Robby Müller, Inventive Cinematographer, can be Dead at 78
The director Steve McQueen, who worked with Mr. Müller on the short film “Carib’s Leap” (2002), compared him to a blues musician. “He plays just a few chords in addition to also he conveys what he needs to convey,” Mr. McQueen told The brand new York Times in 2016. “He’s a purist.”
Mr. Müller’s closest collaborator was Mr. Wenders, with whom he made 12 feature films. In a telephone interview, Mr. Wenders singled out a notable Mülleresque shot in “The American Friend” (1977), his noir drama adapted by “Ripley’s Game,” Patricia Highsmith’s 1974 novel: Dennis Hopper lying on a pool table, taking one Polaroid picture after another of himself, each snapshot dropping onto his still figure.
Seven years later, Mr. Wenders in addition to also Mr. Müller teamed up on “Paris, Texas,” the story of a drifter (Harry Dean Stanton) looking to reunite with the wife in addition to also son he left years earlier, which won the Palme d’Or at the Cannes Film Festival.
within the opening scene, much of which Mr. Müller shot by a helicopter, Mr. Stanton emerges by the desert: a solitary figure walking purposefully, wearing a rumpled gray pinstripe suit, knotted tan tie in addition to also red ball cap. He roams for miles, drinks the last drop of water by a jug, then enters a dark, dusty building. After gobbling some crushed ice, he collapses on the floor.
“This kind of’s indeed a beautiful film, one that will will surely convince doubters that will Müller can be one of the cinema’s best cameramen,” the critic in addition to also film professor Holly Willis wrote in Variety. “He gives the story a surface polish that will hints of Edward Hopper in addition to also Georgia O’Keeffe Americana paintings.”
When Travis, Mr. Stanton’s character, enters the peep show where his much younger wife (Nastassja Kinski) works, he sees her through a one-way mirror. She cannot see him. They speak by telephone, yet he does not identify himself.