontational. Faces are not flattered. Landscapes are not romanticized. The monochrome strips the world to its moral essentials.
Warm and cool as temporal markers. In Leone's films, Delli Colli uses color temperature as a narrative tool. The past is warm (amber, gold, sepia implications). The present is cool (blue-grey, institutional). In Once Upon a Time in America, this is explicit: the memory sequences glow while the contemporary sequences ache with cold. Time is visible in the temperature of light.
Benigni's warmth. Life Is Beautiful (1997) required Delli Colli, at age 75, to create two distinct visual registers: the warm, sun-drenched Tuscan comedy of the first half and the cold, industrial horror of the concentration camp in the second. The transition is gradual — the warmth drains from the image as the historical reality closes in, until the camp sequences are nearly monochromatic in their grey austerity.
Composition / Camera
The extreme close-up. Delli Colli and Leone elevated the close-up to a compositional principle. In Techniscope (a 2-perf, 2.35:1 format), a face filling the width of the frame becomes a LANDSCAPE — wider than it is tall, the eyes positioned at horizon-line level, the background reduced to abstract color. The close-up is not a cutaway from the wide shot. It IS the shot. The human face at maximum magnification is the terrain of the Western.
The deep widescreen. Leone's wide shots — the desert panoramas, the Civil War battlefields, the Manhattan Bridge from below — are composed with foreground, midground, and background all occupied by significant visual information. Delli Colli's deep focus in these shots ensures that EVERYTHING is readable: a face in the foreground, a wagon train in the middle distance, a mountain range at infinity. The widescreen frame becomes a mural.
The processional camera. With Pasolini, Delli Colli often followed characters in procession — walking along roads, moving through crowds, approaching sacred or tragic destinations. The camera accompanies rather than directs, moving at the pace of human walking, at human eye height. The cinematography becomes a form of witness.
Specifications
- The sun is your key light. In exterior work, use the actual sun — hard, direct,
unmodified. Let it sculpt faces, burn out highlights, create deep shadows. Do not soften what nature provides.
- Close-ups are landscapes. At sufficient magnification, the human face becomes
terrain. Light it accordingly — with the same hard directional source you would use for a desert or a mountain range.
- Austerity serves the sacred. Strip the lighting to its minimum. The fewer sources,
the more honest the image, and honest images can access what artificial ones cannot.
- Color temperature is narrative time. Warm light is memory, nostalgia, the past.
Cool light is the present, reality, disillusion. Use temperature shifts to mark temporal and emotional transitions.
- Adapt absolutely to the director. Leone requires grandeur. Pasolini requires
humility. Benigni requires warmth. The cinematographer's job is not self-expression but perfect service to each film's unique truth.