Amazing Tales From the Vault
This year’s technical talk concentrated on digital restorations and distribution by major studios, with experts from Paramount and Sony (Columbia). I didn’t take notes, so I’ll just give you a quick overview:
- Wings was projected off a DCP Friday night. Paramount has made a 35mm negative and prints of the new digital restoration, but the Festival decided to show the DCP because they were more confident of the quality.
- The restoration cost about $700,000, and will probably lose money. Since Paramount is a for-profit company, this bodes ill for other silent restorations.
- We were treated to a back-and-forth comparison of the first reel of Dr. Strangelove in 35mm and DCP. DCP looked better.
- If you sit close enough to the screen, 4K projection looks better. They showed a single frame from Lawrence of Arabia in 2K and 4K. The difference, from my seat in the third row, was amazing.
I had mixed feelings about this late silent from Shanghai. At times, I felt the lack of sound as a flaw, something I rarely experience in a silent film. Other times, this tale of a brilliant toymaker and her tribulations in a world of war, touched me. Ruan Lingyu gave a brilliant performance as the lead, but at times it felt like it was going on too long.
The 35mm print looked washed out and badly scratched–probably a problem with the source and not this particular print. The Chinese intertitles had badly-translated, often grammatically strange, English subtitles.
Donald Sosin was, as usual, brilliant on the piano.
The Loves of Pharaoh
This is the sort of big, epic, costume melodrama that Hollywood loved in the 1950s–except it was made in Germany in the 1920s. The plot involved an evil yet love-sick pharaoh, a slavegirl, her lover, barbarian Ethiopians, and…well, you get the idea. Silly, but utterly entertaining.
Recently restored from two incomplete tinted prints, the movie is still not complete. Missing scenes were filled in with intertitles (“Pharaoh walks to the window”) and occasional stills.
The DCP presentation was acceptable, but not as crisp as Wings. One annoyance: The bulk of the intertitles used light blue letters, which was very distracting and anachronistic. Only the ones filling in for missing footage used the conventional white letters. It would have been better the other way around.
Dennis James provided fine music on the Castro’s mammoth pipe organ. There was no subtlety to the score, but that was appropriate, as there was no subtlety to the movie.
No surprises here. I own this romantic comedy–the perfect Clara Bow vehicle–on the Treasures 5 DVD box set. And I’ve even seen it once before at the Castro, with live music. But that didn’t keep me from enjoying the movie. After all, comedy is always better with a large and enthusiastic audience, and Stephen Horne’s score (mostly piano but also with some accordian and flute) sounds better live. A tale of a flirt who marries a hick, with a New York divorce lawyer thrown in as a reluctant piece of the triangle, is very much a work of its time. But in many ways, it’s timeless.
Physically, the film hasn’t aged well. The 35mm print from the Library of Congress came from a source that was scratched and lacked detail. Seeing this the day after Wings brought home the difference between preservation and restoration. No one will likely spend $700,000 to make Mantrap look new. So it has only been restored; the best existing print was copied to a more stable film stock.
I decided to skip the last movie of the evening, The Wonderful Lie of Nina Petrovna. I didn’t think I could stay awake for it. To paraphrase Lloyd Bridges in Airplane!, “I knew this was the wrong week to give up caffeine.”
But I did buy the Wings Blu-ray before I left.
Note: I corrected a factual error in the original post.