Above: Jurij Meden, Austrian Film MuseumWhen in late March 2020 I started a new job at a VOD platform, a personal transformation had been underway for quite some time, shifting and even undermining year’s worth of habits in thinking about movies. Without noticing, I started to imagine them not as the stuff of cinephile obsession, but as raw material that needed to be ferried to and fro, evaluated, sent back with notes, re-sourced, sent to the subtitler, and so on. Working for festivals, movies would come to me directly from the source. They arrived in provisional copies from producers, submitted via festival databases. Garishly watermarked. They regularly were sent unfinished; missing titles, special effects, whole sequences even. In parallel I found myself assembling an 11-film retrospective for which an archivist might send me indistinct iPhone snaps of a few frames of an Algerian classic, the decaying, pink-ish celluloid of the...
- 10/11/2021
- MUBI
Inside the projection booth at George Eastman Museum’s Dryden Theatre.
It’s been nearly 70 years since Kodak manufactured their last nitrate film, but the appreciation for the highly flammable, stunningly vivid film stock lives on in more ways than one in Rochester, New York. The George Eastman Museum, home of photography and moving image collections, opened in 1949 and two years later in 1951, the 500-seat Dryden Theatre was unveiled. However, it wasn’t until 1996 that the museum’s nitrate collection found a more secure home. Located in North Chili, NY–about a 15-minute drive from the museum–the unassumingly adorned Louis B. Mayer Conservation Center is a safe haven for nitrate film stock.
With room for 40,000 reels of film (about 26 million-plus feet) amongst its 12 vaults–completely separated to prevent a total catastrophe if a fire breaks out in a single vault–the center houses some of the most precious gems in film history.
It’s been nearly 70 years since Kodak manufactured their last nitrate film, but the appreciation for the highly flammable, stunningly vivid film stock lives on in more ways than one in Rochester, New York. The George Eastman Museum, home of photography and moving image collections, opened in 1949 and two years later in 1951, the 500-seat Dryden Theatre was unveiled. However, it wasn’t until 1996 that the museum’s nitrate collection found a more secure home. Located in North Chili, NY–about a 15-minute drive from the museum–the unassumingly adorned Louis B. Mayer Conservation Center is a safe haven for nitrate film stock.
With room for 40,000 reels of film (about 26 million-plus feet) amongst its 12 vaults–completely separated to prevent a total catastrophe if a fire breaks out in a single vault–the center houses some of the most precious gems in film history.
- 5/7/2019
- by Jordan Raup
- The Film Stage
Martin Scorsese’s The Film Foundation is among the organsiations working with India’s Film Heritage Foundation on a film preservation workshop that kicks off this week (Feb 26-March 6).
Overseas partners also include The International Federation of Film Archives (Fiaf), George Eastman Museum, the Selznick School of Film Preservation and Italy’s L’Immagine Ritrovata. In addition to Film Heritage Foundation, established by Indian filmmaker Shivendra Singh Dungarpur, local organisers include the National Film Archive of India (Nfai) and Viacom18.
“The language of cinema is universal,” said Scorsese, announcing the workshop. “In a time of great divisions, conflicts, transformations, it’s really crucial to preserve and share our cultural patrimonies and to ensure that this universal language will speak to future generations around the world.”
The 10-day workshop, which will take place at Nfai’s headquarters in Pune, covers the technology and ethics involved in film preservation as India races to save its film heritage. “This is a unique...
Overseas partners also include The International Federation of Film Archives (Fiaf), George Eastman Museum, the Selznick School of Film Preservation and Italy’s L’Immagine Ritrovata. In addition to Film Heritage Foundation, established by Indian filmmaker Shivendra Singh Dungarpur, local organisers include the National Film Archive of India (Nfai) and Viacom18.
“The language of cinema is universal,” said Scorsese, announcing the workshop. “In a time of great divisions, conflicts, transformations, it’s really crucial to preserve and share our cultural patrimonies and to ensure that this universal language will speak to future generations around the world.”
The 10-day workshop, which will take place at Nfai’s headquarters in Pune, covers the technology and ethics involved in film preservation as India races to save its film heritage. “This is a unique...
- 2/23/2016
- by lizshackleton@gmail.com (Liz Shackleton)
- ScreenDaily
The air is thin, the lines are long, and the choices maddening, but the Telluride Film Festival remains one of the world’s greatest movie events. This year’s Labor Day Weekend gathering—the 41st, to be exact—was no exception, offering exciting new films from around the globe, revivals, discoveries, world-class guests, and spectacular scenery. My family and I feel lucky to be invited. I can’t begin to cover the whole festival, but I will mention a few highlights: Paolo Cherchi Usai’s lively, informative presentation of the Orson Welles footage from Too Much Johnson, with piano accompaniment by Donald Sosin…a tribute to Hilary Swank, who gives a truly great performance opposite Tommy...
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- 9/3/2014
- by Leonard Maltin
- Leonard Maltin's Movie Crazy
In an episode of The Big Bang Theory (a sitcom lampooning modern “geek” culture with varying degrees of success), physicist Dr. Sheldon Cooper refuses to watch the Star Wars: Clone Wars animated series before the Clone Wars movie. He explains, “I prefer to let George Lucas disappoint me in the order he intended.” Though likely unintentional, this offhanded remark reveals the central dilemma of the Star Wars fandom. Does the franchise “belong” to Lucas or does it “belong” to the public, as an artifact of cultural history? With the 2011 release of the 6-part Star Wars saga on Blu-ray came the announcement that the version of the trilogy available in the set would not be from the original theatrical prints, but the 1997 “Special Edition” versions of A New Hope, The Empire Strikes Back and Return of the Jedi, which include additional scenes and updated technology. Many fans of the franchise see...
- 7/22/2014
- by Mallory Andrews
- SoundOnSight
This year's edition of the silent film festival featured Welles' previously-thought-lost Too Much Johnson amid a typically irreverent and varied selection
• Orson Welles's first professional film discovered in an Italian warehouse
• Review: Peter Bradshaw on Blancanieves
The first full day of the 32nd Giornate del Cinema Muto, the world's most prestigious silent-film festival, took place exactly 86 years after The Jazz Singer premiered in New York. There were no mournful faces in the town of Pordenone, Italy, where the Giornate is held, however. In this corner of the world, for one week only, it is not quite as if the talkies never arrived, but rather that they failed to stop the party. Silent cinema continues to reinvent itself, to surprise even its most protective guardians, and to multiply.
The opening gala night of the festival featured a recent film that paid tribute to European silent cinema, Pablo Berger's invigoratingly...
• Orson Welles's first professional film discovered in an Italian warehouse
• Review: Peter Bradshaw on Blancanieves
The first full day of the 32nd Giornate del Cinema Muto, the world's most prestigious silent-film festival, took place exactly 86 years after The Jazz Singer premiered in New York. There were no mournful faces in the town of Pordenone, Italy, where the Giornate is held, however. In this corner of the world, for one week only, it is not quite as if the talkies never arrived, but rather that they failed to stop the party. Silent cinema continues to reinvent itself, to surprise even its most protective guardians, and to multiply.
The opening gala night of the festival featured a recent film that paid tribute to European silent cinema, Pablo Berger's invigoratingly...
- 10/14/2013
- by Pamela Hutchinson
- The Guardian - Film News
Apart from the three sneak screening titles that will stir up the buzz in the coming days, Julie Huntsinger and Tom Luddy’s 40th edition of the Telluride Film Festival excels in bringing a concentration of solid docus from the likes of Errol Morris and Werner Herzog who this year cuts the ribbon on a theatre going by his name and introduces Death Row, a pinch of Berlin Film Fest items (Gloria, Slow Food Story, Fifi Howls from Happiness) Palme d’Or winner (this year Abdellatif Kechiche will be celebrated), upcoming Sony Pictures Classics items (Tim’s Vermeer, The Lunchbox), Venice to Telluride to Tiff titles (Bethlehem, Tracks and Under the Skin), the latest Jason Reitman film (Labor Day) and the barely known docu-home-movie whodunit (by helmers Dan Geller and Dayna Goldfine) The Galapagos Affair: Satan Came to Eden which features narration from the likes of Cate Blanchett, Diane Kruger and Connie Nielsen.
- 8/28/2013
- by Eric Lavallee
- IONCINEMA.com
Too Much Johnson – which was intended for inclusion in a theatre show – forms an 'intellectual bridge' between the director's theatrical and cinematic careers, says its restorer
Reading this on mobile? Click to view
It's hugely exciting discovery – and a bizarre, unexpected one too. An early Orson Welles film, previously thought lost, has been found in a warehouse in northern Italy. Too Much Johnson, the second film Welles ever created, is a silent movie, a slapstick comedy that has never been shown and was thought to have been destroyed in a fire.
"We may never fully understand the mystery of why it was abandoned. What matters now is that it is safe, and that it will be seen," says Dr Paolo Cherchi Usai, senior curator of motion pictures at the George Eastman House in Rochester, New York, which restored the footage.
The film, says Cherchi Usai, is the "intellectual bridge" between Welles's theatrical and cinematic careers.
Reading this on mobile? Click to view
It's hugely exciting discovery – and a bizarre, unexpected one too. An early Orson Welles film, previously thought lost, has been found in a warehouse in northern Italy. Too Much Johnson, the second film Welles ever created, is a silent movie, a slapstick comedy that has never been shown and was thought to have been destroyed in a fire.
"We may never fully understand the mystery of why it was abandoned. What matters now is that it is safe, and that it will be seen," says Dr Paolo Cherchi Usai, senior curator of motion pictures at the George Eastman House in Rochester, New York, which restored the footage.
The film, says Cherchi Usai, is the "intellectual bridge" between Welles's theatrical and cinematic careers.
- 8/8/2013
- by Pamela Hutchinson
- The Guardian - Film News
Silent short Too Much Johnson features Joseph Cotton and Orson Welles.
A 1938 Orson Welles film has been discovered in a warehouse in Italy.
Silent film Too Much Johnson, starring Joseph Cotten in the lead role, was found in a warehouse by the staff of Cinemazero, an art house in Pordenone, Italy.
The silent film was originally intended to be used in conjunction with Welles’ stage adaptation of an 1894 play by William Gillette. The Mercury Theatre planned to show the three short films as prologues to each act of the play.
The nitrate print of the film - left unfinished by the Mercury Theatre and never shown in public - was given by Cinemazero to one of Italy’s major film archives, the Cineteca del Friuli in nearby Gemona, and transferred from there to George Eastman House in order to be preserved.
According to published sources, until now the only known print of Too Much Johnson had burnt...
A 1938 Orson Welles film has been discovered in a warehouse in Italy.
Silent film Too Much Johnson, starring Joseph Cotten in the lead role, was found in a warehouse by the staff of Cinemazero, an art house in Pordenone, Italy.
The silent film was originally intended to be used in conjunction with Welles’ stage adaptation of an 1894 play by William Gillette. The Mercury Theatre planned to show the three short films as prologues to each act of the play.
The nitrate print of the film - left unfinished by the Mercury Theatre and never shown in public - was given by Cinemazero to one of Italy’s major film archives, the Cineteca del Friuli in nearby Gemona, and transferred from there to George Eastman House in order to be preserved.
According to published sources, until now the only known print of Too Much Johnson had burnt...
- 8/8/2013
- by andreas.wiseman@screendaily.com (Andreas Wiseman)
- ScreenDaily
As film lore tells us, director Orson Welles made his feature film debut with "Citizen Kane," widely considered to be the greatest movie of all time.
But as it turns out, "Citizen Kane" wasn't Welles's first film; he made a three-part slapstick comedy called "Too Much Johnson" in 1938 that was never seen by the public. The trio of short, silent films were meant to be screened as part of Welles's production of an 1894 William Gillette farce -- but the director never finished editing the footage, and the play closed early after terrible previews.
For years, film scholars have been intrigued by Welles's first movie project, but there was no known print in existence. Until now.
A copy of "Too Much Johnson" was unearthed in an Italian warehouse and is being restored at the George Eastman House International Museum of Photography and Film in Rochester, New York. "Too Much Johnson" will...
But as it turns out, "Citizen Kane" wasn't Welles's first film; he made a three-part slapstick comedy called "Too Much Johnson" in 1938 that was never seen by the public. The trio of short, silent films were meant to be screened as part of Welles's production of an 1894 William Gillette farce -- but the director never finished editing the footage, and the play closed early after terrible previews.
For years, film scholars have been intrigued by Welles's first movie project, but there was no known print in existence. Until now.
A copy of "Too Much Johnson" was unearthed in an Italian warehouse and is being restored at the George Eastman House International Museum of Photography and Film in Rochester, New York. "Too Much Johnson" will...
- 8/7/2013
- by Kelly Woo
- Moviefone
Hitchcock's Silents Will Be Screened As Part Of The 2012 London Olympics The scores of English film director Alfred Hitchcock’s early and rarely seen films and German director F.W Murnau’s 1927 masterpiece “Sunrise: A Song of Two Humans” are up for a creative and modern musical make-over. As part of the San Francisco Silent Film Festival this summer, the score of F.W. Murnau’s film will be completely rewritten within the context of an unusual guitar solo project crafted by Italian film archivist Paolo Cherchi Usai and Italian-born composer Giovanni Spinelli. Meanwhile, next summer, as part of the London 2012 Festival,…...
- 7/7/2011
- The Playlist
When German director F.W. Murnau subtitled his 1927 silent film Sunrise with the phrase “a song of two humans,” he almost certainly meant those words to be understood figuratively. In a few weeks, though, Paolo Cherchi Usai, an Italian film archivist and director, and Giovanni Spinelli, an Italian-born composer based in New York City, will premiere a project they have been working on for the last two years that will change that subtitle, quite literally, to “a song of one human.” In 2009, Usai approached Spinelli with a challenge: write a completely new score for the classic expressionist silent film performed entirely on one solo electric guitar. On top of this restriction was another condition. The entire 94-minute score had to played live by one ...
- 7/4/2011
- Thompson on Hollywood
San Francisco, CA -- Roger Ebert will receive the Mel Novikoff Award at the 53rd San Francisco International Film Festival (April 22 - May 6). The award, named for the pioneering San Francisco art and repertory film exhibitor Mel Novikoff (1922-87), acknowledges an individual or institution whose work has enhanced the filmgoing public's knowledge and appreciation of world cinema. The Novikoff Award will be presented at An Evening with Roger Ebert and Friends, Saturday, May 1 at 5:30 pm at the Castro Theatre. Confirmed guests to date include directors Jason Reitman and Terry Zwigoff, with others to be announced soon.
The program will close with a screening of Julia, touted by Ebert as one of the finest films released in 2009. Erick Zonca's character-driven thriller, starring the fearless Tilda Swinton, barrels straight into the sleazy wasteland of an abrasive alcoholic kidnapper who is in way over her head.
"It's an honor to pay...
The program will close with a screening of Julia, touted by Ebert as one of the finest films released in 2009. Erick Zonca's character-driven thriller, starring the fearless Tilda Swinton, barrels straight into the sleazy wasteland of an abrasive alcoholic kidnapper who is in way over her head.
"It's an honor to pay...
- 3/30/2010
- Makingof.com
Above: Rigoberto Pérezcano’s border town film Northless.
With the programmers of the Middle Eastern Film Festival tasked with bringing cinema to Abu Dhabi—which has no alternative theaters beyond multiplexes—the lineup has taken several ways to introduce and encourage a cinema culture.
Masters are an obvious route; new films by Claire Denis, Alain Resnais, Steven Soderbergh, Tian Zhuangzhaung, and an omnibus of Romanian shorts as representative A-list world cinema is, I’m sure, welcome in the area, at least in theory.
Far more adventurous is Meiff’s attempt to bring silent cinema to the Arabian Peninsula. Backed by the bold statement that silent films with live musical accompaniment have never played there, Meiff has generously brought in renowned silent film pianist Neil Brand to give a master class on his background in accompanying silent film and brief but delightful examples of the pleasures and challenges of the work.
With the programmers of the Middle Eastern Film Festival tasked with bringing cinema to Abu Dhabi—which has no alternative theaters beyond multiplexes—the lineup has taken several ways to introduce and encourage a cinema culture.
Masters are an obvious route; new films by Claire Denis, Alain Resnais, Steven Soderbergh, Tian Zhuangzhaung, and an omnibus of Romanian shorts as representative A-list world cinema is, I’m sure, welcome in the area, at least in theory.
Far more adventurous is Meiff’s attempt to bring silent cinema to the Arabian Peninsula. Backed by the bold statement that silent films with live musical accompaniment have never played there, Meiff has generously brought in renowned silent film pianist Neil Brand to give a master class on his background in accompanying silent film and brief but delightful examples of the pleasures and challenges of the work.
- 10/20/2009
- MUBI
New York -- As the Tribeca Film Festival unveiled lineups for its Midnight, Restored/Rediscovered and new Encounters sections Tuesday, co-founder Jane Rosenthal explained the downsizing of her star-filled slate.
"Everyone told us there was so much to choose from last year, so hopefully this raises the bar for pictures and allows us to be a bit more selective," said Rosenthal, recovering from a flu that left her virtually unable to talk Monday. "Our curatorial program is a stronger program for it."
Organizers on Monday had announced the elimination of two NY/NY sections and plans to screen 159 features this year, down from 174 in 2006 (Hr 3/13).
Rosenthal added that the number of screening venues, which increased and expanded uptown last year, will increase and allow for more screenings of each film. The AMC Loews Kips Bay 15, AMC Loews 72nd Street 1 and Clearview Chelsea West will be added.
She seemed most enthusiastic about DJ Spooky's "Rebirth of a Nation," a "remix" of D.W. Griffith's 1915 epic "The Birth of a Nation" that deconstructs the controversial film. In an equally unusual event, film archivist Paolo Cherchi Usai will screen historical films to the "Passio of Arvo Part" music at the Cathedral of St. John the Divine and Trinity Church.
The new Encounters program -- developed by festival executive director Peter Scarlet, managing director and programmer Nancy Schafer and senior programmer David Kwok -- will "focus on people stretching themselves, either the subjects or the filmmakers," Rosenthal said. The 23-film slate will include world premieres from actors-turned-producers Rosario Dawson ("Descent") and Benicio Del Toro ("Lovesickness") and actors-turned-directors Mary Stuart Masterson ("The Cake Eaters"), James Franco ("Good Time Max") and Diego Luna ("Chavez").
Other features in the new section are "The Air I Breathe," featuring five actors (Forest Whitaker, Brendan Fraser, Sarah Michelle Gellar, Andy Garcia and Kevin Bacon) as characters in life-altering situations; Italy's Ellis Island-themed Oscar entry "Golden Door" (Nuovomondo); and "Suburban Girl," Marc Klein's adaptation of the best-selling novel "The Girls' Guide to Hunting and Fishing."
Martin Scorsese and Scarlet have curated Restored/Rediscovered, preserving and presenting rare films. Cinda Firestone's prison riot docu "Attica," Grigori Chukrai's post-Stalin-era Russian love story "The Forty-First" (Sorok Fervyi) and actor Gerard Blain's 1973 French directorial effort "The Pelican" (Le Pelican) made this year's cut.
The 11-film Midnight program follows the offbeat, more commercial taste of similar late-night fest sections. Films include Michael Addis' fame docu "Hecklers," featuring Jamie Kennedy; Jim Hickey's gross-out comedy "Dirty Sanchez," featuring the eponymous U.K. comedy troupe; and John Erick Dowdle's serial killer thriller "The Poughkeepsie Tapes."
The entire 2007 Tribeca slate encompasses 244 films, including 75 world, 32 North American and 18 domestic premieres. Some 4,550 films were submitted to the fest, including 2,250 features.
"Everyone told us there was so much to choose from last year, so hopefully this raises the bar for pictures and allows us to be a bit more selective," said Rosenthal, recovering from a flu that left her virtually unable to talk Monday. "Our curatorial program is a stronger program for it."
Organizers on Monday had announced the elimination of two NY/NY sections and plans to screen 159 features this year, down from 174 in 2006 (Hr 3/13).
Rosenthal added that the number of screening venues, which increased and expanded uptown last year, will increase and allow for more screenings of each film. The AMC Loews Kips Bay 15, AMC Loews 72nd Street 1 and Clearview Chelsea West will be added.
She seemed most enthusiastic about DJ Spooky's "Rebirth of a Nation," a "remix" of D.W. Griffith's 1915 epic "The Birth of a Nation" that deconstructs the controversial film. In an equally unusual event, film archivist Paolo Cherchi Usai will screen historical films to the "Passio of Arvo Part" music at the Cathedral of St. John the Divine and Trinity Church.
The new Encounters program -- developed by festival executive director Peter Scarlet, managing director and programmer Nancy Schafer and senior programmer David Kwok -- will "focus on people stretching themselves, either the subjects or the filmmakers," Rosenthal said. The 23-film slate will include world premieres from actors-turned-producers Rosario Dawson ("Descent") and Benicio Del Toro ("Lovesickness") and actors-turned-directors Mary Stuart Masterson ("The Cake Eaters"), James Franco ("Good Time Max") and Diego Luna ("Chavez").
Other features in the new section are "The Air I Breathe," featuring five actors (Forest Whitaker, Brendan Fraser, Sarah Michelle Gellar, Andy Garcia and Kevin Bacon) as characters in life-altering situations; Italy's Ellis Island-themed Oscar entry "Golden Door" (Nuovomondo); and "Suburban Girl," Marc Klein's adaptation of the best-selling novel "The Girls' Guide to Hunting and Fishing."
Martin Scorsese and Scarlet have curated Restored/Rediscovered, preserving and presenting rare films. Cinda Firestone's prison riot docu "Attica," Grigori Chukrai's post-Stalin-era Russian love story "The Forty-First" (Sorok Fervyi) and actor Gerard Blain's 1973 French directorial effort "The Pelican" (Le Pelican) made this year's cut.
The 11-film Midnight program follows the offbeat, more commercial taste of similar late-night fest sections. Films include Michael Addis' fame docu "Hecklers," featuring Jamie Kennedy; Jim Hickey's gross-out comedy "Dirty Sanchez," featuring the eponymous U.K. comedy troupe; and John Erick Dowdle's serial killer thriller "The Poughkeepsie Tapes."
The entire 2007 Tribeca slate encompasses 244 films, including 75 world, 32 North American and 18 domestic premieres. Some 4,550 films were submitted to the fest, including 2,250 features.
- 8/18/2008
- by By Gregg Goldstein
- The Hollywood Reporter - Movie News
WASHINGTON -- While the popularity of modern U.S. films worldwide is undisputed, a cache of lost silent films being repatriated from Australia under a new program proves that the so-called Hollywood effect goes back nearly a century.
The eight short films being preserved under the new program that's called Film Connection: Australia-America are virtually unknown, yet they demonstrate the lasting cultural hold that American cinema has worldwide.
The films range from 1912-27. Newsreels, documentaries, trailers and Hollywood promotional films that filled out theater programs and were widely seen by audiences in the U.S. and Australia are represented.
"What makes this partnership different, and I believe, ground-breaking, is that it recognizes that American silent film is a shared cultural patrimony," said Paolo Cherchi Usai, director of the National Film and Sound Archive of Australia.
Only a fraction of the American films created during the first four decades of the motion picture industry survive in the U.S. They were often lost, destroyed or cannibalized after their immediate economic usefulness was exhausted.
The Library of Congress estimates that about one-third of American silent-era features that survive in complete form exist only in archives outside the U.S.
This project allows the films to be preserved and accessed through the five major American silent film archives: the Academy of Motion Picture Arts and Sciences, George Eastman House, the Library of Congress, the Museum of Modern Art and the UCLA Film & Television Archive. Copies also will be publicly available in Australia.
The eight short films being preserved under the new program that's called Film Connection: Australia-America are virtually unknown, yet they demonstrate the lasting cultural hold that American cinema has worldwide.
The films range from 1912-27. Newsreels, documentaries, trailers and Hollywood promotional films that filled out theater programs and were widely seen by audiences in the U.S. and Australia are represented.
"What makes this partnership different, and I believe, ground-breaking, is that it recognizes that American silent film is a shared cultural patrimony," said Paolo Cherchi Usai, director of the National Film and Sound Archive of Australia.
Only a fraction of the American films created during the first four decades of the motion picture industry survive in the U.S. They were often lost, destroyed or cannibalized after their immediate economic usefulness was exhausted.
The Library of Congress estimates that about one-third of American silent-era features that survive in complete form exist only in archives outside the U.S.
This project allows the films to be preserved and accessed through the five major American silent film archives: the Academy of Motion Picture Arts and Sciences, George Eastman House, the Library of Congress, the Museum of Modern Art and the UCLA Film & Television Archive. Copies also will be publicly available in Australia.
- 4/23/2008
- The Hollywood Reporter - Movie News
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