About
Angelo Novi
Overview
Angelo Novi (9 June 1930 – 6 May 1997) worked for thirty years as the exclusive photographer with some of the most known Italian film directors of his time, such as Bernardo Bertolucci, Sergio Leone, and Pier Paolo Pasolini. He studied at the Brera Academy in Milan, and from 1952 on, started to work as a photojournalist. The ability to capture the decisive moment, inspired by idols like Henri Cartier-Bresson and Robert Capa, is an important gist for his photographic style, which later honed in his work as a set photographer.
Novi told his own story through the scenic action captured by his photographs. Emphasis on the decisive moment, the contrast of proximity and distance, and the black and whites, are all attributes of Novi's work. With his photographs, Novi has made a comprehensive contribution to the cultural memory of the golden era of the Italian cinema. As a silent observer, he captured the moments at the film sets both behind the scenes and in action, revealing intimate aspects that cannot be found on the screen.
Known for
Acting |
||||
1973 | My Name Is Nobody | Actor | Bartender | 67 Fair |
1966 | The Good, the Bad and the Ugly | Actor | Monk | 83 Very good |
Camera |
||||
1996 | Stealing Beauty | Camera | Still Photographer | 63 Fair |
1995 | The Star Maker | Camera | Still Photographer | 62 Fair |
1993 | Little Buddha | Camera | Still Photographer | 60 Fair |
1990 | The Sheltering Sky | Camera | Still Photographer | 61 Fair |
1987 | The Last Emperor | Camera | Still Photographer | 72 Good |
1986 | Il Bi e il Ba | Camera | Still Photographer | 59 Average |
1984 | Once Upon a Time in America | Camera | Still Photographer | 81 Very good |
1982 | Talcum Powder | Camera | Still Photographer | 63 Fair |
1981 | Tragedy of a Ridiculous Man | Camera | Still Photographer | 59 Average |
1976 | 1900 | Camera | Still Photographer | 69 Fair |
1974 | Run, Run, Joe! | Camera | Still Photographer | 59 Average |
1974 | The Silk Worm | Camera | Still Photographer | 59 Average |
1972 | Last Tango in Paris | Camera | Still Photographer | 66 Fair |
1971 | Duck, You Sucker | Camera | Still Photographer | 71 Good |
1971 | The Fifth Cord | Camera | Still Photographer | 59 Average |
1970 | The Conformist | Camera | Still Photographer | 69 Fair |
1969 | Boot Hill | Camera | Still Photographer | 58 Average |
1968 | Theorem | Camera | Still Photographer | 64 Fair |
1967 | The Crazy Westerners | Camera | Still Photographer | 58 Average |
1967 | Io non protesto, io amo | Camera | Still Photographer | 59 Average |
1966 | The Good, the Bad and the Ugly | Camera | Still Photographer | 83 Very good |
1966 | Django | Camera | Still Photographer | 67 Fair |
1965 | Scouting in Palestine | Camera | Set Photographer | 59 Average |
1965 | Love Meetings | Camera | Still Photographer | 67 Fair |
1965 | The Gospel According to Matthew | Camera | Still Photographer | 65 Fair |
1963 | Corruption | Camera | Still Photographer | 59 Average |
1963 | La bella di Lodi | Camera | Still Photographer | 58 Average |
1962 | Family Diary | Camera | Still Photographer | 60 Fair |
1962 | Mamma Roma | Camera | Still Photographer | 67 Fair |