On The Reel: Why ‘Belly’ Deserved To Be Nominated For A Best Cinematography Oscar
Hype Williams’ only movie is a visual masterpiece
Twenty years ago, the most popular music video director was a cat by the name of Hype Williams. Like any good music video director worth his salt — David Fincher or Michael Bay for example — Williams wanted to take his talents to Hollywood. He believed his visual aesthetic was fresh and uniquely his. And just like that, Belly became a thing.
We could discuss the finer points of the film, of which there are a plenty. DMX and Nas’ acting jobs, AZ’s character doing not a damn thing to save anyone but his baby, the way it treats its female characters, or even the troubled production of the whole thing. But without doubt, there are two things about the flick that can’t be debated: Its dope soundtrack and the sheer beauty of the movie. I’m not a betting man but if I were, I would’ve bet on Belly getting the Oscar for Best Cinematography.
For starters, let’s look at this opening.
Film is all about visual storytelling. Shots are framed and composed to tell a story. Under Williams’ direction, Malik Hassan Sayeed, the movie’s cinematographer, uses particular colors and imagery to illustrate late ’90s New York City. The streets are normally a shade of ugly brown or simply muted gray. But once we get inside buildings, like the Tunnel, the colors pop. Belly goes out its way to transport viewers to another world when we’re in certain spaces. The Tunnel is filled with shades of blue, purple, and neon. Nas and DMX look larger than life and seem unmoved by anything going on around them. According to X, Williams had the whole cast layered in baby oil for interior shots. This gives all the characters a glossy look and literally makes them all shining stars.
The opening scene also sets up the film’s themes of temptation, violence, and greed. Without giving away too much for the three of you who haven’t seen the movie, it’s telling DMX’s character never looks around at anything else and is the one doing the shooting. Nas’ character isn’t as focused on the job. Yes, he’s about his paper and the job at hand, but his eyes wander to the people. He’s already got one foot out the door on this life, even if we as an audience aren’t yet sure why. Within two or three minutes, we understand their dynamics as friends and what would ultimately become a point of conflict between them as well.
We also get a glimpse at how the movie would convey its action scenes. Grant it, most action scenes in the movie are gunfights either up close or from a distance, but that’s not the point. Williams manages to make gunshots beautiful and stylized, similar to John Woo or Dario Argento. Also, pretty sure that’s the first time Hype Williams’ name has been mentioned next to Woo or Argento, but I stand by the comparison. His action scenes, even though they take place in a world we recognize, are surreal. It’s somewhere between the gritty realism of Saving Private Ryan and the fantasy of Blade. But unlike the latter and much like the former, the violence is never easy.
When people are killed, they have to be completely discarded. They’re tossed over rails, launched out of windows, and in the slowest of slow motion. Obviously, there’s a seriousness to it, but it’s never ugly. Much like his music videos at the time, Williams made his main characters look like superheroes and any action they took something to marvel at.
The great Januz Kaminski took home the cinematography Oscar that year for the aforementioned Saving Private Ryan. Ironically, an old MTV special I can’t find anywhere features Williams saying he wanted his opening scene to be on the level of Saving Private Ryan’s opening. While the Academy may not have recognized it that year with so much as a nomination, I’d say mission accomplished.
Marcus Benjamin is a danger to the public, an alum of American University, St. John’s University, a screenwriter, and has an intense relationship with words. Witness his tomfoolery on Twitter,@AbstractPo3tic.
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