Pula '98
A Superior Film Decathlete
Exceptionally honored during his extensive
career as a cinematographer, director and pedagogue, Nikola
Tanhofer united, in his personality, multiple talents and
a multi-faceted film professionalism. He maintained a lasting
intellectual curiosity toward film, which drove him to
solve technical and other hidden secrets of the medium.
Led by his passion for exploring the technical possibilities
of the medium, he, for the first time in Croatian film,
used rear projection (Sinji Galeb, B. Bauer, 1953),
special effects photography of models to simulate a bus
and truck collision in his film H-8 (1958), and
the process of flashing (The Key, Vrdoljak, 1965).
As one of the best Croatian cinematographers, Tanhofer
showed a tendency toward a modern lapidary expression in
his camera and directorial work, as well as a desire for
a rhythmically expressive series of lively shots and sequences.
He began working as a cinematographer in 1949 (The Flag,
B. Marjanović, for which he received the People’s Republic
of Croatia Award), and continued to work as a director
of photography in several other memorable films: Blue
9 (K. Golik 1950), Sinji Galeb (B. Bauer,
1953), Ciguli
Miguli (1952), and The Siege (B. Marjanović
1956). After these films he tried his hand at directing
with It Was Not in Vain (1957), Klempo (1958), H-8 (1958),
The Eighth Door (1959), Happiness Comes at Nine (1961), Double
Ring (1963), The Dawning (1964), and Indian
Summer (1970).
Among these films, H-8 is
looked upon with particular distinction as a result
of the positive shock it gave audiences at the Pula
Film Festival (it received every important festival
award) since it signified a true turning point as
a film with a modern theme realized at the level
of the best European films of that time before the
appearance of the New Wave.
However, the most valuable legacy left by Tanhofer to Croatian
film is the result of his extensive teaching work. From the
inception of the cinematography department at the Academy
of Dramatic Arts in 1969, Tanhofer has, over the course of
almost three decades, educated over one hundred cinematographers,
who have contributed to the visual essence of Croatian film
(and television). Another part of his pedagogical work is
his comprehensive book Film Photography (1977), which
has achieved cult status as a fundamental text for anyone
who wishes to think in or express themselves in moving images.
Ivo Škrabalo |
