Recent Film Restorations

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tenia
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Re: Recent Film Restorations

#301 Post by tenia » Thu Sep 26, 2019 4:33 am

Ah ! Should have realised the poster might be a tad more summed up than the event page.
It's a bit silly though to say it's a joint international premiere, yet the 2 events happen a month from each other.

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La Clé du Ciel
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Re: Recent Film Restorations

#302 Post by La Clé du Ciel » Fri Sep 27, 2019 7:48 am

I was at the premiere of LA ROUE in the Konzerthaus Berlin and can confirm that it did indeed take place. The programme notes contained an excellent guide to the various versions of the film released in the 1920s and the subsequent reconstructions:

Contemporary releases
1922 (premiere version): 10,730m; prologue + six chapters; 8 hours 45 minutes (at 18 fps)
1923 (general release version): 10,495m; prologue + four episodes; 8h30m
1924 (first re-release version): 4200m, prologue + two parts; 3h30m
1928 (second re-release version): 2100m; 1h42m

Reconstructions
1980 (Cinéthèque française): 6170m; 5h
2008 (Flicker Alley): 5350m; 4h20m
2019 (Fondation Jérôme Seydoux-Pathé): metrage unspecified; 7h

(Interesting to note is the discovery that the difference in length between the 1922 and 1923 versions of LA ROUE was less than previously thought. The figure that has been stated in existing Gance filmographies for the 1923 version is 9200m, but the real figure was 10,495m.)

The 2019 reconstruction is seven hours long, so still 90 minutes short of what audiences saw in 1923 (and 105 short of 1922). I was fascinated to see the major and minor differences between this and the multiple copies I’ve seen in the past. I always regretted that the Flicker Alley release of 2008 fell so short (in overall length and in quality) of the Cinémathèque française reconstruction of 1980, which was itself far from what it might have been. So vast is the difference between the versions of 2008 and 2019 that it would be pointless to describe all the changes. More interesting (for me, at least) was that several short scenes/shots included in the 1980 restoration have been excluded from the 2019 restoration. In the prologue, these are principally of the grinning red signal and the elderly signalman, together with an additional glimpse or two of the incompetent railway officials. Gance must therefore have cut these between 1922 and 1923, perhaps in response to criticism of his use of personified objects (signals, trains, flowers). Of greater significance are the additions (i.e. material not seen in either 1980 or 2008 reconstructions), which principally come in the third and fourth episodes of the film. I think the most important is a lengthy sequence in episode three, where the rivalry between Elie, Hersan, and Norma reaches its climax. My understanding is that some of this was reconstructed using alternate takes, many cans of which were discovered during archival research for this restoration. The result is a much more coherent narrative, providing a greater sense of character motivation etc in this episode.

But perhaps the greatest difference between the 2019 restoration and previous ones is the music. This huge orchestral score was based on the cue sheets drawn up for the performances of LA ROUE at the Gaumont Palace in Paris in 1923. The music was assembled by Paul Fosse in collaboration with Arthur Honegger, who wrote original music for a few sequences (overall, a very small percentage of the score). Bernd Thewes was in charge of finding, reassembling, and orchestrating the original cues for the 2019 version – and the result is extraordinary. In the Konzerthaus, so many moments stood out that I can only mention a few...

In the prologue, the rhythm and sonic weight of the orchestra during the train crash was incredibly powerful. When Sisif tries to divert the oncoming train away from the wreck, the musical-visual tension was unbelievable – the Berlin audience audibly sighed with relief when disaster is averted, and the music subsides. In the first episode, when Norma pretends to be crushed by the train while playing with Elie, there is the most brilliant crescendo and decrescendo (perhaps my favourite piece of orchestration in Thewes’ score) – the scene drew gasps of shock. In episode three, the climactic cliffhanger sequence likewise gave rise to cries of alarm and surprise. That said, some some of the musical choices by Fosse/Honegger did seem a little odd to me – with a couple of important moments on screen not registering in the score, and one or two visual references to sound not replicated. (At the premiere in 1922, sound effects were used for steam/whistles etc; the 2019 reconstruction has not tried to replicate these.) But I suspect my own musical taste is as much an issue here as anything in the score – audiences in 1923 no doubt had different expectations of film music.

Overall, it was an astonishing musical-visual whole – and as a recreative document I think the new LA ROUE is an exceedingly important restoration. It was a joy to experience this film with a large audience and hear their reactions alongside the music.

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Re: Recent Film Restorations

#303 Post by ianthemovie » Fri Sep 27, 2019 11:26 am

Thank you so much for that, La Clé du Ciel! It sounds like a once-in-a-lifetime experience. I hope a Blu-ray will come soon, since I doubt many people will have the opportunity to see this theatrically with a full orchestra. I was astonished when I discovered La Roue on DVD (the Flickr Alley version) so I can't wait to see this.

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tenia
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Re: Recent Film Restorations

#304 Post by tenia » Fri Sep 27, 2019 11:44 am

I don't doubt that at least Pathé will put it out on BD in France.
Last edited by tenia on Sat Sep 28, 2019 4:57 am, edited 1 time in total.

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Tommaso
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Re: Recent Film Restorations

#305 Post by Tommaso » Sat Sep 28, 2019 4:16 am

Nina Goslar, the person responsible for silent films at ZDF/arte TV, confirms that a blu ray and dvd will be released by Pathé. There will also be an arte TV broadcast of the new resto on October 28 / November 4. Full interview in German here.

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Re: Recent Film Restorations

#306 Post by Stefan Andersson » Sat Sep 28, 2019 1:27 pm

Tommaso wrote:
Sat Sep 28, 2019 4:16 am
Nina Goslar, the person responsible for silent films at ZDF/arte TV, confirms that a blu ray and dvd will be released by Pathé. There will also be an arte TV broadcast of the new resto on October 28 / November 4. Full interview in German here.
Many thanks for this, Tommaso!

At the end of the article, Goslar mentions a new resto of Das Wachsfigurenkabinett (Leni) for 2020, carried out by Deutsche Kinemathek.

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Tommaso
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Re: Recent Film Restorations

#307 Post by Tommaso » Sat Sep 28, 2019 2:53 pm

Stefan Andersson wrote:
Sat Sep 28, 2019 1:27 pm
At the end of the article, Goslar mentions a new resto of Das Wachsfigurenkabinett (Leni) for 2020, carried out by Deutsche Kinemathek.
Yes, this must be one of the silent highlights of the coming year. It was high time that somebody did something for that great film. :-)

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Re: Recent Film Restorations

#308 Post by ianthemovie » Sun Sep 29, 2019 4:47 pm

Tommaso wrote:
Sat Sep 28, 2019 4:16 am
Nina Goslar, the person responsible for silent films at ZDF/arte TV, confirms that a blu ray and dvd will be released by Pathé. There will also be an arte TV broadcast of the new resto on October 28 / November 4. Full interview in German here.
That's great news! Hopefully the BD will have English subs.

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tenia
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Re: Recent Film Restorations

#309 Post by tenia » Mon Sep 30, 2019 3:57 pm

I was looking at Lyon Lumière Film Festival's website and it turns out they've uploaded some of the movies technical details. I'll try and compile them tomorrow but it looks like they're having many new restorations premiering there (Dementia 13 restored in 4K or The Rain People, for instance).

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Re: Recent Film Restorations

#310 Post by tenia » Tue Oct 01, 2019 8:42 am

Here you go. Forgive me for not translating those and C+P'ed them instead, they're numerous enough already and only listed through individual pages. I only listed those I don't think have been released yet on BD or have just been / will very soon be released on BD (like some of the Cayatte or The Cranes are Flying).

FF Coppola :
Dementia 13 : Restauration 4K par American Zoetrope, la société de F.F. Coppola en 2017 dans son laboratoire, à partir des négatifs originaux 35mm. DCP inédit en France avec un sous-titrage fabriqué spécialement par Pathé pour le festival. Première mondiale hors USA
The Rain People : Restauration par American Zoetrope inédite, fabriqué spécialement pour le festival. Première mondiale.

André Cayatte :
La fausse maîtresse : Restauration spécialement pour le festival par Gaumont au laboratoire Eclair, scan 4K, restauration 2K, avec la participation du CNC.
Le dernier sou : Restauration par Gaumont au laboratoire Eclair, scan 4K, restauration 2K, avec la participation du CNC.
Retour à la vie : Restauration 2K par TF1 Studio à partir des négatifs nitrate image et son français, avec le soutien du CNC et la participation de la Cinémathèque française. Travaux numériques et photochimiques réalisés par le laboratoire Hiventy en 2015.
Justice est faite : Restauration spécialement pour le festival par Gaumont au laboratoire Eclair, scan 4K, restauration 2K, avec la participation du CNC.
Nous sommes tous des assassins : Restauration Gaumont au laboratoire Eclair, scan 2K, restauration 2K
Avant le déluge : Restauration spécialement pour le festival par Gaumont au laboratoire Eclair, scan 4K, restauration 2K, avec la participation du CNC.

Wertmüller :
Pasqualino Settebellezze : Restauration 2019 par la CSC-Cineteca Nazionale à partir du négatif original, rendue possible grâce à RTI Mediaset en collaboration avec Infinity.

Others :
Drôle de drame : Restauration 4K par les Grands Films Classiques au laboratoire Vectracom à partir d’un négatif son et d’un contretype image.
Miracle in Milan : Restauration 4K par la Fondation Cineteca di Bologna et Compass Film à partir des négatifs originaux image et son et d’un interpositif d’époque conservé au laboratoire Studio Cine, en collaboration avec Mediaset, Infinity, Arthur Cohn et Variety Communication.
The Cranes are Flying : Restauration 4K en 2018 (première mondiale à Berlin) par Mosfilm à partir des négatifs originaux (actually, it was done in 2017).
La femme qui pleure : Restauration 2K spécialement pour le festival par Gaumont au laboratoire Eclair.
The Long Goodbye : Restauration 2K au laboratoire Eclair d’après le négatif original.
Day of the Dead : Restauration 2K
Flowers of Shanghai : no details but new 4K restoration
Le huitième jour : Restauration 4K par TF1 Studio à partir du négatif image, avec la participation de la Cinémathèque royale de Belgique. Travaux numériques réalisés par le laboratoire Vdm en 2019.
A Short Love Affair : Restauration 2017 4K par la Korean Film Archive.
Le Casanova de Fellini : Restauration numérique, matériel fabriqué spécialement pour le festival (possibly new restoration)
Ordinary People : Restauration numérique, matériel fabriqué spécialement pour le festival (possibly new restoration)
Una storia moderna - L'ape regina : Restauration 4K par TF1 Studio à partir des négatifs image et son français et italien, avec le soutien du CNC et de la Cineteca di Bologna. Travaux numériques réalisés par le laboratoire L’Image Retrouvée - Paris en 2019.
Ök ketten : Restauration 4k de 2017 par the Hungarian National Film Fund – Film Archive par the Hungarian Film Lab à partir des négatifs originaux. L'étalonnage numérique des couleurs a été supervisé par le directeur de la photographie János Kende.

Silent movies :
Hommage à Musidora : La Fête espagnole, Vicenta, Soleil et ombre : Restauration 4K supervisée par la Cinémathèque française à partir d'un fragment noir et blanc, sans intertitres, de 171m (sur 1671m à l’origine), sauvegardé en 1948. / Restauration 2017 par la Cinémathèque française aux laboratoires Hiventy à partir d'un fragment d’un film considéré comme perdu (bobine 2 sur 5, copie nitrate teintée). / estauration 4K supervisée par la Cinémathèque française et le San Francisco Film Festival aux laboratoires Hiventy et Fontibula.
Short films from Emile Cohl : Restauration par Gaumont en 2019 avec l’aide du Centre National du Cinéma et de l’image animée, au laboratoire de L’Image Retrouvée - Paris. Scans 4k à partir des éléments originaux nitrate avec la participation des Archives de la FIAF. Musique originale Bernard Lubat.
The Broken Butterfly : Restauration 2019 par The Film Foundation en association avec la Fondation Jérôme Seydoux-Pathé, avec l'aide financière des cognacs Louis XIII, à partir d'une duplication de négatifs 35mm de la Fondation Jérôme Seydoux-Pathé. Scan 4K, étalonnage et restauration numérique par L’Immagine Ritrovata.
The First Year : Restauration par The Film Foundation, la fondation de Martin Scorsese, avec la complicité de la Hollywood Foreign Press Association. Sous-titrage financé par la HFPA. Copie du Moma, Museum of Modern Art de New York.
Die Liebe der Jeanne Ney : Restauration 2K (same as German BD release)

French movies :
Toni : Restauration Gaumont au laboratoire L’Image Retrouvée - Paris, scan 4K, restauration 4K, avec la participation du CNC.
Le diable souffle : Restauration 4k avec l’aide du CNC à partir des éléments originaux image et son au Laboratoire Hiventy
Rue des prairies : Restauration par TF1 Studio en 4K à partir des négatifs image et son français, avec le soutien du CNC et de Coin de Mire Cinéma. Travaux numériques et photochimiques réalisés par le laboratoire Hiventy en 2018.
Cartouche : Restauration 4k avec l’aide du CNC à partir des éléments originaux image et son au Laboratoire L’Image Retrouvée.
Léviathan : Restauration 4K Héliotrope Films aux laboratoires ÉCLAIR et L.E. DIAPASON, avec le soutien du CNC, directement supervisée par le réalisateur Léonard Keigel, à partir des négatifs image et son 35mm.
La chasse à l'homme : Restauration par TF1 Studio en 4K de la version intégrale à partir des négatifs image et son français, avec le soutien du CNC et de OCS. Travaux numériques et photochimiques réalisés par le laboratoire Éclair en 2019.
Les princes : Restauration 4K par le laboratoire Cosmo Digital sous la supervision de Tony Gatlif en juin 2019.
Liberté, la nuit : Restauration 2K par l’INA à partir du négatif, d’une copie zéro 35mm et du son optique.

International movies :
Pandora and the Flying Dutchman : Restauration 4K 2019 par The George Eastman Museum à partir d'un interpositif 35mm créé en 2007. Restauration audio par Audio Mechanics, et complétée par Cohen Film Collection, avec le soutien d'OCS. Remerciements particuliers à Luca Bigazzi, directeur de la photographie, pour sa supervision de l’étalonnage.
5 Fingers : Restauration 4k de 2019 par Technicolor pour 20th Century-Fox et Swashbuckler Films à partir des négatifs originaux 35mm
Che gioia vivere : Restauration 2K à partir du négatif original au laboratoire Video Master Digital (Rome) par Intramovies, Paola Corvino, Mediaset (Italie) et la Fondation René Clément (France).
The Cremator : Restauration 4K à partir du négatif original et de l’interpositif conservés aux Archives cinématographiques nationales de Prague menée par le Festival International de Karlovy Vary en collaboration avec Les Archives nationales de Prague et le Czech Film Fund (possibly different than Second Run).
Balanta : Restauration par la Fundation9 et MK2. Le négatif original a été numérisé en 4K au laboratoire Hiventy et restauré image par image en 4K par le laboratoire Digital Cube.
Once Were Warriors : Restauration par New Zealand Film Commission 2015 à partir d’un scan HD d’après le négatif original sous la supervision du directeur de la photographie Stuart Dryburgh.

Treasures and Curiosities :
Az ötödik pecsét (Zoltan Fabri) : Restauration 4k présentée par le Hungarian National Film Fund – Film Archive. La restauration a été réalisée en 2017 par le Hungarian Film Lab à partir des négatifs originaux. L'étalonnage numérique des couleurs a été supervisé par Lajos Koltai DOP (HSC).
Khaneh siah ast (Forough Farrokhzad) : Restauration par Ecran Noir Productions et la Fondazione Cineteca di Bologna au laboratoire L’Immagine Ritrovata en 2019, à partir de pellicules originales 35mm conservées par Ebrahim Golestan, les Archives nationales cinématographiques d’Iran et la Cinémathèque française, grâce au soutien de Madame Mahrokh Eshaghian et de Genoma Films.
Tappe-haye Marlik (Ebrahim Golestan) : Restauration par Ecran Noir Productions et la Fondazione Cineteca di Bologna au laboratoire L’Immagine Ritrovata en 2019, à partir de pellicules originales 35mm conservées par Ebrahim Golestan, les Archives nationales cinématographiques d’Iran et la Cinémathèque française, grâce au soutien de Madame Mahrokh Eshaghian et de Genoma Films.
Bilans kwartalny (Krzysztof Zanussi) : Restauration par Tor Film Studio (directeur artistique : Krzysztof Zanussi) au laboratoire Di Factory, avec le soutien financier du Polish Film Institute dans le cadre du programme de restauration Poland Digital. Etalonnage supervisé par le directeur de la photographie du film, Slawomir Idziak.
As Armas e o Povo : Restauration 4K à partir des négatifs originaux conservés à la Cinemateca Portuguesa. Étalonnage numérique à partir d'une copie de distribution comme référence. Restauration proposée par la Cinemateca Portuguesa.
Tsareubiytsa (Karen Shakhnazarov) : Restauration 4K par Mosfilm sous la supervision du réalisateur et producteur de la restauration Karen Shakhnazarov.
Lalie polné (Elo Havetta) : Restauration 4K par le Slovak Film Institute à partir de différents éléments, dont le négatif. Étalonnage supervisé par le directeur de la photographie du film, Dodo Šimončič.
Ingenjör Andrées luftfärd (Jan Troell) : Restauration 2K par le Swedish Film Institute
Lust och fägring stor (Bo Widerberg) : Restauration 2K menée par Nordisk et Malavida, distributeur du film.
Grauzone (Fredi M. Murer) : Restauration 4K de la Cinémathèque suisse, avec le soutien de Memoriav, et avec la collaboration de Fredi Murer, au laboratoire Cinegrell (Zürich) et Tonstudios Z (Zürich).

Epic screenings :
The Great Escape : Restauration 4k de 2019 par Technicolor pour United Artists et Swashbuckler Films à partir des négatifs originaux 35mm
La piscine : Restauration 4K menée par Filmo en 2019 à partir du négatif original monté pour l’image, avec en complément de matériel, les plans négatifs en grande-longueur du générique début.


Strangely, Night of the Living Dead (Romero) is specified as a 2K restoration with no other detail, while other "Criterion" related restorations are specified. Mississippi Burning is stated as a Restauration 2K par Kino Lorber pour MGM. Scan 4K du négatif original (same as 2019 Kino release)

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Re: Recent Film Restorations

#311 Post by The Fanciful Norwegian » Tue Oct 01, 2019 12:13 pm

The Short Love Affair restoration was released on Blu in 2017 by the Korean Film Archive, in an impressive package that also included Tony Rayns' feature-length doc on Jang Sun-woo.
tenia wrote:
Tue Oct 01, 2019 8:42 am
Flowers of Shanghai : no details but new 4K restoration
This was how the Shanghai International Film Festival described it when it premiered there back in June:
Shanghai International Film Festival wrote:The restoration of Flowers of Shanghai was a genuine international effort. In addition to [co-sponsors] the Shanghai International Film Festival and Jaeger-LeCoultre, it also involved Shochiku, 3H Productions, and L'Immagine Ritrovata. Shochiku Co., Ltd. provided the original 35mm negative and sent it to L'Immagine Ritrovata in Italy for 4K scanning and restoration. Due to the good quality of the preserved film, there were no major difficulties.
It doesn't say it in this description, but per the introduction to the actual screening, Hou Hsiao-hsien and Lee Ping-bing took some supervisory role in the process.

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hearthesilence
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Re: Recent Film Restorations

#312 Post by hearthesilence » Tue Oct 01, 2019 1:59 pm

The Fanciful Norwegian wrote:
Tue Oct 01, 2019 12:13 pm
The Short Love Affair restoration was released on Blu in 2017 by the Korean Film Archive, in an impressive package that also included Tony Rayns' feature-length doc on Jang Sun-woo.
tenia wrote:
Tue Oct 01, 2019 8:42 am
Flowers of Shanghai : no details but new 4K restoration
This was how the Shanghai International Film Festival described it when it premiered there back in June:
Shanghai International Film Festival wrote:The restoration of Flowers of Shanghai was a genuine international effort. In addition to [co-sponsors] the Shanghai International Film Festival and Jaeger-LeCoultre, it also involved Shochiku, 3H Productions, and L'Immagine Ritrovata. Shochiku Co., Ltd. provided the original 35mm negative and sent it to L'Immagine Ritrovata in Italy for 4K scanning and restoration. Due to the good quality of the preserved film, there were no major difficulties.
It doesn't say it in this description, but per the introduction to the actual screening, Hou Hsiao-hsien and Lee Ping-bing took some supervisory role in the process.
Good to hear. When Lee was at the MoMA retrospective of his work, he mentioned being dissatisfied with the final look of the DCP's distributed for The Assassin, and pointed out that their 35mm prints for Flowers of Shanghai and Dust in the Wind were too bright - I imagine he'll make the extra effort to make sure the final product looks right.

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Re: Recent Film Restorations

#313 Post by dda1996a » Tue Oct 01, 2019 2:25 pm

This is extraordinary news! I hope we'll get a home release soon

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Re: Recent Film Restorations

#314 Post by Stefan Andersson » Wed Oct 02, 2019 3:13 pm

Programme notes, in German, for the Berlin showing of La Roue, are available here, to download as pdf file:
https://issuu.com/berlinerfestspiele/do ... ii_la_roue_

Contains a rundown of the various versions and restorations, plus interviews with Nina Goslar, Bernd Thewes (who
restored the score), a complete list of musical selections and more.

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TwoTecs
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Re: Recent Film Restorations

#315 Post by TwoTecs » Wed Oct 02, 2019 4:15 pm

Great to see that early Coppola films have been restored. Hopefully they will be released by some boutique label.

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Tommaso
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Re: Recent Film Restorations

#316 Post by Tommaso » Thu Oct 03, 2019 2:43 am

Stefan Andersson wrote:
Wed Oct 02, 2019 3:13 pm
Programme notes, in German, for the Berlin showing of La Roue, are available here, to download as pdf file:
https://issuu.com/berlinerfestspiele/do ... ii_la_roue_
Great, thanks for the link!

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tenia
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Re: Recent Film Restorations

#317 Post by tenia » Fri Oct 04, 2019 5:37 am

Drôle de drame's 4K restoration has just been released in France, and it's awful. It reminds me, in its visual aspect, Children of Paradise (though it's not as bad). I'll be seeing the movie at Lyon Festival in 2 weeks, and will thus be able to say what's coming from the restoration and what is from the BD, but I'm quite sure most of it originates from the restoration.

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Re: Recent Film Restorations

#318 Post by david hare » Fri Oct 04, 2019 4:06 pm

How could that have gone pear shaped? The old HVE (es MK2) disc was quite OK for the time.

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tenia
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Re: Recent Film Restorations

#319 Post by tenia » Sat Oct 05, 2019 3:21 am

No idea yet. They went with Vectracom for restoration house, which isnt a lab I've ever heard of so maybe there's that. Hopefully, I'll find out in 2 weeks at Lyon some additional answers (and hopefully, it wont win any Best Restoration award there but it's nominated).

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hearthesilence
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Re: Recent Film Restorations

#320 Post by hearthesilence » Sun Oct 06, 2019 1:00 pm

I saw The Cotton Club yesterday at NYFF - plenty of rush tickets offered up for it, FWIW. I had never seen the film before, but the gangster storyline did very little for me while the other stuff with the Hines brothers was wonderful. (The former wasn't without its charms. Diane Lane is remarkable and Fred Gwynne was quite good. Amusingly, Coppola said when he cast him, Evans objected to having "Herman Munster" in his movie, which supposedly prompted Coppola to ban Evans from his set as their relationship was already strained and this was more or less the last straw.)

Casting was inspired beyond Gwynne, with some actors having already worked in Coppola's previous films - Bob Hoskins, Tom Waits, James Remar (who was present for the Q&A), Laurence Fishburne, Nicolas Cage, Julian Beck and even Joe Dallesandro filled out the rest of the cast. But the film really comes to life with the Hines and McKee sequences. The musical and dance numbers of course - particularly the brilliant ending - but even a scene like an argument between the Hines brothers around a dinner table comes off better than the other half of the film. The exchanges in that scene flow naturally in a way that make the gangster scenes seem comparatively stiff.

FWIW, most of the restoration looks great, but there are occasional shots that obviously come from very grainy and discolored dupes. (Coppola said 30 minutes were added to the film.)

Before the screening, Coppola mentioned that so many people involved had passed, and it says something that so many in the audience applauded when Gregory Hines, Hoskins, Gwynne, etc. (even musical consultant Jerry Wexler) had their credits come on-screen. Amusingly, even the Orion logo got some applause.

Maurice Hines opened the Q&A talking about his brother, how they felt compelled to do more for Coppola and how their grandmother (a former Cotton Club dancer) got to visit the set and was floored by the production, bringing her back to that time. Regardless of the film's faults, the production does indeed look GORGEOUS. Remar got in a few words too, wistfully saying that this was the premiere the film should have had. At one point, Coppola mistakenly estimated that the film was 20 years old - it was quite hilarious when Kent Jones corrected him.

Coppola also dedicated the screening to Evans, discussing how Evans got him to re-write and direct it. Apparently Evans called him up saying he was having trouble with his baby, which made it sound like he was talking about a child. Coppola offers to do anything to help, and of course it turns out Evans was talking about this film. Coppola later acknowledges that he dedicated the screening to Evans knowing word would get back to him - in other words, sort of a peace offering and to acknowledge his role in creating the film.

Coppola also mentions that a lot of execs/producers balked at the African-American characters, believing that part of the film wouldn't be a big draw. How f-ed up is that? Coppola also said the cuts imposed on him actually made the film seem longer mainly because it made the theatrical cut more confusing. (The 130 minute Encore cut does indeed move briskly. There are moments that are clearly new edits that feel a little awkward or clipped, but they fly by fast.)

Jones brought up Julian Beck, who didn't cut his famously long hair for the film - he apparently knew how to put it up in a bun so that it wouldn't be in shot, ever.

The Q&A was shorter than everyone hoped but Coppola was very generous with his answers and even tried to keep it going, saying "I talk fast!" - he basically took the reigns from Jones, picking people out from the audience himself, but eventually Jones told him they were being cut off.

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Re: Recent Film Restorations

#321 Post by hearthesilence » Wed Oct 09, 2019 4:42 pm

The world premiere of a new restoration of Dodsworth plays at the NYFF tomorrow night, and not only will rush tickets be available, but they're giving away free tickets to Film Society members and even to the public at large (just search through Eventbrite, there should be a page somewhere in there).

Two of Wyler's daughters will be there for a Q&A, as will Kenneth Lonergan who adores this movie. Several years ago, before Manchester by the Sea was finished, he presented the film at IFC and gave a long talk about it afterwards. I'm not the biggest Wyler fan, and the film hasn't moved me as much as its biggest admirers, but I do agree it's one of his strongest films, alongside The Best Years of Our Lives and The Little Foxes.

Stefan Andersson
Joined: Thu Nov 15, 2007 1:02 am

Re: Recent Film Restorations

#322 Post by Stefan Andersson » Sun Oct 13, 2019 3:08 pm

The UCLA Film & Television Archive is restoring Mystery of the Wax Museum (1933) digitally, for 35mm and DCP for 2020. A Warner Archive Blu is forthcoming.

They are also looking for funds to restore Dr X (1932).

Source: https://www.facebook.com/UCLAFilmTVArchive/ - Oct. 8 post

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