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film restoration

Orson Welles on 'Chimes at Midnight,' on Blu-ray and DVD from Criterion

Great Restorations, Revelations, and Debuts of 2016

It’s been a fine year for film history rediscovered—and rendered newly accessible.

We live in a culture with unprecedented access to movies—through DVD and Blu-ray, streaming subscription services, and SVOD. And it’s not just new and recent films and TV programming; classic Hollywood films, international movies, documentaries, experimental film, and even hundreds of silents, many of them in restored and remastered editions, are available through physical purchase or streaming rental. The inevitable trade-off is the loss of a lively repertory culture of theatrical film revivals.

The good news is that revivals and restorations can still be big-screen events—just look at the attention that Dekalog and Chimes at Midnight and One-Eyed Jacks received when they returned to the big screen—and dedicated home-video distributors continue to make these newly restored editions accessible on disc and various streaming services for anyone out of reach of a cinematheque or a dedicated film festival.

Now here’s my list of the archival events of 2016—the debuts and rediscoveries of classic films and cinema landmarks, the restorations of great films, and the revivals of previously unavailable or inaccessible movies. I confess to my biases up front: This selection focuses on restorations available to American audiences in 2016 regardless of where they live (thus King of Jazz, which only played a few cities, is not in contention), favors films previously inaccessible to audiences, and reflects my own subjective historical and aesthetic inclinations. Your mileage may vary. If you bristle at the idea of the “best,” think of this of a survey of the breadth of restorations and rediscoveries that film lovers now have a chance to see, regardless of where they live, as long as they have a web connection and a Blu-ray player.

CHIMES AT MIDNIGHT

1. Chimes at Midnight (Janus Films theatrical, Criterion Blu-ray and DVD)

The film that Orson Welles proclaimed his favorite (“If I wanted to get into Heaven on the basis of one movie, that’s the one I would offer up”) suffered a fitful American release 1965, decades of legal limbo that effectively kept it off screens and home video, and a legacy of battle-scarred prints with murky soundtracks for those few special event screenings. After years of negotiating the tangled rights and gathering materials, the film was restored in 2015 and, on New Year’s Day 2016, given its first official American theatrical showings since the 1960s. It is magnificent and nothing short of a revelation. Chimes at Midnight is one of Welles’ unqualified masterpieces, his greatest film according to many critics, and a personal project that took decades to finally bring to the screen, and for many Americans this was the first opportunity to see it. The restoration produced by Spain’s Filmoteca Española was created from the original negative, and the American release given additional digital restoration. For those not fortunate enough to have a theatrical screening handy, Criterion gave the restoration a worthy special edition on Blu-ray and DVD.

Continue reading at Keyframe

Resurrecting ‘Sherlock Holmes’: An interview with Rob Byrne

“I’ve always been, since my early, early days, a silent film fanatic, or aficionado, or whatever you call it.”

After a successful career in the tech world, lifelong silent movie fan and President of the San Francisco Silent Film Festival Rob Byrne decided what he really wanted to do with his life: restore movies. So in 2006, at a point when, in his own words, “I could go after and do what I wanted to do,” he moved to Amsterdam for two years to attend the master’s program in film preservation at the University of Amsterdam. After internships at several different archives, he received an award from the Netherlands Filmmuseum (now the EYE Film Institute) and Haghefilm to restore the 1923 Pola Negri film The Spanish Dancer. He’s now back in San Francisco and building a legacy as an independent film restorer and preservationist. His restorations of the Douglas Fairbanks features The Half-Breed (1916) and The Good Bad Man (1916), the three-reel When the Earth Trembled (1913) and the San Francisco-shot The Last Edition (1925) all premiered at SFSFF over the past few years.

William Gillette and his team in the 1916 ‘Sherlock Holmes’

Byrne’s most recent project is one of the most important restorations of the last decade: the long-assumed-lost 1916 Sherlock Holmes starring William Gillette, the definitive Sherlock Holmes of the stage.

Continue reading at Keyframe

Restoring the Lost ‘Metropolis’

For the Love of Film: The Film Preservation Blogathon III, which runs from Sunday, May 13 through Friday, May 18, 2012, is dedicated to helping the National Film Preservation Foundation raise money to score and stream the recently unearthed reels of The White Shadow, a silent film from director Graham Cutts that young Alfred Hitchcock worked on as screenwriter, production designer, editor, and assistant director, for all to enjoy. The blogathon is hosted by Ferdy on FilmsSelf-Styled Siren, and This Island Rod, and you can make your donations to that effort at the NFPF website here.

Film historian, critic, and film collector Fernando Martín Peña spent twenty years tracking down the holy grail that was the complete, long though lost “Metropolis.”

Fritz Lang’s 1927 epic is a landmark science fiction filmmaking, a masterpiece of silent film and a visionary work of cinema, and its reputation has been based on an incomplete version of his original film. After its premiere in Berlin, UFA (which produced the film) cut it down for general release, and it was often cut further for export (the American release was cut by more than a third). But there rumors that an uncut print that had found its way to Argentina, thanks to an ambitious distributor who saw the film in its first run in Berlin, and Peña had heard stories of a private print in the possession of a Buenos Aries film critic and historian, a 16mm reduction of a 35mm print imported before any of the cuts had been made (Peña tells the entire fascinating story here). He spent decades trying to follow the leads to a public archive, where he was met with bureaucratic wall.

In collaboration with Paula Felix Didier, director of Museo del Cine, Buenos Aires, he finally found it print. They confirmed its authenticity and contacted the Murnau Foundation, which had undertaken the task to reconstructing the original version. It was only one of many elements that went into the definitive version that has since screened around the world in digital prints and is now available on Blu-ray and DVD from Kino — lost footage was also recently discovered in a New Zealand archive, and in better condition than the Argentinean print — but it was the essential missing link. Not only did it contribute footage unavailable in any form elsewhere, it provided an visual invaluable guide to the artists, historians and technicians doing the physical work of restoring and reconstructing the definitive version.

The Murnau Institute first embarked on a major restoration about a decade ago with the materials they had on hand and it revealed just how much footage — including significant sequences and entire subplots — was missing. Title cards sketched out subplots lost when the film was edited down by UFA (against the wishes of Lang), in particular the stories of The Thin Man (Fritz Rasp), who in previous editions is sent by Joh Frederson on a clandestine mission and then all but disappears; Joh Frederson’s assistant Josaphat (Theodor Loos), who is fired by Frederson and taken in by Freder; and the worker 11811, who Freder relieves from the exhausting duty of working the hands of the clock-like device. and his adventures in the world above ground where he becomes intoxicated on the decadence. Those stories, suggested in the earlier reconstruction, are played out here, and there are further additions, from an additional action scene in the escape from the flooding underwater city to shots trimmed from within scenes. The restoration of even these brief shots fills out the rhythmic qualities of Lang’s editing and adds detail to the montage, and in a few significant scenes it adds to the scope and intricacy of the drama.

Continue reading at MSN Hitlist