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EDITORIALS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 2

RestorAtIons AnD IncUnABULA
THe FILMs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 6

“WHen restorAtIons Meet” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 7

“InsPIrAtIons”: A seLectIon BY MArtIn Scorsese TrIBUte to tHe FILM FoUnDAtIon
THe FILMs/“INSPIRATIONS” BY MArtIn Scorsese . . . . . . . . . . . . . . . . . . 41

THe BeGInnInGs oF soUnD “YoU AIn’t HeArD notHInG Yet!”
THe FILMs . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 50

“TowArDs soUnD” . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 51

ENCOUNTERS, WORKSHOPS AND CINÉ-CONCERTS . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 63

PARTNERS/AknoWLeDGMents . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 64

MInIster oF CULtUre AnD CoMMUnIcAtIon

The State is delighted by the initiative of Costa-Gavras and Serge Toubiana, respectively president and general manager of La Cinémathèque française, in creating an international festival devoted to restored films. Through this event, entitled Toute la mémoire du monde in tribute to the Alain Resnais film, the public will indeed have a fantastic opportunity to discover or see again in a cinema, films that have regained their original brilliance. This second youth achieved by restoration is made possible thanks to the joint desire of the rights holders and the expertise of archives, along with the commitment of distributors and DVD producers, the support of laboratories, and indispensable partnerships, be they financial or institutional, private or public. For this first edition, which will take place from 27 November to 2 December, La Cinémathèque will salute in particular the important work of The Film Foundation, founded on Martin Scorsese’s initiative. The event will also present the digital restoration of the film Le Joli Mai by Chris Marker and Pierre Lhomme, carried out in the framework of the film digitization plan begun in 2012 by the Centre National du Cinéma et de l’Image Animée (CNC) in order to support rights holders in their process of digitizing and restoring heritage films. This plan complements another action of the State in the name of which the Deposit and Consignment Office signed the Grand emprunt [large loan], an agreement on behalf of the digitization and restoration of 270 films in the Gaumont catalogue. With the 40-some projections that will be proposed to us, along with lectures, roundtables and workshops dealing with photochemical and digital restoration, this festival will also allow for enhancing the heritage actions of Les Archives françaises du film du CNC, the Cinémathèque de Toulouse, the George Eastman House, and the Deutsche Kinemathek. Because the cinematographic heritage constitutes our common property, it is our duty as authorities to accompany catalogue owners, encouraging them to preserve it, restore it, and further its diffusion, so necessary for passing it on. I wish everyone a good festival!



which are just as constitutive of this fantastic adventure. The CNC has made available an aid for the digitization and restoration of heritage works so that they might be present on all the screens now offered to the public. ill known. and extremes: our attentions go from the furthest past (not all that distant. absolutely captivating and. in general. from the far North to the far South. as attests the creation for the first time. This itinerary is presented to us in the intimacy of cinema and its history. a new life. learning. putting together a programme in the form of an invitation to rediscover emblematic sites in Paris. giving back to films from the past an aura that is thoroughly contemporary. Le Joli Mai by Chris Marker and Pierre Lhomme. It is also these technical aspects. will take its place in the programming. Our geographical curiosity knows no bounds either. its moving beginnings. Some of these films – from Georges Demenÿ in 1899 or the Lumière operators in 1900 – necessitated specific restoration procedures given the formats and techniques used originally. At a time when all cinema is drastically changed by the digital revolution. The CNC has joined forces for fascinating propositions made by La Cinémathèque française. of aid to the world’s cinemas. in 2012. it was important to show what this technology contributes – when it respects the original work – to the transmission of film heritage. Something to feed the future memories of the world… The exotic also lies at our doorstep. The CNC. margins.ÉRIC GARANDEAU PresIDent oF tHe CNC A shared commitment Toute la mémoire du monde extends an invitation to go to the very heart of our film heritage. in the North as in the South. fifty years after its debut in the history of cinema… EDITORIALS 3 . actually!) to the most contemporary and experimental of cinemas. in the image of the virtuoso camerawork and mischievous viewpoint of Alain Resnais. thus inaugurating. the French National Film Institute. One of the first subsidized films. making light of the fascinating universe of the Bibliothèque Nationale in 1956. and letting oneself be filled with wonder. Workshops and programmes will let us discover and revive the origins of sound cinema. This first international festival organized by La Cinémathèque française will enable the public to discover the most recent restorations that have mobilized historical and technical skills the world over. The tribute paid to Martin Scorsese’s Film Foundation will remind us that film heritage is a preoccupation shared by all. thanks to this festival. has an appetite for peripheries. through original cinematographic viewpoints. and that it is a heritage that must be all the more protected and shown since economies are fragile and democracies threatened. I salute this patronage that makes the dominant characteristics of this festival keen intelligence and the pleasure of discovering. a strong commitment in favour of the diversity of writing and of cinematographic universes to help filmmakers from all countries. its surprising systems and also its failures. that this festival will bring to light.

In fact. The Spanish Dancer by Herbert Brenon (1923). Projections. Blackmail by Alfred Hitchcock (1929). as for other cinematheques and archives in France and round the world. as well as various private foundations and patrons. and workshops will occupy all the spaces of the building designed by Frank Gehry. The Firemen’s ball by Milos Forman (1967). Le Joli mai by Chris Marker and Pierre Lhomme (1962). This festival is coming into being at a time when digital technologies allow for unprecedented advances in the field of restoration. tributes. a possibility not offered by photochemistry. Falstaff by Orson Welles (1965). lectures. La Cinémathèque française affirms its vocation of rekindling the memory of cinema in both young spectators and their elders. technical industries. This challenge is shared with the owners of catalogues. They made me a Fugitive by Alberto Cavalcanti (1947). better reproduce colours (Technicolor and its three-strip separations in particular). Nonetheless this is also about recalling the methodological and ethical principles that have guided film restoration since its beginnings in archives in the 1980s.COSTA GAVRAS PRÉSIDENT OF LA CINÉMATHÈQUE FRANÇAISE SERGE TOUBIANA GENERAL DIRECTOR OF LA CINÉMATHÈQUE FRANÇAISE Safeguarding the memory of cinema has always constituted a basic imperative for La Cinémathèque française. and an original cultural accompaniment that will appeal to all film buffs. this exceptional event will feature an eclectic selection of 44 showings. eligible parties. on the national and international levels. 4 EDITORIALS . or again. ciné-concerts. Toute la mémoire du monde. The Living Corpse by Fedor Ozep (1929). of course. Since the first restorations in an environment that is entirely digital. a large number of films have been restored digitally with impressive results. and public authorities. carte blanche. Curators and film restorers can henceforth intervene on the image itself. Misère au borinage by Joris Ivens and Henri Storck (1933). In creating the festival of restored film. The Chase by Arthur Ripley (1946). M by Joseph Losey (1951). For five days. further stabilize images. It is now possible to better correct alterations. The Goose Woman by Clarence Brown (1925). or the sound version of Lonesome by Paul Fejos (1928). We are proud to show that many preservations for the first time in France: All that Jazz by Bob Fosse (1979). preservation and restoration of cinema. Toute la mémoire du monde hopes to impose itself as a site of reference in the programming of restored films and in thinking about the history.

the Franco-American Cultural Fund (FACF) is a unique collaboration between the Directors Guild of America (DGA). The “Inspiration” programme allows the spectator to discover the universe of this tremendous director. through the exceptional restoration work carried out by The Film Foundation. This first edition has chosen to pay homage to a major player in the world of restoration. Toute la mémoire du monde invites the spectator to discover or rediscover the history of cinema. the Festival is organizing roundtables where the men and women who work on these restorations will be in the spotlight. Martin Scorsese is doing us the honour of proposing a selection of films that have fed his passion for the cinema. Its commitment to the preservation of the cinematographic heritage of the entire world is an example for us all. the Motion Picture Association of America (MPAA). The Fund is therefore delighted and proud to support the 1st edition of the International Restored Film Festival in Paris. encourage talents and further the dialogue between professionals of both countries. Toute la mémoire du monde. currently the leading festival of French film on American soil. Since 2006. The FCFA is the creator of City of Lights–City of Angels (COL-COA). the Writers Guild of America West (WGAW) and the French Society of Authors. Long live cinema! EDITORIALS 5 . as well as masterpieces that influenced the films of today. The Film Foundation. In addition to the screenings. Financed by resources stemming from private copying. the FACF has been associated with La Cinémathèque française and Martin Scorsese’s-Film Foundation to carry out its mission of restoration and preservation of the French and American film heritage. Composers and Music Publishers (SACEM).JeAn-NoËL Tronc MAnAGInG DIrector oF SACEM PresIDent oF tHe FrAnco-AMerIcAn CULtUrAL FUnD Founded in 1996 on the initiative of SACEM. the FACF’s mission is to promote film creation and restoration.

. . . . . . . . . Orson Welles (1965) . . . . . . . . . . . . . 40 6 RestorAtIons AnD IncUnABULA . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 20 The Living Corpse / Der Lebende Leichnam / Živoj trup. . . . . . . . . . . . . . . . . . . . . . . . . 28 Le Joli Mai. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 18 Paris in 5 days / Paris en 5 jours. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . má panenko. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Portraits (1933-1957) . . . . . . . . . . . . . Arthur von Gerlach (1923-1925) . . . René Hervil and Louis Mercanton (1916) . . . . . . . . . . . . . . . . . . William Dieterle (1950) . . . . . . . . . . . 9 The Sagarmínaga Collection (1897-1906) . . . . . . . . . . . . . . . . . . . 22 Three sponsored films by Hans Richter (1931-1939) . . . . . . . . . . . . . . . . . . . . . . . 19 Blackmail. . . . . . . . . . . . . . . . . . . . . . . . . . . . Nicholas Ray (1972-1976) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . David Lean (1962) . . . . . . . . . . . . . . . Jorge Semprún (1974) . . . . Louis Delluc (1921) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Chris Marker and Pierre Lhomme (1962) . . .THE FILMS ReSTORATIONS AND INCUNABULA Another view of Paris (1896-1946) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 Lawrence of Arabia. . . . . . . . . . . . . . . Jean-Paul Rappeneau (1970) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Alfred Hitchcock (1929) . . . . . . . . . . . . . . . . . . . . . . . . . . . . 37 Documenteur. . . . . . . . . . Fedor Ozep (1929) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Bob Fosse (1979) . . . . . . . . . Milos Forman (1967) . . . . . . . . . . . . . . . . . . . . Roman Polanski (1979) . . . . . . . . Agnès Varda (1981) . . 39 And as Midnight Showing: Falstaff. . Herbert Brenon (1923) . . . . . . . . . . . . . . 34 Charles Laughton directs The Night of the Hunter (1974-2001) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 12 The Swallow and the Titmouse / L’Hirondelle et la Mésange. . . . . . 13 Fever / Fièvre. . . . . . 31 We Can’t Go Home Again. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 16 Chronicles of the Gray House / Zur Chronik von Grieshuus. . . . . . . . . . . . . . 25 Volcano / Vulcano. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 26 M. . . . . . . . . . . . . . . . . 35 All that Jazz. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . André Antoine (1920) . . . . . 30 The Married Couple of the Year Two / Les Mariés de l’An Deux. . . 24 Five short features by Dino Risi (1946-1949) . . . . . . . . . . . . . . . . . . . . . . . . . 29 The Firemen’s Ball / Hori. . . . . . . . . . Joseph Losey (1951) . . . . 36 Tess. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Nicolas Rimsky and Pierre Colombier (1925) . . . . . . . . . . . . . . Clarence Brown (1925) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 11 Suzanne. . . . . . . . . . . . . . 32 The Two Memories / Les Deux mémoires. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 23 Life. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 10 The Corrick Collection (1901-1914) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 17 The Goose Woman. . . . . 15 The Spanish Dancer. .

FROm PhOtOChemiCAl tO DiGitAl

‘Seated in front of their piece of universal memory, [they] will have put, end to end, fragments of the same secret, which may have a very lovely name… which is called happiness.’ Alain Resnais, All the Memory in the World, 1956

Lawrence of Arabia by David Lean (1962)

Toute la mémoire du monde, the first edition of the international festival in Paris devoted entirely to recently restored films, consists of an exceptional “hanging” of the latest restorations whilst asking questions about the notion of restored work in debates and lectures. What does it mean to restore a film? This practice, which was related more to a rerelease of films beginning in the 1930s, consisted essentially of duplicating films in cellulose nitrate before they deteriorated completely, i.e., through decomposition or combustion. Above all, it was important to save the films’ narrative content1, quite often ignoring the photographic or sound/audio qualities of the original works. The restoration had the dual power of making works visible again whilst preserving them at a time when 80% of silent cinema had disappeared, having been deliberately destroyed. The search for a better quality of film reproduction progressively came about in the world of archives and studios. Great advances took place, in particular thanks to the advent of sound in cinema, insofar as it was quite difficult to duplicate the variable density
1  Marie Frappat, ‘«Réactiver» les œuvres. Histoire et pratiques des professionnels de la restauration des films’, in L’Histoire à l’atelier, Noémie Étienne and Léonie Hénaut (dir.), PUL, 2012.

optical tracks without causing irremediable losses of sound quality. In this sense, at the request of Hollywood studios, the Kodak Company brought out a better quality fine-grain duplicating positive2 in 1939, intended for better preserving optical sound rendition. At the same time, this new emulsion also improved the definition and clarity of the image. This visual gain was described by cinema professionals as a return to the ‘luster of old ivory’3. It was also a sizeable evolution for the proper preservation of original negatives, since they were henceforth used less for making prints. The subsequent arrival of 35 mm safety film in 1950 resulted in gigantic waves of duplication, otherwise designated as “nitrate plans” and financed by the public authorities. These plans contributed widely to safeguarding the heritage but not without generating irremediable losses, since some countries considered that the nitrate original, once reproduced on “safety” film, could be destroyed. Since then, film restoration has gone beyond the threshold of simple duplication of the original element and appropriated the codes of ethics that existed for the restoration of the other arts,
2  Otherwise called a “master positive” in the technical vocabulary. 3  George Blaisdell, ‘Fine Grain Films make strong advance’, The American Cinematographer, November 1939.

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about which the much older practices were theorized towards the end of the 18th century.4 Those ethical codes are still topical, even in the digital era, defining the respect for the work’s historical, material and aesthetic integrity. Indeed, sizeable worksites for the reconstruction of works that were partially destroyed or split up have seen the light, the best known being Fritz Lang’s Metropolis and Abel Gance’s Napoléon. Beyond repairing the materiel, it has become necessary to resort to documentation and, in particular, to the original script. The approach of Henri Colpi, restorer of L’Hirondelle et la Mésange/The Swallow and the Titmouse (André Antoine, 1920), programmed in the framework of the Festival, goes beyond the reconstruction process since it involved editing based on the original script for a film that had never been released commercially and was, in its time, deposited at La Cinémathèque française as rushes. Numerous cases of vandalism have been registered in the history of art restoration, but what about vandalism in the restoration of films? Restoration is doubtless also the product of an interpretation linked to a contextual taste or to the technical (r)evolutions of a given era. We have a few cases of flagrant modifications in the history of restorations, such as this new release of Gone With the Wind, supervised by David O. Selznick in the 1950s. Indeed, he destroyed the academic 1:1.37 framing, “in favour of” CinemaScope, insofar as the wide screen constituted one of the major technical revolutions of that period. The spread of digital tools has profoundly modified film restoration processes. In the final analysis, this technology is related to restoration methods of the other arts since it allows for direct intervention on the textures of the image and sound. Just as one applies a filler to a broken ceramic or retouches areas of a painting with a brush, digital allows for erasing abrasions on part of the image and, even more remarkable, filling in what is non-existent or has disappeared. It is not surprising that the same software used for special effects has henceforth been diverted in favour of restorations. To be specific, digital is a way of getting closest to the colours of films that have changed with time and also allows for completely erasing dust and mould. From now on, one can create new images, but that does raise ethical issues. Henceforth, the definition of “scrap” or “defect” has been profoundly shaken in this transition from photochemical to digital. Have film restorers overstepped the limits, where an “unbounded restoration” syndrome is emerging? Is the restored work henceforth taking on an “overly intact aspect”5 that might deprive it of its historicity?

Today more than ever, restoration theorization, ethics and practice must meet to carry on a dialogue together. Toute la mémoire du monde proposes being the crossroads of those exchanges whilst again making visible works little seen or that were believed to have been lost forever. The films programmed this year – great film classics for some, major (re)discoveries for others – instance the different approaches to, or degrees of restoration. It goes without saying that restorations such as Roman Polanski’s Tess, David Lean’s Lawrence of Arabia or Miloš Forman’s The Firemen’s Ball illustrate the great possibilities of digital, whereas Nicholas Ray’s We Can’t Go Home Again, Herbert Brenon’s The Spanish Dancer or even Fedor Ozep’s The Living Corpse are noteworthy examples of reconstructions. Toute la mémoire du monde gives back its full place to silent cinema, in the tradition of the large festivals of archive films, with showings accompanied by musicians respectful of the work and often taking inspiration from practices of the period, in particular those that consisted of drawing on the classical repertoires. The Festival is also an occasion for showing archive rarities such as Gabriel Pomerand’s La Peau du milieu, Nous, les gitans or the films of the Panaria production company that apparently inspired Stromboli and Vulcano. La Cinémathèque française is also very pleased to show the restoration of Paris en 5 jours/Paris in 5 Days (1925), a French film by Nicolas Rimsky and Pierre Colombier. This feature film coming from La Cinémathèque’s Albatros collection, is a magnificent fresco shot in the middle of Paris, outside the studios. Restored from the original negative and a nitrate print with tints and tonings, Paris en 5 jours will be shown for the first time in its original colours. CÉLINe RUIvO Director of the film collections at La Cinémathèque française

4  Étienne Noémie and Hénaut Léonie (Dir.), Introduction to L’Histoire à l’atelier, PUL, 2012.

5  Fabrice Rubiella, “Masquer ou restaurer, réflexions sur les anciennes restaurations d’une amphore phanaténaïque”, op.cit. L’Histoire à l’atelier.

ANOtheR VieW Of PARis
Piano accompaniment by Paul Goussot. Screening introduced by Béatrice de Pastre (Archives françaises du film). These films were restored by the Archives françaises du film du CNC.

1896-1946 SATURDAY DEceMBER 1ST, 19:30

DIReCTORS  Boris Kaufman & André Galitzine PRODUCeR  France, 1927, black and white, 35 mm, 22’ (18 images per second)

DIReCTOR  Eugène Deslaw PRODUCeR  Films Jean Sefert France, 1930, black and white, 35 mm, 15’ (24 images per second)

DIReCTORS  Louis & Auguste Lumière PRODUCeR  Lumière France, 1900, black and white, 70 mm (projection element in 35 mm), 1’ (16 images per second)

DIReCTOR Jean-Claude Bernard PRODUCeR  Les Films J.-C. Bernard France, 1946, colour (Technicolor), 35 mm, 24’

At nighttime, the activity of Les Halles, the central market in Paris, offers a kaleidoscope of images in which men, animals and machines are mobilized to ensure the capital’s food supplies. The merchandise is brought in by carts and wagons then carried by men. Boris Kaufman was director of photography for Jean Vigo and later, in the United States, for Elia Kazan and Sidney Lumet. He was the brother of Dziga Vertov.

A poetic, surrealistic stroll in the Montparnasse neighbourhood, where the commonplace and unusual meet in the midst of hectic traffic, onlookers, tramps, sandwich men, acrobats and artistes. Luis Buñuel, Fujita, Tommaso Marinetti are caught unawares in their strolls. Eugène Deslaw, born in Ukraine, emigrated to Czechoslovakia where he drew close to the avant-garde. He moved to Paris in 1922 and produced a diversified, original body of work.

The moving walkways were one of the attractions of the 1900 Exposition Universelle, which visitors used with joy and, occasionally, apprehension. During the 1900 Exposition Universelle, a two-speed moving walkway (or carpet), baptized “Street of the Future”, was a great hit. The film attests to this innovation.

After the war, a stroll along the Seine is the pretext for rediscovering Paris. The fishermen and booksellers have returned to the quays, animals are exhibited on the Quai de la Mégisserie, and Les Invalides perpetuates the memory of the Napoleonic epic. A lyrical, patriotic commentary exalts the beauties of the capital, which, “freed from the yoke of the enemy”, has recovered all its splendour. Jean-Claude Bernard (1888-1963) directed many documentary shorts about Paris : Les Pompiers de Paris (1933), Le Vrai Paris (id.), Montmartre en couleur (1946), or Chez ceux du Montparnasse (1957). He also made some regional documentaries about Rouergue (1936), Roussillon (1938), Auvergne (1941), etc.

DIReCTOR Georges Demenÿ PRODUCeR  Léon Gaumont & Cie France, 1896, 60 mm (projection element in 35 mm), 1’ (16 images per second)

Filmed from the Rue de Rome, the parade of omnibuses heading towards the courtyard of the train station. Assistant to Étienne-Jules Marey and precursor of cinema, Georges Demenÿ was the inventor of the phonoscope (1891) and the chronophotographe (1894) the rights to which he would sell to Léon Gaumont..

Montparnasse by Eugène Deslaw (1930)

RestorAtIons AnD IncUnABULA


1897-99). indeed. a few reels offer a surprising mixture of genres. The Filmoteca Española acquired this collection in the 1990s and set about cataloguing and restoring it. Between 1897 and 1906. The original prints were duplicated in the Iskra laboratories. there were not always directors but a chief cameraman. a correspondent at the time of Pathé Frères in Spain). Even though Sagarmínaga collected comic scenes in particular. Screening introduced by Camille Blot-Wellens (Film historian). GRegORIO ANTONIO SAgARmÍNAgA (1846-1924) Gregorio Antonio Sagarmínaga was a Basque industrialist who was keen on optical techniques and developed a passion for cinema. sometimes necessitating a manual duplication in order not to damage the The other reels. like those devoted to Alfonso XIII. The first step in this work was to identify the producers of each film – in fact. materials. Arrivée d’un train (Pathé Frères. filmed by cameramen of the Lumière brothers (Alexandre Promio’s Hallebardiers de la reine. in collaboration with Encarni Rus Aguilar. That format. He thus organized showings at El Sitio. The historical research was carried out by Camille BlotWellens. At the time. 1897-1901). shot in 1904 by Segundo de Chomón. 1897-99) All the films of the Sagarmínaga collection were restored by the Filmoteca Española. Star FilmMéliès. Piano accompaniment by Jacques Cambra. disappeared in 1898. we find some of the first films shot in Spain. Avenue des Champs Élysées (Parnaland. he embarked on the acquisition of magic lanterns and glass plates. industrialist Gregorio Antonio Sagarmínaga was passionate about optical devices. however. as well as twenty or so shot using the Joly-Normandin system. He is today considered one of the pioneers of the cinema in Spain. as well as in those of the Filmoteca Española.   Projection of nine reels (72 min in total) as edited by Gregorio Antonio Sagarmínaga. Exhaustive list of the titles projected can be seen on the website: cinematheque. director of the restoration department of the Filmoteca Española. and Lumière. which included five perforations per frame. 1904). The restoration was carried out by Alfonso del Amo. stereoscopic views. Ballet sur scène avec orchestre (Baron. La Charité du prestidigitateur (Gaumont. in Bilbao. here and there. a club where the bourgeoisie of Bilbao gathered. military parades. Fotofilm-Deluxe supervised the duplication of new prints and the reintroduction of the tinting of the time. which were already precarious. 1905). Parnaland). therein one finds some hundred films in a current format (Edison). 1896). etc. conjurers’ acts or even phantasmagorical films. bring together rustic 10 RestorAtIons AnD IncUnABULA . also organized thematically. Le Pape au Vatican (Pathé.The SAGARmÍNAGA COlleCtiON 1897-1906 FrIDAY. 1898-1899). He edited reels and screened them during showings intended for the local bourgeoisie. then a production company that owned the film –. Similarly. this identification serving to find the original title or the year it was made. Gaumont. Pathé. The age of the films has forced the restorers to adapt techniques and machines to the physical characteristics of the prints. The Kiddies and the Rabbits (Warwick. He acquired projectors and films from production companies. Some reels present a clear theme. Parnaland. NoveMBer 30tH. Encierro de toros (Lumière. 19:30 In the 1890s. 1903). The collection bears witness to great technical diversity. which was arriving in Bilbao. projection equipment and films. 1898). we also find. in those days. hunting parties. such as Pathé. Most of the films come from France (Lumière. and each print is unique. most of the 127 films were unknown. as well as films made by Spaniards for foreign producers (Réception d’Alphonse XIII à Barcelone. and scenes of daily life. but a few were produced in England (Warwick) and Spain (for foreign producers): Avenue des Champs-Elysées (Parnaland.

France. black and white.. BAByLAS vIeNT D’hÉRITeR D’UNe pANThÈRe DIReCTOR Alfred Machin Pathé. Jones gets drunk and is despoiled at cards. 1907. Piano accompaniment by Mathieu Regnault. 1907. black and white. Seven years after the death of their newborn baby. The laboratory carried out the recalibration of films for which the photograms had been coloured with stencils. stencilcoloured. United States. In 1907. Booth Charles Urban Trading Co. black and white. In 1906. 35 mm. It was first necessary to identify and organize certain fragments that occasionally had no title. Thanks to patient research work. France. comedy and poems. one for the duplication of prints. they also directed their own films. even though decomposition had begun in spots. Toto charges passersby to observe the coloured glass of his kaleidoscope. When restoration began in 2006. they then added news. Great Britain. Sculptor Lee Yost at work. dancing. the Corricks. France. 1907. Desirous of remaining pioneers. they bought an electric generator to run their projector and lights. which they screened to dazed spectators. Edison. 8’ (16 frames per second) AND A LITTLe ChILD ShALL LeAD Them DIReCTOR D.The CORRiCK COlleCtiON 1901-1914 THUrsDAY. RestorAtIons AnD IncUnABULA 11 . 1902. B. In 1901. 35 mm. black and white. black and white. LA BeLLe AU BOIS DORmANT DIReCTORS Lucien Nonguet. 5’ (16 frames per second) Fable about wealth and greed. 7’ (16 frames per second) This is the story of a beautiful princess. to the Australian National Film and Sound Archive (NFSA) laboratory. They presented the latest colour films and special effects from the main production companies of the time. colour (tinted print). the Corricks took close interest in the new techniques. 1911. 1905). 35 mm. black and white. a couple on the verge of separation patches things up thanks to their second child. the other for preservation. and short showings of silent films were then integrated into their show. Day and the Australian A. 1905. The DAy-POSTLe MATCh AT BOULDeR RACeCOURSe DIReCTOR Leonard Corrick Australia. thus they shot during the day and projected their images in the evening before an awed audience. 1905. Ferdinand Zecca Pathé. stencil-coloured. Pathé. Their show combined music. 19:30 Between 1901 and 1914. Gaumont and Itala. Griffith Biograph. From that ensued the establishing of two 35 mm black and white negatives. 6’ (16 frames per second) Babylas inherits a panther that terrorizes the residents of his building. 35 mm. Given the success. 5’ (16 frames per second) LA POULe AUX ŒUfS D’OR DIReCTOR Gaston Velle Pathé. they procured an Edison projector that their 14-yearold son learnt how to run. 6’ (16 frames per second) COmeDy CARTOONS DIReCTOR Walter R. 4’ (16 frames per second) Corrick films a championship race between the Irishman R. Thanks to the purchase of a camera. France. They also projected films coloured with stencils (La Poule aux œufs d’or/The Hen that Laid the Golden Eggs. 1906. a sharpened spindle and a spell. introduced the audience of its Australia and New-Zealand tours to cinema. An artist sketches characters in chalk that come to life. 35 mm. 35 mm. 13’ (16 frames per second) HOw JONeS LOST hIS ROLL DIReCTOR Edwin S. Postle. 1909. they integrated films showings into their shows. shot by shot. Invited to dinner by his neighbour. stencil-coloured. the purchase of a movie camera enabled them to make and perform in their own films. A man drops his eyeglasses and goes to work “blindly”… Le SCULpTeUR eXpReSS DIReCTOR Segundo de Chomón Pathé. The family put an end to its tours in 1914 and stocked the films and equipment in a garage. United States. 35 mm. travel documentaries and fiction films from the principal production companies: Pathé. 5’ (16 frames per second) J’AI peRDU mON LORgNON DIReCTOR Charles Lucien Lépine Pathé. The Corricks were very fond of special effects such as those to be found in Pathé films (Les Fleurs animées/The Animated Flowers. the 140-odd films have been identified. NoveMBer 29tH. 35 mm. The original photograms were treated by immersion in a liquid (“wet-gate”) covering the scratches and abrasions. 35 mm. 15’ (16 frames per second) TOTO eXpLOITe LA CURIOSITÉ Pathé. Their grandson became the archivist before donating hundreds of reels to the Australian National Film and Sound Archive (NFSA) in 1969. 35 mm. speeded up. France. Screening introduced by Paolo Cherchi Usai (Film historian). Porter Edison. They were then transferred. 1906) or in the English film The Hand of the Artist (1906). The CORRICk fAmILy The Corrick family – a couple and their eight children – began its tours in New Zealand and Australia in 1897. France. Progressively. study of the nitrate prints revealed only slight alteration in the images. a family of musicians and entertainers. W. 1909.

CATheRINe CORmON Archiviste Film (EYE Film Institute. Casino Film Den Haag: most of the original insert titles were replaced by titles in Dutch. SCRIpT AND DIReCTION René Hervil et Louis Mercanton PRODUCTION Éclipse PHOTOGRAPHY George Barnes ACTORS: Suzanne Grandais. a duke in the French version). Suzanne is driven away by her father and goes to take refuge with an old shepherd. damaged edges and splices with loss of frames). the prelude to a series with actress Suzanne Grandais. the two filmmakers made Suzanne. meets Prince Mikael of Sylvania who is spending his holidays with their neighbour Vladimir Varidikin (a count in the Dutch version. The print was in poor mechanical condition (many scratches and marks in the emulsion. Les voies du silence (1895-1929) Nouveau Monde éditions. the colours had remained splendid. Hervil and Mercanton made several films including Bouclette and Le Torrent (scripts by Marcel L’Herbier). 35 mm. and Un roman d’amour et d’aventures. here and there. 85’ (18 frames per second) ReNÉ HeRvIL (1881-1960) & LOUIS MeRCANTON (1879-1932) Hervil began in cinema as an actor. 2006. Desmet method colour print. We left all the insert titles as they were. Screening introduced by Pierre Lherminier. Pays-Bas) 12 RestorAtIons AnD IncUnABULA . Up until 1918. Georges Tréville. We opted for a wet-gate black and white duplicate negative. perforations. Dutch intertitles with French subtitles. Book signing at La Cinémathèque française’s bookshop at the end of the screening. written by Sacha Guitry. This restoration stems from the sole existing print of the film. Marie-Louise Derval France. as for the correspondence inserts. Beginning in 1914. French insert titles. tinted/toned print. Haghefilm laboratory (Amsterdam). toned nitrate positive acquired from a collector by the Nederlands Filmmuseum in 1959. The prince and Suzanne fall in love and want to marry. 1912). René Hervil became one of his recurrent actors. These light comedies encountered such success that the actress was nicknamed ‘the French Mary Pickford. 12:30 Suzanne. The count conspires to separate the lovers. Duplicata black and white negative. The insert titles of the nitrate attest to a rather negligent practice by the Dutch distributor. only a few were translated.SUZANNe ReNÉ HeRVil & LOUis MeRCANtON | 1916 SUnDAY. 1916. a tinted. but there remain. Nederlands Filmmuseum). Fortunately. She gives birth to an illegitimate child… Piano accompaniment by Paul Goussot. It suffered from the beginnings of chemical decomposition (the brown toning faded) and a bit of mould. but the prince is reminded of his duties and ordered to wed a princess. tinted and toned. starting from a nitrate positive. Restoration by the EYE Film Institute Netherlands (formerly. DeceMBer 2nd. author of Annales du cinéma français. whereas Mercanton is known for the films in which he directed Sarah Bernhardt (La Reine Élisabeth. an innocent young girl closely watched by her father. and the printing of a colour copy with the Desmet method (addition of colours by plotting for the tinting and coloration of the light source for the toning). Jean Signoret. In 1916.

his wife. but his character makes the atmosphere take a dramatic turn.The SWAllOW AND the TitmOUse L’HIronDeLLe et LA MésAnGe Live musical accompaniment by Quatuor Voce and pianist Hélène Peyrat. L’Hirondelle and La Mésange. L’Information…). and her sister. Maguy Deliac France. The film was never released. after Zola). after Victor Hugo. On board. Gripping. on the canals. » And that was that. black and white. it’s not a film. La Cinémathèque française phOTOgRAphy René Guychard ACTORS Louis Ravet. Les Frères corses/The Corsican Brothers. we presented that to the factory. Maylianes in The Swallow and the Titmouse (1920) RestorAtIons AnD IncUnABULA 13 . Le Journal.L. Also director of the Odéon in Paris.C. comes to complete the crew. La Terre/The Earth. he devoted a large part of his time to his career as a drama and film critic (Comoedia. Marthe. L’Hirondelle et la Mésange. (Société Cinématographique des Auteurs et Gens de Lettres) EDITINg AND pOSTpRODUCTION Henri Colpi. DCP. he signed a contract in 1914 with the Société Cinématographique des Auteurs et Gens de Lettres (S. Michel.G. a very simple drama. Antoine staged some 150 plays. Griet. we can add a diamond-cutting workshop in Amsterdam and a police raid in a London pub.” André Antoine (June 1923) ANDRÉ ANTOINe (1858-1943) Founder of the Théâtre Libre in 1887. Screening introduced by Laurent Mannoni (Cinémathèque française). Sir. all the photos came in relief. and I was told: « But that’s not a film. are going from Antwerp to France.C. Beginning in 1924. after Alexandre Dumas. Pieter Van Groot. Out of a total of nine films. DeceMBer 1st. The story was hard. with the exception of his last film.A.G. A new pilot. Pierre Alcover. […] Upon returning. 17:30 Two barges. […] Magnificent… As everything had been shot moving. DIReCTOR André Antoine SCRIpT Gustave Grillet PRODUCeR S. »… And I replied: « Oh no. work and live peacefully. But if you wish. 1920.A. he shot his first film in 1915. Maylianes.L. he only adapted literary works (Les Travailleurs de la mer/The Toilers of the Sea. Long fascinated by photography and cinema.). ANDRÉ ANtOiNe | 1920-1984 SAtUrDAY. 79’ (18 frames per second) “I’d had the idea for a film: the life of boatmen in Flanders.

The quartet regularly accompanies silent films. the use of several cameras to film the same situation. a great friend.37 rather than 1. consisted quite simply of looking at what was happening. a realistic conception that he wanted to apply to cinema (the taste for real settings). Raymond Alessandrini composed an original score with three themes borrowed from Maurice Jaubert. dissolves. fades) and the sobriety of the acting make this a thoroughly innovative – and therefore disconcerting – film. considering this “material” a documentary. André Antoine embarked on the filming of this story written for the screen by playwright Gustave Grillet. The film’s realism. with the task of reconstructing and making this never-released film happen. filmmaker. The film was presented a first time at La Cinémathèque française on 12 March 1984. The film was shot in Belgium but never released: Charles Pathé. The digital laboratory work was carried out by Bruno Despas and Digimage. editor. Maguy Deliac and Pierre Alcover in The Swallow and the Titmouse (1920) L’Hirondelle et la Mésange was restored by La Cinémathèque française. including lists of insert titles written in his hand. reproduced at the time by Colpi with the Desmet duplicating process. was found in the collections of La Cinémathèque française in 1982. This new procedure resulted in heightened quality of image and definition. and trying. The duplicate stemmed from the master positive made at the time of the 1984 restoration (and the sole edited master of the film. quickly made a name for itself on the international scene performing the great chamber music repertoire. similar good fortune will not happen to me in cinema…” (December 1919). On the initiative of historian Philippe Esnault. it recorded two Schubert quartets for the Nascor label. A new restoration was carried out at La Cinémathèque française by Céline Ruivo and Clarisse Bronchti. In 1920. for his ninth and. vocal coach at the Nantes Opera.33. and musicologist. Colpi achieved a 79’ feature (in 18 fps). He developed this conception in several articles and film reviews: “The small evolution [in the theatre]. to be simpler and more logical. the shooting on location. In 2009. for example). Alas. for L’Hirondelle et la Mésange. was alarmed when he saw the rushes. six hours of rushes. the film was edited and then shown only once. These conditions and film processes stem directly from Antoine’s theatrical conception: a spectacle of life captured directly. Starting from Gustave Grillet’s original script and working documents annotated by Antoine. La Cinémathèque française had a new duplicate and print made. For the first time. forgotten for decades. An unedited negative. an entirely digital calibration was used in order to recreate the colours of the film. using – with a few exceptions – Antoine’s original insert titles. as it turned out. on the occasion of a corporative projection in 1924 (print lost)... the use of effects on the filming (wipes. It is currently collaborating with choreographer Thomas Lebrun on a show based on Schubert’s Death and the Maiden. it is accompanied by pianist Hélène Peyrat. the negatives having been left as rushes). La Cinémathèque then entrusted Henri Colpi.THE VOCe qUARTET founded in 2004. diaphragms. In 2012. distributor of the film. 14 RestorAtIons AnD IncUnABULA . Shot in 1920. certain defects having remained from the time of the first restoration (framings of the cartons in 1. last film. the master positive was scanned in 2K in order to be corrected. In the late 2000s. if possible. which they say I invented.

comes in. The story became the script of La Boue (‘Mud’. It was the first obvious expression of a new avant-garde movement in French cinema. In a freezing atmosphere due to the winter temperatures. were filmed on location in the Old Port. Jupiter Films PhOTOgRAphY Alphonse Gibory. judged too provocative. Topinelli. tinted print. The film was released theatrically on 24 September 1921. which was acquired in 1950. It charmed the public and earned rave reviews. in Gaumont’s ButtesChaumont studios in Paris. promising to give herself to the winner. Delluc called for amateur actors. the protagonists’ fervour increased as the plot unfolded. Germaine Dulac and Louis Delluc met. a new print was made from the dupe negative. under the title of Fièvre. Jean Toulout. It was only once a few scenes had been removed that the film was finally accepted by the censors in May 1921. Ève Francis in Fever (1921) La Cinémathèque française restored Fièvre (Fever) from a nitrate negative that was on deposit since 1943. The movements of the bodies express the inner life of the characters. Louis Delluc emerged as the leader of the first French cinematographic avant-garde. characters tormented by the past (Le Chemin d’Ernoa/ The Way of Ernoa or The American. Of Impressionistic inspiration. Gaston Modot France. La Boue was shot in only eight days. be changed. 1920. Produced by Alhambra-Film. The main feature will be preceded by a screening of: LA FÊte esPAGnoLe GeRmAiNe DUlAC | 1920 A former dancer is loved by two men. Edmond Van Daële. a production company founded by Delluc. 35 mm. in the order of the writing of the script (except for Militis’s wedding scene. deemed too subversive (scenes of violence. the initial title given to Fièvre). in counterpoint to the closed universe of the bar. Les voies du silence (1895-1929) Nouveau Monde éditions. Generally speaking. and the frequent recourse to flashbacks. Book signing at La Cinémathèque française’s bookshop at the end of the screening. the framework was realistic and the settings natural. This same nitrate print served as the reference for elaborating the tints. she lets herself be swept away by the whirl of the dance and charmed by a younger suitor. are pouring drinks for their regulars. To play the numerous secondary roles that complete the cast of stars such as Edmond Van Daële and Gaston Modot. Georges Lucas ACTORS Ève Francis. Screening introduced by Pierre Lherminier. 8’ (18 frames per second) In 1917. In 2008. A group of sailors. 13:00 In a working-class bar on the Old Port of Marseilles. The set of the working-class tavern in Marseilles was built in four days. 35 mm. into which were reintroduced the intertitles from the nitrate print. An original nitrate release print. 45’ (18 frames per second) LOUIS DeLLUC (1890-1924) Alongside his activities as a critic for the reviews Film then Paris-midi and Cinéa. but also that the title. She incites them to fight. the owner. Tulip’s Bar is a short story written by Louis Delluc in 1919. and then duplicated in 1963. a bared breast) be cut. which took place in the past). For Delluc shot the scenes in continuity. black and white. DeceMBer 1st. 1921. SCRIpT AND DIReCTION Louis Delluc PRODUCTION Alhambra-Film (Louis Delluc). Fièvre 1921). author of Annales du cinéma français. The few shots of the harbour. RestorAtIons AnD IncUnABULA 15 . 1920. thereby respecting the unity of time and place and stoking the progressive rise of tension and violence in the story. the fact that the action takes place in a “dive” was found disturbing. The members of the Commission demanded not only that certain scenes. From their collaboration came the film La Fête espagnole (Spanish Fiesta). Sarah. Accordion accompaniment by Daniel Colin. with this concise writing that characterises Delluc’s film dramas. Gaston Modot France. the lover who had abandoned Sarah in the past. His films are characterized by the intentional slimness of the script (Le Silence 1920. in February 1921. La Boue was presented in April 1921 to the Commission Supérieure d’examen des Films Cinématographiques of the Ministry of Public Instruction and provoked sharp opposition. Amongst them is Militis. La Femme de nulle part/The Woman from Nowhere 1922). RÉALISATION Germaine Dulac SCRIpT Louis Delluc PRODUCTION  Les Films Louis Nalpas PhOTOgRAphY  Paul Parguel ACTORS Ève Francis.FeVeR FIèvre LOUis DellUC | 1921 SAtUrDAY. Meanwhile. returning from the Orient. and his wife. published in Drames de cinéma. including a few friends. helped to complete the restoration.

a black and white 35mm nitrate print from the Royal Belgian Film Archive with Russian intertitles. due in particular to the actress. Wallace Beery United States. 105’ (22 frames per second) Negri. tinted print. EYE Institute established a second print in black and white the negative of which is more durable than the colour one. 1625. This German actress of Polish origin. The Spanish Dancer is one of Pola Negri’s first films in the framework of her contract with Paramount. The Spanish Dancer was a financial and artistic success. A gypsy woman. Brenon often worked with the same technical and artistic team and thus he made a large number of his films. and for lack of another male star. he began writing scripts. At the outset. DIReCTOR Herbert Brenon SCRIpT June Mathis PRODUCeR  Herbert Brenon PhOTOgRAphY  James Wong Howe ACTORS Pola Negri. 21:30 Spain. a 16mm print from Lobster Films (Paris) with French intertitles. with the same chief cameraman. Madame du Barry). This restoration aims to bring together as much as possible of the original version. James Wong Howe. The rights having already been acquired. Often presented as a comic period drama with lavish costumes. With an aim at preservation. and contains 95% of the original script. Disappointed.The SPANish DANCeR HeRBeRt BReNON | 1923 SAtUrDAY. with the lead role going to Rudolph Valentino. having become infatuated with the young woman. Memoirs of a Star. quite believable as a fiery exotic dancer. both films took their inspiration from the same theatre play. All the same. and when the filmmaker was called to Hollywood in 1922. Brenon arrived in the United States at an early age. 1923. for example. the film was to have been called The Spanish Cavalier. Each one of these prints was incomplete.g. Antonio Moreno. Don César de Bazan by Philippe Dumanoir and Adolphe d’Ennery. Don Cesar de Bazan. when compared to the original script. the original tinted colour print was reintroduced into the restored print thanks to indications written in the dialogue continuity. Piano accompaniment by Mathieu Regnault. At the time of speaking films. Pola Negri did not hesitate to describe Brenon as “a skilful director. also playing in both of them. Pola Negri wanted Lubitsch to direct. She would again work with Lubitsch in 1924. After scanning elements of the film. But the king of Spain. such as Peter Pan (1924). At the end of the 1900s. but he was already committed to make Rosita with Mary Pickford. it was decided to make the film a promotional “vehicle” for Pola Negri and change the title. which allowed for establishing the order of shots and insert titles with certainty. she followed him. Carmen. Maritana. The original dialogue continuity was found in the library of the Academy of Motion Picture Arts and Sciences. When he is about to be seized for debts. Screening introduced by Elif Rongen (EYE Film Institute Netherlands). The final version was completed in 2011. He progressively stood out as one of the important silent film directors with. Coincidentally. sends soldiers in pursuit. he made his last films in England. falls in love with a penniless aristocrat. 1971). without missing a single scene. but a sex scandal forced the studio to break its contract with the actor. Beau Geste (1926) and The Great Gatsby (1926). in Forbidden Paradise.. Ivanhoe (1913) and The Two Orphans (1915). Pola 16 RestorAtIons AnD IncUnABULA . Even the most complete one (EYE print) only contained 64% of the original film. including The Spanish Dancer. was famous at the time for her roles in the great historical films that Ernst Lubitsch made after the Great War (e. and a 16mm print from Photoplay Productions (London) with English intertitles. the lovers flee. EYE FILM (Netherlands) was able to bring together four sources: a tinted 35mm nitrate print from the EYE Institute with Dutch intertitles. but lacking in inspiration”(Pola Negri. 35 mm. DeceMBer 1st. Some of his most notable films were adaptations of novels. Pola Negri in Spanish Dancer (1923) HeRBeRT BReNON (1880-1958) An Irish stage actor. a month after the release of Rosita.

The L’Immagine Ritrovata laboratory (Bologna) took charge of the technical realization of this photochemical restoration. F. he made only two films: Vanina (1922) and Chronicles of the Grey House. 1921. Faust. 109’ (22 frames per second) ARThUR vON GeRLACh (1876-1925) He began as a stage director and. but his father opposes their union. Christian Bummerstedt. Murnau. the film is little known today. in particular thanks to its prestigious cast (Asta Nieslen. DeceMBer 1st. Chronicles of the Grey House was. Screenwriter Thea von Harbou was in charge of adapting a story by Theodor Storm. of which Fritz Arno Wagner. Jahn Christen. His name remains associated with the former. 10:30 In the 17th century. made a profoundly Germanic film based on a typically Nordic tale. the restorers were able to identify those that were the oldest. the “safety” material of the American version of the film. RestorAtIons AnD IncUnABULA 17 . in collaboration with the Federal Film Archives of Koblenz and Berlin. part of the strategy of Erich Pommer. desolate sets of the castle were designed by architects Robert Herlth (Der müde Tod/The Three Lights. during the First World War. in its time. and the original piano score by Gottfried Huppertz. W. anxious to make films conveying a Christian Bummerstedt in Chronicles of the Grey House (1923-25) certain image of Germany. black and white. Paul Wegener). For the cinema. Amongst the various types of insert titles contained on the original negative. The work was carried out by primarily combining threes restoration supports: the original nitrate negative – bearing production cuts made before the film’s release – preserved at the German Federal Archives in Berlin. the local lord makes his eldest son his sole heir. Fritz Arno Wagner ACTORS Gertrud Arnold. also preserved in the Federal Archives. The film was restored in 2005 by the Friedrich-WilhelmMurnau-Stiftung (Wiesbaden). in fact. F.ChRONiCles Of the GReY HOUse ZUr CHronIk von GrIesHUUs Piano accompaniment by Stephen Horne. The son falls in love with the daughter of a serf. DIReCTOR Arthur von Gerlach SCRIpT Thea von Harbou PRODUCeR Erich Pommer (UFA) PhOTOgRAphy Carl Drews. 1923-25. Erich Nitzschmann. 1926) and Walter Röhrig (idem). preserved at the Deutsche Kinemathek in Berlin. The production of Chronicles of the Grey House therefore lasted two years and benefited from a sizeable budget. 1922). director of photography (Nosferatu. Lil Dagover Germany. Arthur von Gerlach. at Grieshuus [Grey House] Castle. Fritz Lang. “the fresh air and nostalgic poetry of a Swedish film” (L’Écran démoniaque. W. 1952). The romantic. ARthUR VON GeRlACh | 1923-25 SAtUrDAY. In Chronicles of the Grey House we again find the dual Expressionist and Romantic inspiration already perceptible in Vanina. Murnau. which consisted of producing films combining historical and mythical themes in an epic style. going so far as to find again. His popularity and status as a writer fond of legendary tales made the project one of the priorities of the studio. staged plays by Shakespeare and Strindberg. inspired by Stendhal’s novel Vanina Vanini. according to Lotte Eisner. 35 mm. knew how to capture the gloomy atmosphere. one of the great UFA (Universum Film AG) productions. Even though Chronicles of the Grey House was. who was at the head of the studio at the time. The director. The film was shot in the UFA studios (Neubabelsberg) and on location (the moors of Northern Germany).

She now lives in a hovel where she raises geese and is gradually sinking into destitution and alcoholism. But when her neighbour is found murdered. etc. entitled The Past of Mary Holmes. have fallen into oblivion. The print is silent. New York. Tourneur helped him find a story for his first film: The Great Redeemer. apart from a brief fragment of optical sound in the opening sequence. he is associated more with his MGM period. Brown favoured “pictorialism”. he also turned to stories relating the harsh reality of rural America: Ah! Wilderness (1935). Considered an excellent director of actors. whom he claimed to be his model. 1925. marked by the false statement of a witness seeking to draw the attention of the media. The film was restored in 2011 from 16mm diacetate prints in the laboratories of the Stanford Theatre Foundation.The GOOse WOmAN ClAReNCe BROWN | 1925 SUnDAY. tinted print. for all that. DeceMBer 2nD. Similarly. on the other. Like Josef von Sternberg and Maurice Tourneur. has lost her voice and her reputation giving birth to an illegitimate child. then tinted. Beginning in 1926. However. Jack Pickford. he paid particular attention to the acting as much as to the narrative construction. inherited from silent films (Tourneur. Herbert Brenon. 18 RestorAtIons AnD IncUnABULA .000 a week by the same studio to make The Goose Woman. Constance Bennett United States. Rex Ingram): the choice of lighting favours the contrasts between darkness in the foregrounds and luminosity in exteriors. 83’ (22 frames per second) CLAReNCe BROwN (1890-1987) Clarence Brown was an automobile mechanic who developed a passion for the cinema of Maurice Tourneur. which began in 1926. The film was very well received by the critics and public of the time. 16:30 Mary Holmes. Mary elaborates a plan to attract the attention of the local press. Following the restoration work. Brown made films to entertain and refused to impose political opinions. Smouldering Fires (1925). as of the mid-1920s. a former diva. it was he who created the image of Greta Garbo and Clark Gable. he became Tourneur’s assistant. and at La Cinémathèque française. Intruder in the Dust (1949). Piano accompaniment by Stephen Horne. Many of Brown’s silent films. reducing realism. from the British filmmaker and film historian Kevin Brownlow. It was only in the 1960s that his silent period was rediscovered in London. Clarence Brown was offered $3. 35 mm.). shot for Universal. with Rudolph Valentino). The whole gives a somewhat dreamlike aspect to the photography. without. Clarence Brown took an interest in every aspect of the shooting. an attempt at reproducing the light effects observed in painting and Symbolist illustration. After the First World War. Anna Karenina. In 1915. The film took its inspiration from an actual criminal case that occurred in 1922 in the United States. These prints came from two sources: on the one hand from the UCLA Film & Television Archive (University of California at Los Angeles) and. Thanks to the success of his previous film. DIReCTOR Clarence Brown SCRIpT Melville Brown PRODUCTION  Universal Pictures PhOTOgRAphY  Milton Moore ACTORS Louise Dresser. to the comic elements that lighten the melodramatic plot as to the lighting of the shot. financial successes in their time. Anna Christie. The restoration was carried out by Robert Gitt (Head of conservations at the UCLA Film & Television Archive). RKO made a remake of The Goose Woman. In 1933. to the degree that Brown would again direct Louise Dresser in her next film (The Eagle. Brown became one of the favourite directors at Metro-GoldwynMayer. and with the films he made with Greta Garbo: Flesh and the Devil. a 35mm print was made.

he deposited films and archives (scripts. Harry Mascaret. In 1904. outside of Paris. The negative of the French version (negative A) thus had to be re-edited in keeping with the new sound dimension. Alexander Kamenka. Jean Renoir and Jacques Feyder. in addition. In 1917. directors (Alexander Volkov). an escapade that becomes burlesque. Madeleine Guitty France. Paul Guichard. He was accompanied by actors (Ivan Mozzhukhin). prints and rights. he turned to writing then directing. with an aim to competing with Georges Méliès’s Star Film Company. was released in 1925. PieRRe COlOmBieR | 1925 SUnDAY. the Bolshevik revolution forced a certain number of artists to emigrate to France.. these new collaborators founded the Ermoliev-Cinéma production company. of which Nicolas Rimsky became a specialist (Paris en 5 jours. including the head of the Pathé company in Russia. 14:30 The Roaring Twenties. comes into an inheritance and decides to treat himself to a trip to Paris with his fiancée. essentially from two elements in its collections: a nitrate print and negative B (international version). Screening introduced by Céline Ruivo (Cinémathèque française). Made in 1925 in two versions . Charles Pathé opened a studio in Montreuil. DIReCTORS Nicolas Rimsky. production stills) at La Cinémathèque française. The Albatros studio encouraged the coming together of and collaboration between Russian and French artists. which became the Société des Films Albatros in 1922. roi des voleurs. Gaston Chelles ACTORS Nicolas Rimsky. In 2012. correspondence. found at the beginning of each shot on the edges. between the avant-garde movement and the oriental-tinged imaginative universe. a director of satirical comedies for Gaumont at the time. Le Nègre blanc/The White Negro. 35 mm. Moving into the Montreuil studio. La Cinémathèque is henceforth the owner of the negatives. NICOLAS RImSky (1886-1942) & PIeRRe COLOmBIeR (1896-1958) Nicolas Rimsky was part of the group of Russian artists who moved to France in 1917 and founded the Albatros studio. producer Alexander Kamenka took over the running of Albatros. Actor of a thousand faces. as was done with numerous productions of the time -. The Albatros studio thereby became a place for experimentation. were indeed preserved on the nitrate print and were reproduced on the new duplicate using the Desmet process.PARis iN 5 DAYs PArIs en 5 joUrs NiCOlAs RimsKY. Nicolas Rimsky PRODUCTION Studio Albatros PhOTOgRAphY Nicolas Roudakoff. but the discs have still not been found. he played in dramas as well as comedies. The tinting and toning processes (alone or combined). he opened a production company in Russia..). Dolly. Supported by the new director of the Studio. Dolly Davis. The great popular successes of Albatros at the time were comedies. The studio welcomed French avant-garde filmmakers who were encountering difficulties in producing their films: Jean Epstein. So it was that Rimsky met Pierre Colombier. etc. Jim la Houlette. An American accountant. In 1958. the film was re-edited in 1930 for a sound version with synchronization of discs. In 1926. His first film. 77’ (18 frames per second) art directors (Ivan Lochakov). tinted for the French market and an international version. DeceMBer 2nD. poster designers (Boris Bilinsky) and RestorAtIons AnD IncUnABULA 19 . 1925. The nitrate print also provided the majority of the insert titles. La Cinémathèque française restored the silent version. Henri Langlois obtained the totality of the Albatros collection for 3 million francs. posters. Piano accompaniment by John Sweeney. Pierre Colombier SCRIPT Michel Linsky. Colombier stood out as a specialist in cinema vaudeville. Beginning in 1936. Joseph Ermoliev. producers (Alexander Kamenka). so that was how La Cinémathèque acquired the two negatives of Paris en 5 jours. Thanks to his dynamic direction.

Blackmail was restored in 2012 by the BFI National Archive in association with StudioCanal. 21:00 In London. The restoration was carried out by Bryony Dixon and Kieron Webb (BFI).BlACKmAil AlfReD HitChCOCK | 1929 CLOSINg NIghT . certain sequences being lost or unusable. Hitchcock was an artist who made more than fifty features and always with the awareness of the means and powers as yet unexplored of a new art. Dj and composer. The Lady Vanishes.SUnDAY. today. Col & Karen Needham and the Dr Mortimer & Theresa Sackler Foundation. but the Deluxe 142 laboratory quickly became aware of the advanced deterioration of the nitrate film. i. DIRECTOR Alfred Hitchcock SCRIPT Alfred Hitchcock. 1929. as well as numerous maxis and remixes on foreign labels. she witnessed the explosion of electronic music. Pia Getty. One evening. Unlike most silent film negatives having flash titles (indications for the laboratory concerning the cartons to introduce on the negative).. grabs a knife and kills him. Live musical accompaniment by Chloé. the restorers resorted to the graphic palette used manually and to semi-automatic framecleaning software. 35 mm. she appears in clubs and at festivals the world over and collaborates with choreographers and filmmakers. Chloé Thévenin is a major figure on the French electro scene. d’après une pièce de Charles Bennett PRODUCER John Maxwell (British International Pictures Producer) PhOTOgRAphY Jack Cox ACTORS Anny Ondra. Additional funding provided by Deluxe 142. Vertigo (1958). This restoration was part of the “Rescue the Hitchcock 9” plan. and the original insert titles were kept. North by Northwest (1959). Screening introduced by Bryony Dixon (British Film Institute). Psycho (1960). The negative was scanned in 4K and the film restored by immersion (wetgate). 82’ (24 frames per second) ALfReD HITChCOCk (1899-1980) Director of silent and talking pictures. The original negative of the silent version was found in the BFI Archives. he went to the United States where his films served as a showcase for the greatest actors of his time: Rebecca (1940). she agrees to follow an artist home. she struggles. a project begun in 2010 to restore the nine silent films that Hitchcock made between 1925 and 1929. author of spectacular and secretly theoretical thrillers. immersed in a fluid allowing for reducing or eliminating the ravages of time. 20 RestorAtIons AnD IncUnABULA . Levy. 1938). Rear Window (1954). Ben W. In the 1990s. Sara Allgood Great Britain.e. The investigation is entrusted to Frank who has no trouble confounding Alice but also suspects a strange man. After his English period (The Thirty-nine Steps. DeceMBer 2nD. She has released two albums. Donald Calthrop. John Longden. Blackmail’s already presented insert titles. The Waiting Room (2007) and One In Other (2010) on Kill the dj Records. a Scotland Yard detective who seems more interested in his profession. 1935. black and white. Chloé will do a “live” on Blackmail at the closing of the Festival. Principal funding provided by The Hollywood Foreign Press Association and The Film Foundation. He tries to rape her. To correct the remaining flaws. nicknamed ‘the master of suspense’. Thus the laboratory did not need to reconstruct them. Alice is engaged to Frank Webber. The Birds (1963).

when the mike in the sound version imposed more proximity to the actors. and Hitchcock worked on the text and wrote a script. becoming Alfred Hitchcock’s first sound film and the first British “talkie” . Only the actress Anny Ondra (Alice) was a drawback for the film. revealed an absence of murders) and recommended ending rather with a strong scene. Charles Bennett’s crime drama Blackmail had great success in London. deeming the play ideal for Alfred Hitchcock. in both its sound version and the silent. in a few days. and this would mark the end of her British career. the way they did when sound came in. Producer John Maxwell immediately bought the rights. As of the month of November. In other words. were not yet equipped for projecting sound films. Inversely. apparently suggested to Hitchcock that he omit this ending (which. had to find an Expressionistic force by itself. the shadow of bodies on the wall. The filmmaker also added action scenes and replaced the third act. for example by shifting the camera in the “The silent pictures were the purest form of cinema. a hand groping for and finally grabbing a knife… The film was a real success upon release. in the silent version: a curtain. there was no need to go to the other extreme and completely abandon the technique of the pure motion picture. But this slight imperfection did not warrant the major changes that sound brought in. in the original play. the “knife sequence”. Blackmail would thus be shot in two versions. Blackmail has also remained famous for the first real appearance of Hitchcock (scene of the two lovers in the Underground). the film was almost finished. the only thing they lacked was the sound of people talking and the noises. Anny Ondra in Blackmail (1929) RestorAtIons AnD IncUnABULA 21 . The silent version was then shown in the cinemas that. namely the chase through the reading room of the British Museum… In April 1929. at the time stills photographer on the shooting of Blackmail. her Czech accent obliging her to be dubbed by the English actress Joan Barry. Le Cinéma selon Hitchcock. since all that was missing was simply natural sound. at the time. The silent version offered Hitchcock greater freedom of experimentation. and Hitchcock was about to begin the editing when Maxwell asked him to also make a sound version of the film.In 1928. blacker than the original plot.1966) course of a “dialogue” scene. The young Michael Powell.” (Alfred Hitchcock to François Truffaut. which remained famous in the sound version. the production was settled.

then by Oliver Hanley at the Vienna Filmmuseum in 2011. NoveMBer 28tH. he found refuge in France (La dame de pique in 1937. For its initial French release. and Austrian actor Gustave Diessl). When it finally appeared there in January 1931. In 1988. The film premiered on 14th February 1929 at the prestigious Capitol Theatre in Berlin. it will hold any audience. The Living Corpse was a worldwide success. Prophetically dubbed “the film everyone must see” by its Austrian distributor. Viola Garden Russia/Germany.running a mere 77 minutes and featuring synchronised music and sound effects. preserved in Austria. However. The new restoration. A restoration undertaken by Martin Koerber at the Deutsche Kinemathek in 1988. “…one of the really few achievements of the Russian industry: a picture so gripping that. These words still hold true when we watch Ozep’s The Living Corpse today. 10:30 Fedya’s wife becomes enamoured of one of their common friends. Not wanting to hinder their love. the Deutsche Kinemathek made a first attempt at reconstructing the version of the film presented at its Berlin premiere. Anatoli Mariengof PRODUCTION  Mezhrabpomfilm PhOTOgRApHY  Anatoli Golovnia. suggesting that he stage his death instead. socially critical tour de force. Starting from a duplicated positive of a Danish print. managed to improve this reconstruction starting from three new elements: a nitrate print of excellent quality. in partnership with The Deutsche Kinemathek.The LiViNG CORPse Der LeBenDe LeIcHnAM / ŽIvoj trUP FeDOR OZeP | 1929 WeDnesDAY. a release print with French and German insert titles from Switzerland. damaged print in an Italian version. a duplicate was established and re-edited to correspond to the German version as far as possible. In despair at having failed as a husband. Musical accompaniment by Werner Schmidt-Boelcke’s original score. DIRECTOR Fedor Ozep SCRIPT Boris Gousman. the producers assembled a truly international cast (Italian actress Maria Jacobini. The original negative has disappeared. Gustav Diessl. 35 mm. despite its lack of dialog. the film was re-edited by Germaine Dulac. the film was shot in Vsevolod Poudovkine in The Living Corpse (1929) Berlin from within the Johannisthal studios where the atmosphere of Pre-Revolutionary Russia was ably recreated. Gibraltar in 1938). Switching to directing alongside Boris Barnet for Miss Mend (1926). Piel Jutzi ACTORS Vsevolod Poudovkine. Ozep moved to Germany where he made Der lebende Leichnam/The Living Corpse (1928) and Der Moerderer/The Murderer Dimitri Karamazov (1931). Film preceded by a lecture by Martin Koerber (Deutsche Kinemathek) and Oliver Hanley (Vienna Filmmuseum). Fedya tries to obtain a divorce. The Living Corpse combines Tolstoi’s original play with elements of Soviet montage and German expressionism to create a powerful. Hoping to create a film with a wide appeal. even if its anti-religious overtones occasionally brought it into conflict with censors. he thinks of suicide until he encounters the gypsy Masha who dissuades him. 121’ (22 frames/second) FeDOR Ozep (1895-1949) Ozep began in cinema as a scriptwriter for the director Pratazanov with whom he adapted Pushkin’s The Queen of Spades. Werner Schmidt-Boelcke’s original music was reconstructed during the 1988 restoration. The widespread conversion to sound and the appearance of Fred Niblo’s Redemption (1930). initiated in 2011 by the Austrian Filmmuseum. OLIveR HANLey Researcher at Austrian Filmmuseum 22 RestorAtIons AnD IncUnABULA . black and white. Co-produced by the Soviet Mezhrabpomfilm and its German “sister company” Prometheus.” (14th January 1931). delayed the release of Ozep’s version in America. it was a pale shadow of the film seen in Berlin . Although the action takes place in Moscow. Actordirector Boris Barnet. where it was accompanied by a “musical illustration” put together for the occasion by Werner Schmidt-Boelcke. (1916) and wrote the scripts for Aelita (1924) and Kollezhskiy registrator/The Station Master (1925). also makes a brief cameo as a drunken sailor. Ozep left for Canada where he made two last films. and no complete print of the first cut has survived. Fleeing Nazism. who had earlier worked with Ozep on the Miss Mend serial (1926). this didn’t stop Variety from dubbing The Living Corpse. and an incomplete. Hollywood’s take on the same Tolstoi play. The great Soviet director Vsevolod Poudovkine stars in his only leading role. After the war. 1929. but the Orthodox Church forbids it.

black and white. which aimed at showing the innovative aspects of modern architecture. Part of the film was made with the Dufaycolor process. 10:30 The avant-garde filmmaker Hans Richter often worked in Switzerland in the 1930s. 35 mm. i. he again spent time in Switzerland making sponsored films. The last restoration. A film on the growth of the exchanges in the course of the history of economic development and the stock exchange’s regulating role. At the time. 1939. 35 mm. as he often edited his positive prints himself: the irregular splices. In 1932. The rediscovery of this important heritage over the past ten years has allowed for the restoration of the elements. The Swiss Film Archive chose to preserve the defects due to filmmaker’s way of working. 21’ DIe NeUe WOhNUNg “Atelier Richter” version (Switzerland).ThRee sPONsOReD films HANs RiChteR | 1931-1939 SUnDAY. then 8x8 (1956) on which he collaborated with Jean Cocteau in particular. 1931. Marcel Duchamp and Max Ernst. the restoration consisted above all of duplicating new polyester elements and prints calibrated from the period materials. 35 mm. Being a matter of unique nitrate material. In the 1930s. HANS RIChTeR (1888-1976) In 1916. he resorted for the first time to cinema as a means of expression. WIR LeBeN IN eINeR NeUeN ZeIT We Live in a New World (Switzerland). of equivalent length but in a different edit. and the Swiss Film Archive has preserved numerous unique prints of his sponsored films. black and white. Thus it is through optical blending that our eyes see the final colour. with Film Studie (1926) in which he tried to reproduce cinematographic motion. German-born Richter arrived in Zurich where he adhered to the Dada movement. for example. the law of the three colours is manifest by juxtaposition (and not by superposition). Die neue Wohnung (1931) RestorAtIons AnD IncUnABULA 23 . thanks to financial support from the Memoriav association. Restored from elements of different generations. A film made on the occasion of the first Basel architectural and interior design exhibition (WOBA). Richter would make another version. black and white. without necessarily worrying about the negative. During restoration. he took up painting. are quite characteristic of Hans Richter’s art. DeceMBer 2nD. 27’ DIe BÖRSe ALS BAROmeTeR DeR WITSChAfTSLAge The Stock Exchange (Switzerland). produced by the Wander Company.e. he made collective films: Rêves à vendre/ Dreams That Money Can Buy (1947) in collaboration with Fernand Léger. as he was used to continually modifying the prints that he projected. silent (18 frames per second) Advertising film for Ovomaltine. completed in 2012 and carried out by the ANIM (Portuguese Cinematheque). is that of the “Richter Workshop” version of Die neue Wohnung/The New Apartment (1932).. this sequence necessitated a special chemical treatment and a digital duplicating positive (restoration via computing). primarily abstract and based on the breaking down of movement. Subsequently. Film commissioned by the Zurich Stock Exchange for the Zurich National Exposition in 1939. Upon returning to Berlin. 27’. 1938.

he drew and developed a painting of letters and signs. Alberto Spadolini emigrated to France in the early 1930s. the founding film of Belgian cinema and a documentary reference. this globetrotter crisscrossed the world. with texts by poet Robert Giraud and police inspector Jacques Delarue. In 1948. Together. 28’ Gabriel Pomerand filmed tattooed Parisians. In 1950. As for Joris Ivens. filmmaker and choreographer. the indignant young people of a militant film-club bear witness to this struggle with their cameras. 1950. 25’ MISÈRe AU BORINAge DIReCTOR Joris Ivens. He became one of the stars of the Paris music-hall. La Peau du milieu was restored by Les Archives françaises du film du CNC. In 1951. in collaboration with the EYE Film Institute Netherlands. The restoration was carried out based on the original negative and other elements of the period duplicate. les gitans. Misère au Borinage by Joris Ivens and Henri Storck (1933) 24 RestorAtIons AnD IncUnABULA . leader of the Belgian Labour Party. Club de l’Écran PhOTOgRAphY Joris Ivens. he made Les Maisons de la misère/ Houses of Misery (1937). 35 mm. HeNRI STORCk (1907-1999) et JORIS IveNS (1898-1989) Henri Storck was one of the pioneers of Belgian cinema and documentaries. In 1932. The film was restored in 2012 by the Royal Belgian Film Archive (Cinematek). Spadolini was also a painter. A few years later.LiVes. Gabriel Pomerand met Isidore Isou. Henri Storck. he became a dancer. NoveMBer 29tH. 1933. the avantgarde Lettrist poet Gabriel Pomerand took inspiration from that book to make this documentary. setting up his camera to film the individual in his era and in relation to his social environment. (Société des Courts-Métrages) PhOTOgRAphY Guy Ferrier. without any real breakingoff. which denounces workers’ slums. THUrsDAY. New print from La Cinémathèque française. black and white. In 1933. and Le patron est mort/The Boss is Dead (1938) about the funeral of Émile Vandervelde. 11:00 GABRIeL POmeRAND (1926-1972) In 1945. Pomerand published Le Cri et son Archange. 1957. Joséphine Baker discovered him and made him her partner. Robert Doisneau published a photography book entitled Les Tatouages du Milieu. PORtRAits Screening introduced by Nicola Mazzanti (Royal Belgian Film Archive). they founded lettrism. the two men made Misère au Borinage. These were photographs of tattooed individuals encountered in Paris in the late 1940s. Robert Giraud assisted him and introduced him into this milieu. Pomerand progressively moved away from the avantgarde path. and shot a few short features. black and white. a strike paralyzed the coal mines in Wallonia. In face of police repression and the indifference of the country. Although he had no classical training. LeS gITANS DIReCTOR Alberto Spadolini PRODUCTION S. The film became a classic of ‘cinema of the real’. pays tribute to Gypsy culture. 35 mm.M. black and white. and then Le Testament d’un acquitté in 1951. Alberto Spadolini. singer. ALBeRTO SpADOLINI (1907-1972) An Italian artist. Henri Storck PRODUCTION EPI (Bruxelles). A chronicler of the capital. including the documentary Nous. he published the important hypergraphic novel. filming traditional songs and dances. LA PeAU DU mILIeU DIReCTOR Gabriel Pomerand PRODUCTION Alga Cinéma PhOTOgRAphY Louis Page DOCUmeNTARy ADvISOR Robert Giraud France. writer and actor. Paul Rodier France. 35 mm.C. Also painter. Saint Ghetto of the Loans (Saint-Ghetto-des-Prêts). 13’ NOUS. François Rents Belgium. in a canteen for Jewish refugees in Paris. In 1950. Committed.

Owing to its succession of patrician villas surrounded by parks and gardens. after the war. he made short features and committed himself definitively to a directing career. The film opens with the dress rehearsal of a ballet at La Scala. They were restored by the National Film Archive (Turin). 1941). These films. Before becoming the master of comedy. the insurrection breaks out. 1947. Lucia Bosè in 1848 (1949) La Fabbrica del Duomo (1949) 1848 (1949) RestorAtIons AnD IncUnABULA 25 . 10’ In the Tigullio region. while sinister faces at the windows accompany the deceased in his last journey. 11’ LA fABBRICA DeL DUOmO DIReCTOR  Dino Risi PRODUCER  Gigi Martello PhOTOgRAphY Massimo Dallamano Italy. Dino Risi starts with its material: marble. black and white. eternal symbol of the city. who would become his favourite actor. 10’ The technical office for the renovation of the cathedral of Milan displays the treasures of the site and the projects for the church’s façades to the camera. a preservation site originally created six hundred years ago for supervising the construction of the Milan Cathedral. 11:00 A group of short features made right after the war by the young Dino Risi was found in the archives of the Veneranda Fabbrica del Duomo. Risi was one of the great Italian documentary makers of the post-war era. 1948. alongside workers. Dino Risi displays spontaneity in his way of capturing gestures and faces or of sketching a landscape. 1949. TIgULLIO MINORe DIReCTOR  Dino Risi PRODUCER Gigi Martello Italy. The film was commissioned by the Milanese Committee for the Centennial of the Five Days of March 1848 symbolizing the victory of the Milanese people over the occupying Austrians. identified by film historian and curator Sergio Toffetti. 10’ Orphan in a Milan devastated by the war. In 1960. Emilio is taken in by a centre. La Moglie del prete/The Priest’s Wife. 35 mm. stonecutters. 35 mm. Giorgio Strehler. Milan is deserted. Poveri ma belli/Poor. In 1957. 1949. Il mattatore/ Love and Larceny was his first collaboration with Vittorio Gassman. Risi made 1848 in collaboration with director Alberto Lattuada. 12’ 1848 DIReCTOR  Dino Risi PRODUCER Gigi Martello PhOTOgRAphY Massimo Dallamano INTeRpRÈTe  Lucia Bosè Italy. 35 mm. The company of other children gradually helps him regain a bit of lost innocence. LA PROvINCIA DeI SeTTe LAghI DIReCTOR  Dino Risi PRODUCER Gigi Martello PhOTOgRAphY Plinio Novelli Italy. Risi became a psychiatrist. black and white. 1970) and directed more than fifty films. Risi made the film to raise funds necessary for the creation of a village where young orphans would find a place to live.FiVe shORt feAtURes BY DiNO Risi 1946-1949 WeDnesDAY. attended only by Austrian soldiers. black and white. VeRSO LA VITA DIReCTOR  Dino Risi PRODUCER Comitato Milanese per l’Infanzia (Comité milanais pour l’Enfance) PhOTOgRAphY Massimo Dallamano Italy. To tell the story of the cathedral of Milan. 1946. a village priest escorts a casket. DINO RISI (1916-2008) Following an experience as an assistant director for the shooting of Piccolo mondo antico/Old-Fashioned World (Alberto Lattuada. black and white. black and white. 35 mm. He stood out as one of the masters of Italian comedy (I mostri/The Monsters 1963. but Handsome confirmed his talent. the province of Varese is nicknamed the “Versailles of Milan”. At the cry of “Burn the city!”. 35 mm. After the Second World War. sculptors and ornamentalists. The filmmaker progressively becomes one of the protagonists of the worksite. scriptwriter Mario Bonfantini and the founder of the Piccolo Teatro di Milano. The documentary underscores the idyllic beauty of its landscapes and the splendour of its art. NoveMBer 28tH. and the success of Il sorpasso/The Easy Life (1962) gave an international direction to his career. Women in mourning follow the cortège.

he began as a stage and film actor in Germany. Upon returning to Germany in 1959. Alliata. a former prostitute. and adventure films. on the other hand. Magnani chose another Aeolian island. and legend has it that every evening she went to the point of Vulcano. Bergman. Maddalena does everything in her power to put an end to this affair. Released 13 days later in the United States. in a way. Stromboli and Vulcano. 1939). Quintino Di Napoli. these short features were produced by Panaria Film. on the occasion of the presentation of the new restoration of Stromboli (Roberto Rossellini. 106’ WILLIAm DIeTeRLe (1893-1972) Prolific director of a heteroclite catalogue. La Magnani immediately set up a competing project. 35 mm. his cousin Quintino Di Napoli. but the event was short-circuited by the announcement of the birth of Robertino.VOlCANO VULcAno WilliAm DieteRle (1950) FrIDAY. tumultuous love affair with her. The two shoots ended at the same time. and decided to avenge herself. 1945. He later became Ingrid Bergman’s lover and made Stromboli (1950) with her. Francesco Alliata. 26 RestorAtIons AnD IncUnABULA . he made daring or “sensational” films. the biggest star of the American box-office at the time and a married woman pregnant with Rossellini’s child. 1950) by the Cineteca di Bologna. After the war. When her sister Maria falls in love with a procurer. Renzo Avanzo. flaunted their love. the latter produced a new print of the restored version of Vulcano. William Dieterle agreed to make this film that would be shot at almost the same moment. a film that. quite close to Stromboli: Vulcano… Meanwhile. The history of the two films. totally unknown at the time. The shootings unfolded in a psychodramatic atmosphere: Magnani allegedly sent “spies” to the island of Stromboli. the latter being produced by the same Panaria Film. Rossellini shot a number of films with actress Anna Magnani (Roma. and for different studios. The Italian press. is intimately linked. with the support of the region of Sicily. 1948) and had an impassioned. The original image and sound negatives were put at the Cineteca’s disposal by the film’s producer. Stromboli was pulled to pieces by the critics. DIRECTOR William Dieterle SCRIPT Piero Tellini. in early August 1949. comedies and melodramas. Changing to directing. 12’ (1948) WhITe AeOLIAN ISLANDS ISOLe DI CeNeRe ASh ISLANDS Pietro Moncada. he divided his time between cinema and theatrical activities. Furious. Quintino Di Napoli 10’ (1948) Anna Magnani in Volcano Preserved by the Cineteca di Bologna. Victor Stoloff PRODUCTION  Francesco Alliata (Panaria Film). In the United States. such as Geschlecht in Fesseln/Sex in Chains (1928). Geraldine Brooks Italy. facing Stromboli. Renzo Avanzo. was divided between the “proMagnani” in the South – the Italy offended by America – and partisans of Rossellini in the North – the Italy proud of having “abducted” the Hollywood star. 1949. Amore. a production company founded by Francesco Alliata in 1947. and their friends Pietro Moncada. these films were the raison d’être of Stromboli and of Vulcano. Vulcano was restored in 2004 by the Cineteca di Bologna. Renzo Avanzo and Fosco Maraini. had to leave Los Angeles. His success was such that Warner Bros. on prison life and sexual frustrations . città aperta/Open City. Screening introduced by Gian Luca Farinelli (Cineteca di Bologna). called on him to make German versions of American films. Pioneers in underwater shooting. in the Aeolian Islands. he filmed constantly: “biopics”. Artistes Associés PhOTOgRAphY  Arturo Gallea ACTORS Anna Magnani. provoked an angry reaction from Hollywood for her adulterous love affair and The film will be preceded by the projection of: BIANChe EOLIe Pietro Moncada. NoveMBer 30tH. to insult her rival. son of Roberto and Ingrid. 11:00 Maddalena. is expulsed from Naples by the police and placed under house arrest on Vulcano. Rossano Brazzi. black and white. In 2012. at the L’Immagine Ritrovata laboratory. Vulcano was released in Rome on 2 February 1950. her native island. made a series of underwater documentaries in 35 mm. an adaptation of Victor Hugo (The Hunchback of Notre-Dame.

and he made documentaries drawn from film archives. both the police and the criminal underworld stalk a mysterious killer who preys on small children. Joseph Losey’s M was an independent production that stands today as a kind of Rorschach test of our understanding of the political and artistic turmoil in postWWII America. Though distributed by a semi-major Hollywood studio. Nebenzal had produced Fritz Lang’s original version of M in 1931. 17:30 In this Americanization of Fritz Lang’s 1931 German thriller. The film Library’s film preservationists were able to examine and compare an original release print acquired by the Library in 1951. Ten separate 35 mm reels of the original negative were preserved in the Columbia Pictures (Sony Entertainment) collection at the Library of Congress. After M had been completed. He directs The Damned (1961). Losey admired Lang’s version of M as a classic film but he nevertheless thought that its delineation of the child murderer played by Peter Lorre was outmoded and lacking an exploration of David Wayne in M (1951) the character’s psychological motivation.S.S. Though in generally good condition. A side-byside comparison of the Kodak and DuPont nitrate negative sections shows an obvious difference in the color tone and density. at the end of the reel. Producer Seymour Nebenzal was an important filmmaker who left Berlin in 1933 and settled in Hollywood in 1939. In France. states and censored in England.  However it was banned for a time in a small number of U. The committee’s investigators paid special attention to those working in the film industry. Losey’s name was added to the list of persons to be subpoenaed to testify.S. Waldo Salt. suspected of having pro-communist sympathies. Columbia Pictures. Lang suspected that Losey would be constrained by his use of the original script to making only a scene for scene remake. 35 mm. then another long section of DuPont nitrate film stock and. Roads to the South (1978).M JOsePh LOseY | 1951 WeDnesDAY. became disillusioned and ended his membership in the 1940s.S. Losey departed for Europe and England where he went on to have a distinguished career directing films while blacklisted in the U. In 1947 the House Un-American Activities Committee renewed its efforts to investigate the extent of Communist party activities in the U. He made his first feature film in 1948. Eva (1962). Today M is recognized as one of the greatest of the independent films produced in the U. black and white. Luther Adler United States. DIRECTOR Joseph Losey SCRIPT Leo Katcher. 88’ JOSeph LOSey (1909-1984) In the 1930s. Losey was active in the Communist party for a time in the 1930s but later. Norman R. Nevertheless in March 1951. PATRICk LOUghNey Executive Director of the Packard Campus for Audio Visual Conservation (Library of Congress) RestorAtIons AnD IncUnABULA 27 . he was in turn a free-lance journalist. 1951. even though both are B&W. a commercials director. Unhappy that Nebenzal was planning a new production. Losey’s intention from the start was to make a different film. M inspired favorable reviews from mainstream American critics upon its release. The Boy with Green Hair. a stage manager. an antiracist fable. Accident (1967) and The Go-Between (1970). a literary critic. and after scripts by Harold Pinter. and generally elsewhere in Europe. The Servant (1963). That was not to be the case. Don Giovanni (1979). NoveMBer 28tH. Raine. a short section of Kodak safety film. fact that the M negative consists of Kodak and DuPont nitrate film stocks presented a special problem in timing. followed by several hundred feet of Kodak nitrate film stock. using a translation of the original script. Losey made Monsieur Klein (1975). went into exile in Great Britain. After a remake of Fritz Lang’s M. Howard Da Silva. after a script by Thea von Harbou and Fritz Lang PRODUCER Seymour Nebenzal PhOTOgRAphY Ernest Laszlo ACTORS David Wayne. Reel 1 (720 feet) consists of a mixture of Eastman Kodak safety film stock throughout the opening credit sequence. with 6 minutes of footage excised. in the early 1950s. where he began to independently produce American remakes of films he had successfully produced during the 1920s and early 30s. Losey. In 1950 he hired Losey to direct a remake. and The trout (1982).

and Sam Spiegel wanted to finish the film in Spain to rein in the budget. I had never worked with anyone of your calibre […].LAWReNCe Of ARABiA Screening introduced by Omar Sharif. Young ACTORS Peter O’Toole. which attest to his rigour in the treatment of dramatic structure and mastery of sets. To make the story captivating. Shooting finally ended in Morocco in June 1962. DAViD LeAN | 1962 THUrsDAY. Lawrence of Arabia was a huge success and won seven Oscars. 222’ Omar Sharif and Peter O’Toole in Lawrence of Arabia DAvID LeAN (1908-1991) In the 1930s. Robert. 1962. except for the death of Lawrence. and actor Peter O’Toole sometimes incapacitated. Sam Spiegel PhOTOgRAphy Fred A. The shooting. his ambiguous sexuality and his passion for the desert the bases of a great adventure story. thus leaving Lean only four months to complete his film. Alec Guinness United Kingdom. Omar Sharif. begun in Jordan in natural settings and in 65 mm. the heat restrictive. an epic adapted from E. 28 RestorAtIons AnD IncUnABULA . but Lean found it unsatisfactory. producer Sam Spiegel spotted a young playwright. To speed up the editing. Lean retired. Forgive me. The filmmaker subsequently turned towards international productions: The Bridge on the River Kwai (1957). Lean is reputed to be the finest film editor in British cinema. But I think we could again make sparks fly. most fascinating adventure of my career and even of my life. E. He made two adaptations of Charles Dickens. That year the two men began working on the script of Doctor Zhivago. Borne by this triumph. was difficult. united Arab tribes and led the revolt against the Turkish occupant during the First World War. a worldwide success. and hired him. Whilst Lean scouted for locations in Jordan. some of them dating from the film’s epoch and others accumulated over the years. After Ryan’s Daughter (1970). Over the years. photography and editing. based on the restoration carried out by Jim Painten and Robert Harris in 1988. Forster. A first version of Michael Wilson’s script was finished in 1960. colour (Technicolor). digital projection (DCP). sandstorms frequent. DIReCTOR David Lean SCRIpT Robert Bolt PRODUCeRS Robert A. David Lean wanted to do it again and wrote to Robert Bolt: “Lawrence represented the greatest. E. The original negative was scanned with an 8K resolution. a version including 21 minutes more than on its release in 1962. A meticulous process then allowed for correcting flaws. T. Robert Bolt. Shooting resumed in Seville in December 1961 but without providing the film with all the desired desert landscapes. Seven Pillars of Wisdom (1922). He returned to directing in 1984 with A Passage to India. Anthony Quinn. Lawrence. epic destiny of the British officer T. Lawrence fascinated David Lean who saw in his fatherless childhood. the film had undergone numerous cuts. if I tell you that we have to do it again […] We could make a masterful flop. An enigmatic man. Lawrence of Arabia and Doctor Zhivago (1965). the calibration of colours and remastering were carried out in 4K resolution. 20:30 The extraordinary. filmed in England. and Wilson was ousted from the project. the studio considering it too long. especially after what we have just pulled off…” (Letter of 30 June 1963). in love with the desert. Thanks to the latest technologies of digital imagery. Spiegel organized a screening for the queen of England. A first shooting extended over one hundred days. M. and created a legend. On its release. The first restoration in 1988 showed the film according to the editing wished for by the director. Harris. Great Expectations (1946) and Oliver Twist (1948). NoveMBer 29tH. Bolt condensed Lawrence’s autobiography. The film was restored in 2012 by Grover Crisp of Sony Pictures Entertainment.

1987). black and white. The projection print. approx. digital projection (DCP). Lettre de Sibérie/Letter from Siberia (1958). His films. 145’ A first photochemical restoration of the film was carried out in 2009 by Les Archives françaises du film du CNC. And the truth is perhaps not the goal: it is perhaps the route. and later on. 1972). Description d’un combat/Description of a Struggle (1960). 1965). subjective political documentaries.”(Excerpt from the commentary of Le Joli Mai). La Vie de château/Chateau Life (Jean-Paul Rappeneau. duplicated from the internegative restored by the AFF was 17 minutes shorter than the initial version. the Centre National du cinéma et de l’image animée (CNC) started the process of restoration and digitization of heritage films. Level five (1996). And also: Si j’avais quatre dromadaires/If I Had Four Dromedaries (1966). constitute as many masked selfportraits as looks at the world and its revolutions. These cuts were intended by Chris Marker and executed by Pierre Lhomme. “Paris is an object of fairytales as worn down at the heel and fabulous as Cinderella’s slipper. Anyone can boast of having held it. the other for Cyrano de Bergerac (Jean-Paul Rappeneau. and Chats perchés/ The Case of the Grinning Cat (2004). and on their daily life. They were not without contradictions or even without errors but they were pushing ahead with their errors. in May 1962. considered the initial version as definitive. but no one can claim to have put it on. La Maman et la Putain/The Mother and the Whore (Jean Eustache. DIReCTORS Chris Marker. he did the photography for Le Combat dans l’île/Fire and Ice (Alain Cavalier. Quartet (James Ivory. amongst others. alongside those who are bounced about by chance and solitude at will. one for Camille Claudel (Bruno Nuyten. Quatre Nuits d’un rêveur/ Four Nights of a Dreamer (Robert Bresson. this restoration work provided for establishing a digital print and a return on film to guarantee the durability of the finished work. PieRRe LhOmme | 1963 DIMAncHe 2 DéceMBre. Screening introduced by Éric Garandeau (president of the Centre national du cinéma et de l’image animée) and Pierre Lhomme. at the outset. Yves Montand (narrator) France. Part II: The return of Fantômas Le Joli Mai was shot in Paris. the film’s co-director and director of photography. 1963. a science-fiction short whose narration and form overturn conventions. In 2012.” Chris Marker “We met free men. Chris Marker questions men and women on political and social problems.Le JOli MAi ChRis MARKeR. We gave them the most important place in this film. 1989). just after the Évian Accords [the treaty putting an end to the Algerian War]. 1969). It is better to wait patiently for Paris and observe it without hoping to surprise it. PIeRRe LhOmme (born in 1930) Initially assistant-cameraman for Ghislain Cloquet and Henri Alekan. 1961) and was involved in experiences and films as different as Pour le mistral (Joris Ivens. Sans soleil/Without Sun (1983). 18H30 Part I: Prayer on the Eiffel Tower. Catherine Varlin PRODUCTION Sofracima PhOTOgRAphy Pierre Lhomme Off-SCReeN vOICe Chris Marker. men and women integrated as much as possible in their social milieu and aware of what they would like to do with their life. 1980)… He won two Césars for best photography. 1965). New cuts were made. Pierre Lhomme SCRIpT Chris Marker. RestorAtIons AnD IncUnABULA 29 . Le fond de l’air est rouge/Grin Without a Cat (1977). La Jetée/The Pier (1963). Alain Resnais). the two directors having not. The restoration of Le Joli Mai was thus achieved with the support of the CNC. 1970). ChRIS MARkeR (1921-2012) In 1953 he directed Les Statues meurent aussi/Statues Also Die (co-dir. Carried out at Mikros Image. Cuba si! (1961) and. under the direction of Pierre Lhomme. of course. L’Armée des ombres/Army of Shadows (Jean-Pierre Melville. What we have sought to bring out are. amongst others: Dimanche à Pékin/Sunday in Peking (1956).

2009 print and the original After exile. Film had immortalized their image forever. Larry Flynt (1996). on purpose. in the course of this evening. The 1967 Orwocolor in motion facing an ossified print served as reference.The FiRemeN’s BAll HorI. “Our cultural apparatchiks had trapped themselves by overlooking. they were larger than life. they became actors. Starting from the digiCzechoslovakia-Italy. he continued to proclaim loud and clear the freedom of expression. he wrote Los Fantasmas de Goya/Goya’s Ghosts about the Spanish Inquisition. Work was supervised Jaroslav Papoušek. This is the The digitization of the sound case in Černý Petr/Black Peter was prepared from an optical (1963). in the village that had inspired Forman’s script provoked the opposite of the hoped-for effect: adherence rather than rejection. with Jean-Claude Carrière. Turnaround: A Memoir. One Flew Over was usable. allowed for masking the difor else Amadeus in which ferent sound sources. Carlo Ponti taken from the original negative. Miloš Forman gave the lead role to a village hall filled with anonymous “actors” (most of them non-professionals). and The soundtrack stemming from a Firemen’s Ball. colour. the fire station is preparing a great ball. nothing will go as planned. Seeing themselves on the screen. The final mixing Oscars. The film was restored by the National Film Archives in Prague. then. They shouted about the insult to the working classes with the aim of leading to a withdrawal from distribution “on demand of the people”. 1967. in 1975. Forman would go into exile in the United States shortly after the Prague Spring. Next came Hair (1979). The whole town is invited but. the Communist authorities organized a showing. with a 10-bit colour depth. Behind its comic appearance. The Firemen’s Ball skilfully 30 RestorAtIons AnD IncUnABULA . world of adults. “sketches” certain human behaviours in a given political setting. Miroslav Ondřiček. he began an tapes. Josef Šebánek. 1994). Ivan Passer by the film’s director of photography. Festival. only a fifth of them running away from home. But the censors’ projection that took place. In 2005. DeceMBer 1st. putting agitators in the theatre. in collaboration with SCRIpT the Karlovy Vary International Miloš Forman. DIReCTOR Miloš Forman Forman again showed his taste for rebellious figures. PRODUCeRS Most of the image data were Rudolf Hájek. digital projection (DCP). Rather than banning it. the story of a teenager preferable. With The People vs. so it was mostly the Cuckoo’s Nest. Jan Vostrčil. except in the cases PhOTOgRAphy where it was too damaged. Miroslav Ondřiček which necessitated resorting ACTORS to the intermediate positive. Although exploitation American career: Taking off of the latter would have been (1971). Forman filmed youth prints. the people of Vrchlabí stopped being only firemen. and no one could do anything about it” (Miloš Forman. MÁ PAnenko MilOŠ FORmAN | 1967 SAtUrDAY. his first feature. All the elements were scanVratislav Čermák ned in 4K. in their calculations. 79’ tal duplicating positive resulting from it. the magic of cinema. The film’s anti-conformist tone caused a scandal in Czechoslovakia. a hymn the optical soundtrack that to freedom crowned by five was used. Instead of a conventional plot and a classic leading role. 11:00 In a small provincial town. the restorers used a simulation tool to go back to the initial procedure that MILOŠ FORmAN had served for establishing (born in 1932) the colours on the release Beginning with his first short features.

Nicolas Philibert returns from the New World. Tout feu. He would be replaced by Willy Holt. attested to a new tone in French cinema. The restoration. the famous art director. Gérard Depardieu…).The MARRieD COUPle Of the YeAR TWO JeAN-PAUl RAPPeNeAU | 1970 Les MArIés De L’An DeUx SAtUrDAY. Georges Lacombe. The filmmaker nonetheless managed to edit the film quickly. a spirited comedy. Jean-Loup Dabadie. RestorAtIons AnD IncUnABULA 31 . Marlène Jobert. Jean-Paul Belmondo et Jean-Paul Rappeneau. and it was upon discovering a period painting depicting couples waiting to be divorced that the plot came to him. and Cyrano de Bergerac (1990). Studioul Cinematografic Bucuresti PhOTOgRAphy Claude Renoir ACTORS Jean-Paul Belmondo. which also suited JeanPaul Rappeneau whose ambition was to make a sort of French-style western with a large number of extras and wide open spaces. Isabelle Adjani. 20:30 1793. the filmmaker was given free rein for his second film. Jean-Paul Belmondo in The Married Couple of the Year Two The film was digitally restored in 2012 by Gaumont in collaboration with the Éclair group and under the direction of Jean-Paul Rappeneau. Begun in August 1970 and slowed down by all manner of disagreements. Screening introduced by Marlène Jobert. He began working on a script with the French Revolution as a framework in 1966. DIReCTOR Jean-Paul Rappeneau SCRIpT Claude Sautet. The sound was also restored. and have the film ready for release on time. A meticulous director. the director having decided to integrate the music in stereo and the dialogues in mono in order to achieve greater range. Sami Frey France-Italy-Rumania. in 2K. But the shooting ran into a few storms: Alexandre Trauner. essentially concerned the luminosity and colorimetry of the image. 1965). 98’ JeAN-PAUL RAppeNeAU (Born 1932) Initially an assistant-director (to Raymond Bernard. After the public and critical success of La Vie de château/Château Life (1965). 1970. Claude Sautet. he surrounded himself with scriptwriters of merit (Daniel Boulanger. The producer. Yves Montand. Jean-Paul the monarchist camp. colour. Jean-Claude Carrière) and established actors (Philippe Noiret. Caught up in the maelstrom of the French Revolution. DeceMBer 1st. Amongst his successes: Le Sauvage/Call Me Savage/Lovers Like Us (1975). Alain Poiré. in April 1971. Jean-Paul Rappeneau PRODUCTION Gaumont. fully decided to divorce. chief set designer or art director for films by John Frankenheimer and Fred Zinnemann. tout flamme/All Fired Up (1982). his first film (La Vie de château. Jean Dréville). digital projection (DCP). he finds his wife again . Laura Antonelli. incorporate Michel Legrand’s music. Catherine Deneuve. turned in preparatory drawings but withdrew upon arriving on location. decided on shooting in Rumania for budgetary reasons. Rizzoli Film (Roma). the shooting ended nine weeks behind schedule.

) ACTORS Nicholas Ray. Richie Bock. Tom Farrell. In 1971.” In 1972. SCRIpT AND DIReCTION Nicholas Ray PRODUCTION Harpur College TeChNICAL CRew Students from Harpur College. left the film unfinished. La Cinémathèque française participated in this restoration. the director of Johnny Guitar and Rebel Without a Cause accepted a teaching position 32 RestorAtIons AnD IncUnABULA .Y. and incited his young students to make a film to learn how to make one. rejected by the production system. the work of a filmmaker convinced that “cinema was barely beginning. In the 1960s when. He nonetheless made some memorable films.. digital projection (DCP). Susan Ray. He acted (Wim Wenders’ The American Friend.We CAN’t GO HOme AGAiN NiChOlAs RAY | 1973 WeDnesDAY. as his character adapted poorly to the Hollywoodian requirements. April 1980).. They Live by Night (1949). and that it would surprise us” (Serge Daney. Nicholas Ray in We Can’t Go Home Again We Can’t Go Home Again was Ray’s final obsession. NoveMBer 28tH. and his death. His widow. 90’ “The only way to learn cinema is to make a film. that all we did was glimpse it. Leslie Wynne Levinson. “Nick Ray et la maison des images”. and Rebel Without a Cause (1955) with James Dean.” Nicholas Ray NIChOLAS RAy (1911-1979) The tone of his work was set beginning with his first feature. overlays. Many of his films would subsequently be eventful. The film was restored in 2011 by the Nicholas Ray Foundation. The film was inspired by their personal stories and resorted to various experimentations: split screen. Cahiers du cinéma. then devoted herself to completing it. including Johnny Guitar (1954). Nicholas Ray taught cinema at Harpur College in Binghamton. Jill Ganon. United States. colour. 1977). Binghamton (N. 1973. the EYE Film Institute Netherlands (which restored the image digitally) and the Academy Film Archive of Los Angeles (which reconstructed the soundtrack from the original recordings and Nicholas Ray’s audio commentary). Filmmaking is an experience. We Can’t Go Home Again is a collective work and Nicholas Ray’s last film. some ten years after having left Hollywood. in 1979. Wenders. shot while teaching (We Can’t Go Home Again) and staged his final days beneath the gaze of someone else (Lightning over Water. manipulations of images… Screening introduced by Bernard Eisenschitz (film historian). relating a young couple on the run in the America of the Depression. 1979). 19:30 “I can’t teach you how to make a film. reedited or finished without him. New York. Ray no longer managed to carry a single one of his projects to a successful conclusion.

In a social climate marked by the re-election of Nixon. and the principle of rotation of positions and duties no longer applied. ‘taught in order to learn’. The sequences had barely been shot when Ray showed them to his students using several projectors. recording engineer. etc. Under his direction. In the framework of an intense collaboration with his students. hoping to find some financial support there. 16 mm. and edited and re-edited the film. all Dostoevsky in one film. he shot new scenes in Amsterdam and London. he committed himself and involved them in an ambitious personal and experimental project. In 1973. either simultaneously or at calculated intervals. in return. Ray nonetheless presented a first cut of the film at the Cannes Festival.). co-directed with Wim Wenders and devoted to his final days. but in vain. cameraman. I thought it was possible for a film to contain all aspects of human personality…” We Can’t Go Home Again was made using a broad palette of equipment and formats including Super 8. But at the beginning of following school year. prop man. During the shooting of Lightning Over Water in 1979. Ray got to know his students one by one. the university’s film department reproached Ray for monopolizing the equipment. the crew was reduced. As for the sound. the 1972-73 school year was Harpur College in New York State. electrician. as he said. and then decided to assemble them within the same community. Relations deteriorated. and it looked less and less certain that the film would ever be finished. protest and drugs. Ray said: “I dreamed of being able to tell all of Charles Dickens in one film. Tom Farrell and Nicholas Ray in We Can’t Go Home Again RestorAtIons AnD IncUnABULA 33 . 35 mm and even a video synthetizer allowing for manipulating the image. its mediocre quality is due to recording live without any concern for synchronism. he brought together 45 who trained themselves by exercising all the trades in turn (actor. from which a “total” film had to result. The film came out of the relations that developed between the participants in the project. Between 1973 and 1974. in the very movement of creation in the process of happening. This undertaking involved everyone’s full commitment. The community of students was influenced and filled with enthusiasm by Ray who. A new cut dating from 1976 opens with a long commentary by Ray who put the film back at the heart of the teaching process.

after the fall of Franco. Screening introduced by José Maria Prado (Filmoteca Española) and Camille Blot-Wellens (restorer). Uranus Productions France. 141’ JORge SempRÚN (1923-2011) Semprún spent his childhood in France. Z was released in 1968. in 1963. in semi-secret. the film disappeared from French screens and will never again be distributed in Spain. Deported during the War to the Buchenwald concentration camp. 35 mm. Jorge Semprún became Minister of Culture in the Spanish government of Felipe Gonzalez. Yves Montand Spain-France. Jorge Semprún’s documentary on the Spanish civil war. he wrote his first script. 21:45 Novelist and scriptwriter. the film was censored and would be screened only twice at the Filmoteca Española. his parents having fled the Spanish civil war. decided to make the film visible once again. The director and scriptwriter did it again with L’Aveu/The Confession (1969). former member of the politburo of the Spanish Communist Party. he was excluded in 1964 for political divergences. Their third collaboration. Chris Marker TeSTImONIeS Santiago Carrillo. A month later. or committed artists such as Maria Casarès and Yves Montand. Federica Montseny in The Two Memories In February 1974. La guerre est finie/ The War is Over. Simón Sánchez Montero. Aldebaran Films PhOTOgRAphy Jacques Loiseleux EDITING Colette Leloup. was released in two Paris cinemas. NoveMBer 28tH. 34 RestorAtIons AnD IncUnABULA . In 1965. The film consists of more than two hours of testimony from politicians like the Communist leader Santiago Carrillo. Section spéciale/Special Section (1975). Between 1988 and 1991. Spaniard in exile. is an indictment of the Vichy government. We preserved the 35mm image internegative and the sound negative of this latter version. In 2012. After an initial six-hour cut. The Long Voyage. these elements allowed for duplicating new prints of the only film the writer made. The Two Memories. Original version in French. Semprún stated that he had recorded. Federica Montseny. José Peirats.The TWO MemORies Les DeUx MéMoIres JORGe SemPRÚN | 1974 WeDnesDAY. and then CostaGavras proposed to him the adaptation of a novel about the assassination of a Greek deputy by the military power. again starring Yves Montand. Jorge Semprún reviews the Spanish civil war through a series of interviews comparing the memory of both camps. colour. Semprún did not manage to get the film released until two years later. like the Falangist leader Dionisio Ridruejo. Elected member of the Spanish Communist Party. nearly forty hours of interviews in Super 16mm. Shot during the summer of 1972. in France. the Filmoteca Española and La Cinémathèque française in partnership with the Filmoteca de Catalunya. Maria Casarès. In 2010. the documentary was reduced to a two-hour version for commercial release. But Semprún also questions the pro-Franco camp (hence “the two memories”). SCRIpT AND DIReCTOR Jorge Semprún PRODUCTION Fildebroc. 1974. a film attacking Stalinism. he drew a first novel from that tragedy. In Spain. directed by Alain Resnais.

161’ ChARLeS LAUghTON (1899-1962) This English actor. Elsa Lanchester. decided to turn over the elements of the film to the American Film Institute in Washington. DeMille. when heard reciting the dialogues of all the characters. 1955-2001. Mutiny on the Bounty (Frank Lloyd. DIReCTOR Robert Gitt United States. In 1981. of course.). Unlike a number of filmmakers. Sally Jane Bruce et al. This Land Is Mine (Jean Renoir. Curators Robert Gitt and Anthony Slide thereby retrieved several cartons of photographs. sketches. 1943). trained at the Royal Academy of Dramatic Art. Lanchester also donated nearly 25. memos and letters relating to The Night of the Hunter. began acting in London then on Broadway. or the story of two children pursued day and night by a mad preacher-murderer. and. irascible and incapable of communicating with his actors – but this is refuted by the editing of the cuts. These “stolen” images make up an intimate portrait of a filmmaker at work and provide another view of a film that continues to haunt those who know it as well as those who discover it. Charles Laughton’s widow. Lillian Gish. 1932). Advise and Consent (Otto Preminger. RestorAtIons AnD IncUnABULA 35 . as director of the actors. Outtakes from Charles Laughton’s 1955 film. In 1974. He showed great patience with the child actors. 14:00 The Night of the Hunter. guiding and encouraging his actors (Robert Mitchum. These outtakes give unprecedented access to the shooting process and the techniques mobilized by Laughton such as the possibility of understanding The Night of the Hunter by Charles Laughton (1955) the roles of the director of photography (Stanley Cortez) or the film editor (Robert Golden). Screening introduced by Manuel Chiche (Wild Side). We see Laughton as filmmaker and also as actor. Witness for the Prosecution (Billy Wider. digital projection (DCP). 1932). A few titles in his long filmography: The Sign of the Cross (Cecil B. Billy Chapin and Sally Jane Bruce. 1935). Billy Chapin. We hear him reading the dialogues with his actors in order to reassure them after they had messed up a shot. or working with Robert Mitchum to make the preacher such an intense and terrifying character. 1957).ChARles LAUGhtON DiReCts THE NIGHt OF tHE HUntER ROBERT Gitt | 1955-2001 WeDnesDAY. NoveMBer 28tH. It is because he let the camera roll between shots that it is now possible to hear his voice. He had therefore given instructions not to cut before he himself said “Cut!” or before the film in the magazine had completely run out (approximately ten additional minutes). 1962)… He directed one film and one film only: The Night of the Hunter. He went to Hollywood in the late 1920s. Editing and restoration work carried out by Robert Gitt. and sought to motivate his actors by giving them advice or critiques during or just after the shot so as not to lose energy and thereby be able to resume without losing time. Charles Laughton – whose only film this was as a director – did not like putting an end to a shot. out of frame. If I Had a Million (Ernst Lubitsch. Legend has it that he was infinitely demanding. Shelley Winters. black and white. quickly drawing attention. and worked there constantly up until his death. between 1981 and 2001.000 metres of rushes and outtakes. these elements were sent to the UCLA Film & Television Archive where Robert Gitt began editing and restoration work that would last twenty years.

NoveMBer 30tH. etc. it uses artifice to break everyone’s morbid obsessions by covering it with derision”. Cabaret told the story of Sally Bowles (Liza Minnelli). There. Unlike the classics of the genre from the 1950s in which the characters danced everywhere. the frenzy of creation and a complicated family life inspire the climax of the show: the staging of his own death.All thAt JAZZ BOB FOsse | 1979 FrIDAY. it is symbolized by a superb young woman with whom the hero is in love. in collaboration with the Film Foundation (Martin Scorsese). In 1974. Making people laugh and cry. It plays on bad taste because death is in bad taste. the staging of All That Jazz is intentionally much flashier. during rehearsals and performances. The pace of rehearsals. to the point of asking – unsuccessfully – his producers to play the main role himself. The film was an international success and received eight Oscars (including Best Director). His career as a filmmaker began in 1969 with Sweet Charity. Jessica Lange. in the Sony Colorworks laboratories. Three years later. In 1980. he treaded the boards as of childhood and made his Broadway debut in 1947. Leland Palmer United States. digital projection (DCP). The film was restored in 2011 by Twentieth Century Fox. Screening introduced by Leslie Caron. he distinguished himself with a resolutely modern style . “Death is what fascinates me most. The restoration was carried out from the original negative in 4K resolution. Fosse decided to limit the musical scenes to the cabaret and theatre areas. 1954). Even if it’s indecent. finger snapping. 1979. a musical remake of Fellini’s Nights of Cabiria (1957). hip-swaying. All that Jazz is also meant to be a film that symbolically buries the musical comedy at the same time as ideally giving it new life. He was going to make this traumatizing experience the subject of his next film. Bob Fosse was the victim of a heart attack. 36 RestorAtIons AnD IncUnABULA . In the 1970s. including Chicago in 1975 and. an American cabaret singer in the Berlin of 1931. whilst working on the staging of the musical comedy Chicago and editing his film Lenny. the film won four Oscars and the Golden Palm at the Cannes Festival. almost to metaphysics. With his first choreography (The Pajama Game. I’d like to extend the boundaries of musical comedy beyond the traditional limits of the genre. In the film. colour. 125’ BOB FOSSe (1927-1987) Son of a vaudeville performer. sensual choreographies: minimalism. whistling. Robert Alan Aurthur PRODUCeR Robert Alan Aurthur PhOTOgRAphy Giuseppe Rotunno ACTORS Roy Scheider. much more theatrical than in my other films. for the cinema. directed All That Jazz and Lenny (1974). bowler hats. but also disturbing and upsetting them. he creates modern. DIReCTOR Bob Fosse SCRIpT Bob Fosse. he had one Broadway success after another. of course. Bob Fosse May 1980. 22:15 Renowned choreographer Joe Gideon is preparing his next show on Broadway.

“I always wanted to shoot a great love story. digital projection (DCP). The restoration of the sound had to respect the mixing in Dolby Stereo. 1964. Leigh Lawson. Frantic (1988). The theme of fatality also drew me to the novel [Tess of the d’Urbervilles. set on a boat. This was the first sign of a career that would be increasingly international: France (a sketch in Les Plus Belles Escroqueries du monde/ The World’s Most Beautiful Swindlers. Rosemary’s Baby. 1968. Roman Polanski. duplicated at the time of the film’s release and perfectly preserved. In 1978. 1979 Nastassja Kinski in Tess (1979) The image restoration was carried out by Pathé from a negative digitized in 4K. then The Ghost Writer (2010) and Carnage (2011). it was necessary to recalibrate the sequence in the dairy. John Collin. a farmer. Chinatown). 1974).Tess ROmAN POlANsKi | 1979 OpeNINg NIghT | TUesDAY. coming from the Polish New Wave. England (Repulsion. Tony Church France/Great Britain. The young Alec. Re-release in theatres by Pathé on December 5. won the Palme d’or at the Cannes Festival. Similarly. United States (Dance of the Vampires. In order to unify the sequences. NoveMBer 27tH. the Éclair laboratory started from a master (second generation).” Roman Polanski. and Bitter Moon (1991). not all the reels having been mixed in the same studio. was living in France. discovering that he is the last descendant of aristocrats. Chinatown. DIRECTOR Roman Polanski SCRIPT Roman Polanski. In 2004. 1967. The original reel had been damaged and replaced by an internegative (third generation element stemming from the negative). He met Claude Berri who. Whilst respecting the original calibration. d’après un roman de Thomas Hardy. John Brownjohn. Polanski made Oliver Twist. Geoffrey Unsworth ACTORS Nastassja Kinski. colour. 1891]. but the original sound being heterogeneous. 171’ ROmAN POLANSkI (born in 1933) In 1962 in Poland. charmed by the beauty of his “cousin”. and a Hollywood director (Rosemary’s Baby. 20H In 19th-century England. 2012. 1979. committed himself to producing RestorAtIons AnD IncUnABULA 37 . sends his daughter Tess to claim this kinship in the rich d’Urberville family. Screening introduced by Roman Polanski. 1965). Gérard Brach. the story of a musician trapped in the Warsaw ghetto. Tess. the work consisted of a homogenization of the sound whilst respecting the refinement of the mixing. Cul-de-sac. isolated corrections in contrast and colour were made. enthusiastic about the Tess project. and France again for The Tenant (1976). sets about seducing her. he made his first feature: Knife in the Water (1962). The laboratory used Roman Polanski’s personal print. which earned him an Oscar nomination for best foreign film. The Pianist (2001). 1963). Tess D’Urberville PRODUCER Claude Berri PhOTOgRAphY Ghislain Cloquet.

Roman. simultaneously and continually. as well as three Oscars (out of six nominations).it and kept his word despite the scope of the project and necessary budget. the actress took diction lessons in order to master the Dorset accent and also learn peasant postures and work in the fields. Téchiné’s Les Sœurs Brontë/The Brontë Sisters) for the music. Tess was released in France in October 1979 where it gradually met with box-office success and. Polanski called on landscape architects who modelled the space based on the reality of Dorset. The production and director brought together. lasted more than eight months. A Space Odyssey.” (Polanski. it was the most expensive film ever made in France and a risky undertaking. Nastassja Kinski was 15 when Polanski met her and 17 at the beginning of the shooting. the region where the story unfolds. five cutting rooms. and later Philippe Sarde (The Tenant.”) and with a final running time of nearly three hours. even though the shooting in fact took place on the Norman and Breton coasts. Geoffrey Unsworth (chief cameraman for 2001. For the filmmaker. the director’s deceased wife. and ended in the Joinville and Épinay studios. We were like a carnival crisscrossing Normandy beginning in mid-August. […] For this race against time. Brittany in autumn and winter. to get through them. Dedicated to Sharon Tate. she was the incarnation of the character: same age. After an epic editing (“There were so many rushes that it took me four hours of screening per day. Pierre Guffroy (art director of The Tenant). Robert Laffont. “It was precisely because it took so long to shoot Tess that the crew and cast became more than individuals brought together temporarily to make a film. The period sets. a year later. with births. We gradually acquired a veritable community existence and rhythm peculiar to us. moments of high comedy or pure tragedy. got very good reviews in the United States. idylls Roman Polanski and Nastassja Kinski on the shooting of Tess (1979) and divorces. and in the spring. furnishings and accessories mobilized a team of experts. same appearance and same romantic aura. For the locations and after long scouting. 38 RestorAtIons AnD IncUnABULA . deaths. 1984). rediscovering places that we had got to know several months earlier. day after day. At the time. who died of a heart attack during the shooting and was replaced by Ghislain Cloquet). I was using. for more than a month. Filming began in August 1978. amongst others. the film won three Césars. both a large-scale production and a film d’auteur. costumes. Four months before the filming.

35 mm. At the editing console. Le Bonheur/Happiness (1964). The 16mm negative of Documenteur. She finds a place to live. moves in with her son. a character who will be played by her editor. a poetic documentary.DOCUmeNteUR AGNÈs VARDA | 1982 FrIDAY. Following the death of her husband. Documenteur is a film about solitude and isolation. the filmmaker evokes the idea of Émilie. Georges Delerue’s music was remastered at L. Varda made a film about exile. combined with shots of anonymous faces. l’autre pas/ One Sings. that of a couple that separates. The project came into being at the time of editing Mur Murs (1980) and is constructed as its reverse. Shot in Venice (California) in 1980-81. she made three films in homage to him: a fiction. and L’Une chante. a self-portrait which recounts her life and her artistic career. and arranges the furniture that she finds in the street. a Frenchwoman in Los Angeles. He hoped to insert excerpts from Documenteur in which he had acted as a child. The story is classic. 63’ AgNÈS VARDA (born in 1928) Initially a photographer. Lisa Blok. Varda entrusted the role to her own son. La Pointe courte/The Short Point. Sabine Mamou. Agnès Varda made her first feature. Documenteur was made with a very small crew. colour. Tina Odom France. as well as Les Plages d’Agnès/ The Beaches of Agnès (2006).E. won the Golden Lion at the Venice Festival. is separated from the man she loves. the Groupama Gan Foundation for the Cinema. Jacquot de Nantes (1990). Jacques Demy. aged eight at the time. Sans toit ni loi/Vagabond. This restoration was triggered by the shooting of Mathieu Demy’s first feature. and the Technicolor Foundation for Cinema Heritage. RestorAtIons AnD IncUnABULA 39 . Documenteur was released in January 1982 in a few Paris cinemas on a double bill with Mur Murs. Troubled by memories of her past love. Mathieu Demy. supervised the calibration of colours. but the film shows the emptiness. Sabine Mamou and Mathieu Demy in Documenteur (1982) The film was restored in 2011 by Ciné-Tamaris. she devotes herself to her son. NoveMBer 30tH. Nurith Aviv. Mur Murs is devoted to the city’s painted walls [murs] of which frescoes of all kinds reflect the characteristics of each neighbourhood and its inhabitants. and two documentaries. Also filmed in Los Angeles. As for the child. which scanned the original elements by immersion. With a small digital camera. was sent to the Immagine Ritrovata Laboratory in Bologna. 1982. in 1954 followed by innovative films like Cleo from 5 to 7 (1961). The rest of the work was carried out by the Éclair laboratories in France where the film’s director of photography. in double-band. 22H00 Émilie. Mathieu Demy. Screening introduced by Agnès Varda SCRIpT AND DIReCTION Agnès Varda PRODUCTION Ciné Tamaris PhOTOgRAphy Nurith Aviv ACTORS Sabine Mamou. Diapason. Americano. the absence of the loved one. the Other Doesn’t (1976). In 1985. in 1990. In filming the silent relationship between mother and child. she shot Les Glaneurs et la Glaneuse/The Gleaners and I (1999). a documented fiction. Les Demoiselles ont eu 25 ans/The Young Girls Turn 25 (1992) and L’Univers de Jacques Demy/The World of Jacques Demy (1995).

thanks to its star. 117’ ORSON WeLLeS (1915-1985) Welles was 25 when he made Citizen Kane (1940). Therefore in 2009. met with the refusal of several producers. Shooting began in October 1964 between Ávila. in 1964 he returned to Shakespeare from whom he borrowed the character of Falstaff. Harry Saltzman phOTOgRAphY Edmond Richard ACTORS Orson Welles. However. Restoring the photography reproduced the grading and all the shades of grey wanted by Welles and his chief cameraman Edmond Richard. in the hilly region of Castilla y León. Owing to the lack of financial means. with Welles already playing the role of Sir John. drinking and stealing until the prince becomes Henry V. it called on restorer Luciano Berriatúa to gather the various existent elements of Falstaff and assess which ones were exploitable. 40 RestorAtIons AnD IncUnABULA . the progression of sequencelength shots. and the profession did not forgive his having attacked the American press baron William Randolph Hearst. Orson Welles had nurtured his Falstaff project for twenty years. the Filmoteca Española had to carry out historical work. Jeanne Moreau. Faced with the refusal of American companies. entitled Chimes at Midnight. who periodically resumed his acting career to finance his films. He had already adapted Falstaff for the stage. restorer of the film. and indiscipline. appetite. Upon acceding to the throne. Apart from The Lady from Shanghai (1946). The restoration was carried out by Luciano Berriatúa for the Filmoteca Española. including Macbeth (1947) and Othello (1952). and the primacy of the editing. Screening introduced by Luciano Berriatúa. and Toledo. The nature and flaws of the original soundtrack were preserved: the sound from the original work is not always synchronous. son of Henry IV. DECEMBER 1ST. the studios closed their doors to Welles. A figure of excess. Orson Welles and Jeanne Moreau in Falstaff (1965) Before beginning the restoration. Emiliano Piedra. After Touch of Evil (1957) and The Trial (1962).WORLD pRemIeRe FAlstAff CAMPAnADAs A MeDIAnocHe ORsON Welles | 1965 MIDNIGHT SHOWING | SATURDAY. It was finally a young Spanish producer. Welles tried to set up a European production and. in Castile-La-Mancha. eating. was given in Dublin. 1965. once again. digital projection (DCP). Rita Hayworth. but Hollywood dreaded his non-conformism. Emiliano Piedra. he sends his companion into exile. the film inaugurated a new kind of cinema based on the camera’s subjectivity. black and white. Falstaff is doubtless the final self-portrait of Orson Welles and one of his most personal projects. Margaret Rutherford Spain. Orson Welles PRODUCER Angel Escolano. They lead a dissipated life. DIRECTOR Orson Welles SCRIPT Raphael Holinshed. He would have liked to make the film in the United States. who would show confidence in him. 23:00 John Falstaff is the friend of the Prince of Wales. WORLD pRemIeRe of the restored international version of Falstaff. a new narration. and the play. Marina Vlady. Welles had to resort to dubbing.

. . . . . . . . . . . . . . John M. . . . . . . . . . . . . . . . . . . Stahl (1945) . . . . . . . . . . . . . . . . I hope that the two programs of restored pictures from The Film Foundation that I’ve selected – pictures that have inspired me. . . . . . . . . . . . . . . . . . . and several of the greatest works in the American avant-garde canon – give you as much pleasure and sustenance as they have given me across the years. . . . . . . . . . . . these are great films that marked me at a young age. . . . . . . . . . . . . The Film Foundation has restored almost 600 pictures of all types from all over the world. . . . . . . . . . . . Arthur Ripley (1946) . . . . . 42 Leave Her to Heaven. . . . . . . Jean Renoir (1951) . I realize now that all of these pictures were made during my childhood and early adolescence – nothing intentional. 47 On the Waterfront. . . . . Alberto Cavalcanti (1947) . . that’s just the way it happened. . . . Josef von Sternberg (1941) . . 48 Avant-garde Masters: A Decade of Preservation (1950-1981) . . . . . . . . . TrIBUte to tHe FILM FoUnDAtIon : “InsPIrAtIons” 41 . . . . . . . . . . 43 My Darling Clementine. . . . . . . 45 They Made Me a Fugitive. . . . . . . . . . . . . . . and I return to them often. 46 The River. named for one of the greatest documentaries of one of our greatest filmmakers. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 MArtIn Scorsese I am honored to have been asked to contribute to this wonderful festival of restorations. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . and that opened my eyes to cinema and to the world. . . . . . . . . . . . . . . . . . . . . . . . . . . . Since its inception in 1990. Many of those films have been extremely important to me on a personal level – they’ve inspired me and opened my mind to new possibilities. . . . . . . . . . . . . John Ford (1946) . . . . . . . . . . . . . . . . . at the spiritual home of cinema. . . . . . . . . . . . So. . . . . . . . . . .THE FILMS “INSpIRATIONS” : TRIBUTe TO The FILm FOUNDATION A SeLeCTION By MARTIN SCORSeSe The Shanghai Gesture. . . . . . . Elia Kazan (1954) . . . . . . . . . . . . . . . . . . . . . . . 44 The Chase. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .

a city populated by individuals of all nationalities. and nicknaming the madam “Mother God Damn”… From brothel to casino. Victor Mature. Sternberg submitted to him the script of what would become The Salvation Hunters (1925). he would make The Saga of Anatahan. The Shanghai Gesture was preserved from a vintage nitrate release print by the George Eastman House. with funding provided by the National Endowment for the Arts and The Film Foundation. Geza Herczeg. however. black and white. having recovered my strength. Ona Munson United States. Still weak as the result of a long illness. Kurt Vollmöller PRODUCeR Arnold Pressburger PhOTOgRAphy Paul Ivano ACTORS Gene Tierney. It doesn’t show. 1965 Despite this handicap. and ultimately this 35 mm print. The film is adapted from a play by John Colton. 14:00 Shanghai. an ill-famed transit point. The stage actor George K. her poses increasingly enticing. 35 mm. but I shot most of this film lying on a cot” Josef von Sternberg Fun in a Chinese Laundry. Walter Huston. In 1953. Their collaboration ended in 1935 with The Devil is a Woman. The work expresses the fervour of his meeting Marlene Dietrich (he would direct her in seven films). setting the story in a brothel and making Poppy (Gene Tierney) not only a compulsive gambler but also a drug-addicted alcoholic nymphomaniac.The ShANGhAi GestURe JOsef VON SteRNBeRG | 1941 SAtUrDAY. his career took a new turn. Indeed. his last film. DeceMBer 1st. This rare print was used to create separate picture and track negatives. the original play went even further in blackness. he grew up in New York and became the assistant to several directors. Poppy’s dresses became more and more provocative. I undertook Shanghai Gesture to help a friend [producer Arnold Pressburger] ensure his position in a country where he was a foreigner. With Der blaue Engel/The Blue Angel (1929). but without. Within the walls of a gaming club run by “Mother Gin Sling”. The farther she went in her descent into hell. which he made for UFA in Germany. but numerous revisions and corrections were necessary for the script to get past the censors. an international enclave. it was for the producer Arnold Pressburger that von Sternberg nonetheless agreed to direct Shanghai Gesture. New York) in 1992. he attentively filmed an abandon to lust… “Once I had got over this ordeal [the shooting of Sergeant Madden (1939). 1941. unsavoury characters run into each other and plot in a poisonous atmosphere. 99’ Gene Tierney in The Shanghai Gesture (1941) JOSef vON STeRNBeRg (1894-1969) Born in Vienna. which gave Gene Tierney one of her first roles. the director is at the origin of the careers of Gene Tierney and Victor Mature. 42 TrIBUte to tHe FILM FoUnDAtIon : “InsPIrAtIons” . The film was preserved by the George Eastman House (Rochester. Arthur suggested that he make a film that would constitute his beginnings on the screen. which Sternberg was forced to make owing to his contract with MGM]. Sternberg kept this atmosphere of decomposition. DIReCTOR Josef von Sternberg SCRIpT Josef von Sternberg. Jules Furthman.

Several elements were created at the outcome of the work: a new negative. He is known for his melodramas. he moved to Hollywood and joined the nascent MGM. their moving into a cabin on the edge of a lake. Her beauty and compelling performance leaves a strong impression on audiences. In the 1920s. as well as a 35 mm print. Working with Twentieth Century Fox and the Academy Film Archive. further heightened at the heart of this dream landscape by the Cornel Wilde and Gene Tierney in Leave Her to Heaven (1945) presence of a lake as shimmering as it is disturbingly deep.a 35 mm color reversal internegative (CRI) made from the original negative. the success of Leave Her to Heaven relies just as much on Gene Tierney. after a novel by Ben Ames Williams PRODUCeRS Darryl F. the film was digitally restored. the film was restored from the most original surviving element . Jeanne Crain. The chief cameraman. DeceMBer 2nD. Since the original Technicolor negatives no longer existed. TrIBUte to tHe FILM FoUnDAtIon : “InsPIrAtIons” 43 . 110’ JOhN M. Zanuck & William A. Cornel Wilde. The team then applied image processing to improve steadiness and reduce flicker.LeAVe HeR tO HeAVeN JOhN M. 17:00 A man returns home after spending several years in prison. the first of the genre to be shot in three-strip Technicolor. others complimented his ability to make successful films on a reasonable budget. while not well-known. Bacher PhOTOgRAphy Leon Shamroy ACTORS Gene Tierney. A stage actor born in New York. including: Imitation of Life (1934 and 1959) and Magnificent Obsession (1935 and 1954). 35 mm. StAhl | 1945 SUnDAY. nonetheless boasts 42 films. Vincent Price United States. Reliance Mediaworks scanned the 35 mm CRI Elements at 2K resolution and digitally re-registered the 3 color records of the CRI. Stahl SCRIpT Jo Swerling. taking the place of a director who had fallen ill during filming. for example). his wife’s obsessive jealousy and her desire to possess him exclusively. with her “angelic face and heart of darkness”. several of his films being the object of famous remakes by Douglas Sirk for Universal Studios. Leon Shamroy. STAhL (1886-1950) Stahl’s catalogue. 1945. He recalls the dramatic circumstances that led to his becoming a criminal: his marriage with Ellen. Stahl discovered the cinema by chance. color breathing and film grain build up. DIReCTOR John M. The flamboyant colours and sequences in natural settings (locations in Arizona and California) enhance the dazzling photography. a lake that symbolizes the duality of the heroine and her irremediable darkness. saw his work rewarded with an Oscar. a digital archive and a new HD master for the DVD and Blu-Ray market. Due to issues inherent in the CRI. a procedure heretofore used especially for melodramas (Gone With the Wind. Leave Her to Heaven is “a film noir in colour”. Yesterday like today. colour (three-strip Technicolor). Although some described him as extravagant.

Zanuck took the initiative of shortening it. Seven years after Stagecoach. making the cuts himself. Seven Women. director of westerns at Universal Studios. He thereby changed the last sequence where Wyatt Earp shakes hands with Clementine instead of kissing her. Wyatt Earp becomes sheriff of Tombstone. Victor Mature United States. the film lasted more than two hours. Cooper in 1939. the land of his ancestors. including The Man Who Shot Liberty Valance (1962) and Cheyenne Autumn (1964). as he had done for The Grapes of Wrath (1940) and How Green Was My Valley (1941). and refusing to involve the director in this new cut. Engel PhOTOgRAphy Joe MacDonald ACTORS Henry Fonda. with Merian C. Stagecoach (1939) and The Grapes of Wrath (1939). 35 mm. DeceMBer 2nd. in 1966. after a story by Sam Hellman PRODUCeRS Darryl F. To avenge this murder. and made his last film.MY DARliNG ClemeNtiNe JOhN FORD | 1946 SUnDAY. he continued making remarkable westerns. 44 TrIBUte to tHe FILM FoUnDAtIon : “InsPIrAtIons” . DIReCTOR John Ford SCRIpT Samuel G. 103’ JOhN FORD (1894-1973) One of the masters of American cinema. and The Last Hurrah (1958). he directed numerous westerns starring Harry Carey. he runs into Doc Holliday. established him as one of Hollywood’s greatest directors. In his later years. Francis. his first film about Ireland. the young Clementine Carter. The Sun Shines Bright (1953). Initially. Zanuck. And up until the end of his career. Shortly thereafter. war films and melodramas. Linda Darnell and Henry Fonda (left) in My Darling Clementine (1946) The film was preserved by the Museum of Modern Art (MoMA) and the UCLA Film & Television Archive in cooperation with Twentieth Century Fox with funding provided by AMC Networks and The Film Foundation. Arizona. Up until 1922. based on the John Steinbeck novel. Ford had founded this production company. Zanuck then had him reshoot the scene. Along the way. Ford came back to his Irish origins with The Quiet Man (1952). Linda Darnell. 1946. he won his first Oscar. 14:00 In 1881. Winston Miller. originally named Argosy Corporation. After My Darling Clementine. Samuel G. The Rising of the Moon (1957). Ford would produce his own films for a while through Argosy Pictures. the owner of the town’s saloon. With The Informer (1935). Screening preceded by a workshop for children over 8 years old. black and white. the four Earp brothers are taking their herd west. A preview audience having laughed at this break with social conventions. followed by comedies. he began in 1913 as assistant to his brother. but the livestock is stolen and the youngest brother killed. replacing the handshake with a more traditional kiss. It was preserved from a 1946 nitrate studio print and from a nitrate fine grain master positive. Engel. Ford returned to Monument Valley to shoot a story inspired by the legendary 1881 gunfight at the OK Corral in Tombstone. and falls in love with Doc’s fiancée.

NoveMBer 29tH. the Motion Picture Association of PhOTOgRAphY America (MPAA). the Société Frank F. he wrote comic ted a complete restoration of sketches for Mack Sennett who the film. in very limited fashion. The film was restored by the UCLA Film & Television Archive. Peter Lorre For ten years or so. Here. and sound negatives Vitagraph and Metro at an early from MGM. a traumatized WWII veteran. Planer des Auteurs. brought to only a fragment of the film was the screen by Harry Edwards for the famous mime Harry restored using digital tools. a series of scripts. and the Writers Guild of Michèle Morgan. portraying a heroine guided by fate. Planer. Steve Cochran. black and sought elements of the film. 35 mm. Michèle Morgan found one of her rare key roles in Hollywood. They decide to run off together. he made In the end. the UCLA Film & Television Archive had United States. Robert Cummings and Michèle Morgan in The Chase (1946) TrIBUte to tHe FILM FoUnDAtIon : “InsPIrAtIons” 45 . and including the calibration). 86’ last finding an original 35  mm nitrate negative. a unique partPRODUCeRS nership between the Directors Eugene Frenke. A combination of age. 1946. DIReCTOR Arthur Ripley The Chase is the adaptation of a novel by Cornell Woolrich (aka William Irish) whose work has often been adapted for the screen (Hitchcock’s Rear Window. a 35 mm nitrate internegative (third-generation ARThUR D. America. West (WGAW). aka Franz Planer (the chief cameraman for Max Ophüls’s Letter from an Unknown Woman. the two men wrote chemical restoration in 2011. a first trial composite print (the first photochemical print whose calibration of the image is considered definitive) and a release print for screenings were created. at white. and Langdon.The ChAse ARthUR RiPleY | 1946 THUrsDAY. introduced him to Frank Capra. 17:00 Chuck Scott. Screening introduced by Margaret Bodde (Executive Director of The Film Foundation). a sound negative. The “Expressionistic” photography of Frank F. Seymour Nebenzal Guild of America (DGA). The originality of the film owes much to the treatment of the dreams of Chuck Scott. having a go at an international career. amongst others). a duplicate negative. Truffaut’s La mariée était en noir/The Bride Wore Black and La Sirène du Mississipi/Mississippi Mermaid¸ based on his Waltz into Darkness…). Compositeurs et ACTORS Editeurs de Musique (SACEM). an interpositive (elefew features and ended his ment copied from the negative career working in television. Robert Cummings. provoking the criminal’s sadistic wrath. makes dreams the heart of the film’s dramatic development. these various elements permitIn the 1920s. a gangster’s wife. RIpLey element copied from the inter(1897-1961) Arthur D. UCLA carried out a photoTogether. falls in love with Lorna. Ripley was an positive) owned by a French apprentice at studios such as collector. a veteran of the Second World War. close or distant. with funding proSCRIpT vided by The Film Foundation Philip Yordan and the Franco-American Cultural Fund. Aside from The Chase. a magnetic track. a vision that seems to contaminate all reality.

was the best source for both picture and sound restoration. the amount of damage printed into the fine grain was drastically reduced. Trevor Howard. NoveMBer 30tH. Griffith Jones United Kingdom. 1956) to the German Democratic Republic. Romania and Italy. The nitrate fine grain was in fair physical condition. with no tears. A full digital intermediate restoration was carried out and the nitrate fine grain positive was scanned at 2K resolution. When he refuses to get involved in heroin trafficking. sordid yet faithful to the reality of the Trevor Howard in They Made Me a Fugitive time. going from Austria (Herr Puntila und sein Knecht Matti/Herr Puntila and his Servant Matti. literary adaptations of Maupassant and Théophile Gautier. Screening introduced by Margaret Bodde (Executive Director of The Film Foundation). Noel Langley PhOTOgRAphy Otto Heller ACTORS Sally Gray.TheY MADe Me A FUGitiVe AlBeRtO CAVAlCANti | 1947 FrIDAY. a period when trafficking of all kinds was developing. The action of the film is set in post-war England. after a novel by Jackson Budd PRODUCeRS N. 1926). the restored version of the film was released in Blu-ray. he lived and worked in London where he played a decisive role in the evolution of the English documentary. No original negative could be located and a fine grain positive. DIReCTOR Alberto Cavalcanti SCRIpT Noel Langley. betrayals… Otto Heller’s photography recreates a dark. 46 TrIBUte to tHe FILM FoUnDAtIon : “InsPIrAtIons” . 1947. agonizing atmosphere. The atmosphere of They Made Me a Fugitive. A Convict Has Escaped. shocked the British censors with its scheming. Through digital repair and clean-up. Beginning in 1933. They Made Me a Fugitive was released in the United States in 1948 with the title I Became a Criminal. settlements of scores and summary executions. A. in a version shortened by 21 minutes. The film was restored by the BFI National Archive with funding provided by The Film Foundation. He flees and prepares a plan to avenge this betrayal. black and white. Clem Morgan becomes a small-time crook. the script was the work of Noel Langley. he also made more narrative films. but it had suffered shrinkage. famous for having cowritten The Wizard of Oz (Victor Fleming. 1923) and Louis Delluc (L’Inondation/ The Flood. The soundtrack on the nitrate fine grain positive was the source for the sound restoration and was digitized to reduce levels of modulated noise. Based on a thriller by Jackson Budd. the press of the time gave it a very favorable reception. In 2012. noticeable on some dialogue. 1939). Known for his experimental film Rien que les heures/Nothing but Time (1926) and from then on considered one of the important artists of the French avant-garde. He returned to Brazil in 1949 before leading the life of a voluntary exile. printed from the camera negative on 1947 Kodak stock. 35 mm. Nevertheless. a gang leader has him accused of a policeman’s murder. 99’ ALBeRTO CAvALCANTI (1897-1982) Born in Brazil and an architecture student at the School of Fine Arts in Geneva. James Carter. Cavalcanti moved to Paris in the early 1920s and frequented the avant-garde circles. He thus worked as art director alongside Marcel L’Herbier (L’Inhumaine/ The Inhuman Woman. Bronsten. 17:00 After the war.

he shot The River. Screening introduced by Margaret Bodde (Executive Director of The Film Foundation). A few years later. However. 14:00 In Bengal. he made a first impressionistic film in 1924. and the soundtrack was restored digitally. La Règle du jeu/The Rules of the Game (1939). and has never left me since. Arthur Shields United States. It’s a film that impregnated itself in me. Renoir also recorded in live sound on magnetic track. he was helped in this challenge by Claude Renoir. every public showing or video release of the film came from a print in the personal collection of Martin Scorsese. With La Chienne (1931). Restoration funding provided by the Hollywood Foreign Press Association and The Film Foundation. The original negative in three-strip Technicolor was deposited at the BFI in the early 1970s. Jean Renoir PhOTOgRAphy Claude Renoir ACTORS Nora Swinburne. The River fell out of circulation. in 1955. 1951. a little boy and their families live in a grand residence on the banks of the sacred river. JeAN ReNOIR (1894-1979) Fascinated by cinema’s possibilities of expression. near Calcutta. his nephew and chief cameraman for the film. These were used for release prints. 35 mm. thereby “sowing curiosity about this country. TrIBUte to tHe FILM FoUnDAtIon : “InsPIrAtIons” 47 . For Jean Renoir’s first colour film. a young captain wounded at the front arrives.” Martin Scorsese The film was restored in 2005 by the Academy Film Archive in association with the BFI National Archive and Janus Films.The RiVeR JeAN ReNOiR | 1951 FrIDAY. DIReCTOR Jean Renoir SCRIpT Jean Renoir. the film had great public success and won the International Award at the Venice Film Festival. contemplative filmmaker. But other titles ensured him an unequalled reputation: La Grande Illusion (1937). Roberto Rossellini was in Paris and listened to his friend Renoir relate his shooting in Bengal. A new 35  mm optical track negative and a 35  mm magnetic print were produced. Before the restoration. Esmond Knight. 99’ “The River: one of the two most beautiful color films ever made! My father took me to see it when I was 8 or 9. colour (three-strip Technicolor). he left for the United States and made important films without finding equilibrium in a system that restricted him. When released. Influenced by von Stroheim and German Expressionism. This was his first film after his American period. a realistic period began. and by the art director Eugène Lourié (who would go so far as to repaint the grass in one set). and he initially proposed adapting Rumer Godden’s novel to Hollywood producers before finally finding an unexpected producer: an English florist… The filmmaker and novelist worked together on the adaptation of The River on location in India. The restoration relied on original nitrate elements in Technicolor. Up until the end of his career.” To the degree that he himself would make a film in India shortly thereafter: India. In India. an innovation for the time. NoveMBer 30tH. At the beginning of World War II. The three girls all fall in love with the stranger. after a novel by Rumer Godden PRODUCeRS Kenneth McEldowney. La Fille de l’eau/ The Girl of the Water. Renoir remained an experimenter and a storyteller. matri bhumi/India Motherland (1959). the film remained inaccessible owing to lack of both funds and commercial interest. Madame Bovary (1933) and Toni (1934) marked a deepening of tone and style. which shows him as a more peaceful. After its release. A 35  mm fine grain master and a 35 mm internegative were made using the original three-strip nitrate negative and the restored 35  mm optical track negative. La Bête humaine/ The Human Beast (1938). three British girls. One autumn day. he directed Nana in 1926. Rumer Godden. Une Partie de campagne/A Day in the Country (1936-46) long remained “unfinished” and invisible.

in 1945. black and white. impressed as much by the true-to-life exteriors as by the force of the dialogue and the acting. in the final sequence. 35 mm. They joined forces and presented their idea to producer Darryl Zanuck (Twentieth Century Fox). which contributed considerably to defining a certain conception of screen acting. Marlon Brando gives one of his most memorable performances. his first film with Marlon Brando. When the victim’s sister asks him for help. Eva Marie Saint United States. a famous passage of dialogue from On the Waterfront and thereby establishes a relation of influence. this same director of photography had shot Jean Vigo’s L’Atalante on another waterfront. which is both a large fresco about immigration and an intimate film. and America. with an aim to making “a true film”. 1954. America (1963). Rod Steiger. including Best Picture. but the film has this incredible sense of urban tragedy. ELIA KAzAN (1909-2003) In 1932. by Sony Pictures and MoMA. photochemical restoration. He would refer to them in his film on the boxer Jake LaMotta. wintry. Splendor in the Grass (1961). Other titles include: A Streetcar Named Desire (1951). preferring a more affirmative narrative and individual trajectory. which he discovered at the age of 12. had been undertaken in 1992. Eva Marie Saint and Marlon Brando in On the Waterfront (1954) Trained at the Actors Studio. A first. on the banks of the Hudson. He would become a prominent Broadway director and. The film’s photography earned an Oscar for Boris Kaufman. thanks to Marlon Brando’s agreeing to play the lead role.” Martin Scorsese The film was restored by New York’s Museum of Modern Art (MoMA) with support from The Film Foundation and Sony Pictures Entertainment. East of Eden (1955) with James Dean. Best Writing and Best Film Editing. 108’ “On the Waterfront had a crucial impact on my work. 48 TrIBUte to tHe FILM FoUnDAtIon : “InsPIrAtIons” . NoveMBer 29tH. Terry is faced with a dilemma. Twenty years earlier. Lee J. Martin Scorsese was strongly influenced by the film. Karl Malden. as well as between Brando and Robert De Niro. founded the previous year by Lee Strasberg and Harold Clurman. certain shots could be restored while making sure that the digital intervention remained invisible. A Face in the Crowd (1957). Sony Pictures digitized the film at 4K resolution. by Malcolm Johnson. Screening introduced by Margaret Bodde (Executive Director of The Film Foundation). Zanuck would subsequently disengage himself from the project. A Letter to Elia (co-directed with Kent Jones. made his first feature film. By adapting software initially designed for special effects. up to the icy air that the longshoremen breathed (shooting took place during the winter of 1953-54). In 2004. a corrupt lawyer for the longshoremen’s union. who managed to find the necessary financing. “Crime on the Waterfront”. a kinship between one film and the other. 2010). The Best Actor Oscar Brando received was one of the picture’s eight Academy Awards. A Tree Grows in Brooklyn. Elia Kazan met Budd Schulberg who was working on a script devoted to the universe of longshoremen. 14:00 Terry. Zanuck demanded that corruption not be the central theme of the film. which takes up. He witnesses the murder of an employee without intervening. that of the Seine. Scorsese made a film about Kazan. Kazan and Schulberg turned to the independent producer Sam Spiegel. Kazan joined the Group Theatre. Kazan followed Kaufman’s advice for shooting on location. Cobb. is manipulated by his brother. After a number of rewrites. Malcolm Johnson PRODUCeR Sam Spiegel PhOTOgRAphy Boris Kaufman ACTORS: Marlon Brando. inspired by a series of articles in The New York Sun. Raging Bull (1980). a young longshoreman. Best Director.ON the WAteRfRONt EliA KAZAN | 1954 THUrsDAY. Wild River (1960). The natural settings […] are barren. DIReCTOR Elia Kazan SCRIpT Budd Schulberg. gray. And in fact. Just recently.

colour. 1981. unfaithful man agrees to marry his companion if she loses weight. Filmed at night through a blue filter in a clearing. colour. which features continuous or semi-continuous shooting. 1962. zoom. but the artist tried his hand at all types of cinematographic experimentation (editing. making many works available to audiences for the first time since their creation. The Toute la mémoire du monde Festival presentation celebrates the program’s 10th anniversary with classics by Kenneth Anger. Prefaces combines sequences shot in Manhattan with “found footage” frames. 8’. 1969. 9’ Preserved by Anthology Film Archives PRefACeS DIReCTOR Abigail Child United States. Funded by The Film Foundation. Rabbit’s Moon is the story of the clown Pierrot who jumps as high as he can. colour. silent (18 images per second) Preserved by the New York Public Library SyLvIA’S PROmISe DIReCTOR George Kuchar United States. 10’ Preserved by the Harvard Film Archive. Crossroads (1976). Bruce Conner (19332008) practiced a cinema of ‘found footage’: Report (1967). Through found footage and sound experimentation (soundtracks intentionally unsynchronized). Fireworks (1947). black and white. A great name in underground cinema. split-screen). and Andy Warhol. Screening introduced by Jeff Lambert (National Film Preservation Foundation). animated films and images of atomic explosions. Andy Warhol (1928-1987) made a series of experimental films in the 1960s. Some of them consist of the duplication of the same motif. 8’ Blues falls within the first period of Gottheim’s catalogue. The first part of Abigail Child’s series Is This What You Were Born For?. making Mutations a reflection on the possibilities offered by new computer techniques. a technique that turns a filmed scene into an animated cartoon. colour. A crude. Larry Gottheim is known for having created the film department at Harpur College (Binghamton. We Can’t Go Home Again (1976). Seven years later. Lillian Schwartz. Linked to structural cinema. 35 mm. like his paintings. 16 mm at 18 frames per second. Scorpio Rising (1964) and Lucifer Rising (1972) are all emblematic films. amateur special effects and scathing humour. RABBIT’S MOON DIReCTOR Kenneth Anger United States. Bruce Conner. he is still cheating on her. 16 mm. trying to grab the Moon. 16 mm. 1972. 16 mm. and the rejection of conventional editing. sometimes co-directing with his twin brother Mike. Abigail Child.AVANt-GARDe MAsteRs A DecADe oF PreservAtIon THUrsDAY. Larry Gottheim. 21:30 The Avant-Garde Masters Grants were created in 2003 by the National Film Preservation Foundation and The Film Foundation to preserve American avant-garde cinema. occultism and an overtly homosexual eroticism. 16 mm. 16 mm. combined melodrama and horror. The Ray Charles song “What’d I Say” accompanies a shifting collage of female nudes. NoveMBer 29tH. 33’ Preserved by the Andy Warhol Museum. 4’ Preserved by Anthology Film Archives. the program has helped save more than 90 films in its first decade. The VeLveT UNDeRgROUND IN BOSTON DIReCTOR Andy Warhol United States. Inventor of Pop Art. 1950-70. Made by Lillian Schwartz when she was working at Bell Laboratories. MUTATIONS DIReCTOR Lillian Schwartz United States. 1967. Kenneth Anger (born in 1927) practices an underground cinema. Preserved by Ohio State University Jean-Claude Risset’s music and Lillian Schwartz’s images use effects and “auditory illusions” extensively. and she continues to get fatter. Having grown up in the Bronx where he made films in 8 mm. Abigail Child evokes questions of sexual and social identity. 1961. black and white. George Kuchar (1942-2011). Mutations features rotoscopy. 14’ Preserved by the UCLA Film & Television Archive COSmIC RAy DIReCTOR Bruce Conner United States. New York) where Nicholas Ray made his last film. colour. working at the crossroads of surrealism. sound on CD played simultaneously. Cosmic Ray by Bruce Conner (1961) The Velvet Underground in Boston by Andy Warhol (1967) TrIBUte to tHe FILM FoUnDAtIon : “InsPIrAtIons” 49 . Marilyn Times Five (1973). Concert filmed during a tour by the Velvet Underground at the height of its glory. George Kuchar. BLUeS DIReCTOR Larry Gottheim United States.

. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . United States. . . . . . . . . . . . . . . . . . . . . . 56 The Waters of the Nile / L’Eau du Nil. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . “YOU AIN’T heARD NOThINg yeT!” The Phono-Cinéma-Théâtre (1900) . . . . . . . . . . . . . . . . . . . . . 57 Six Cinegraphic Impressions by Germaine Dulac (1930) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . Vassily Fyodorov (1932) . . . . . . 60 The House of the Dead / Myortvyi dom. . . . . . . . . . . . . . . . . . . 58 Benshi performance: Jirokichi the Rat. . . . . . . . . . . .THE FILMS The BegINNINgS Of SOUND. . . . . . . . . . Marcel Vandal (1928) . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 1905-14 . . . . . Daisuke Itô (1932) . . . . . Paul Fejos (1928) . . . . 55 Lonesome. . . . . . “YoU AIn’t HeArD notHInG Yet!” . . . . . . . . . . . . . . 54 “Singing and talking” cinema. 1920s . . . . . . . . . . . . . 52 “Singing and talking” cinema. 62 50 THe BeGInnInGs oF soUnD. . . . . . . . . . . . . . . France-Germany. . . . . . .

in Japan. films were accompanied by music. Pour une histoire culturelle du cinéma : au-devant de «scènes filmées».BY WAY Of INTRODUCTION TOwARDS SOUND The programme takes its name from Al Jolson’s famous line in The Jazz Singer (1927). The eight showings proposed here constitute a free itinerary in this ill-known history of shifting contours. or a talking cinema with its dialogues. for example. these short features were very popular between 1926 and 1929. launched in 1926 by the Warner brothers. Numerous processes on cylinders or discs will also be presented: the Phono-Cinéma-Théâtre. Considerable historical research has led to relativizing the notion of silent cinema. is being shown in its tinted. Germaine Dulac) at taking up again. essentially sung with sound effects but which nonetheless includes a few dialogues. inspired by the life of Dostoyevsky. these few years that followed the success of The Jazz Singer. “YoU AIn’t HeArD notHInG Yet!” 51 . perpetuating the tradition of the singers and narrators of kabuki theatre. sound effects and music? The question gave rise to much debate at the time1. commented on by lecturers or barkers and gladly featured sound effects. a social film by Daisuke Itô (1925). He soon sold his patents to Fox. du Céfal. and the earliest sound on film or optical sound. a Universal film to which a soundtrack was hastily added using Fox equipment (unbeknownst to the latter). Quite early on. Phonoscènes Gaumont which thereby imposed Movietone against Vitaphone. thanks to sound. 1  Edouard Arnoldy. Particular attention was paid to the period of transition from silent pictures to “talkies”. The optical sound tests presented were made in the mid-1920s by inventor Theodore Case. and rejected academic talking cinema. Cinema followed three main paths in its quest for sound: oral practices. Dranem and Polin and hear their songs or irreverent monologues. and the Vitaphone shorts. many films were made in music. Also shown will be the first French “talkie”. that called on the great artistes of New York’s Metropolitan Opera and Broadway. Vassily Fyodorov’s The House of the Dead. Commentary and narration took on a highly singular dimension as of the silent era. hand-painted version. benshi Raiko Sakamoto will play a part in Toute la mémoire du monde with Jirokichi the Rat. and one of the very first Soviet sound films. Was it better to go towards a sound cinema. with the musicality theorized about and sought in silent cinema. Following in their footsteps. They recall the phonoscènes of the Belle Époque produced by Gaumont. Marcel Vandal’s The Waters of the Nile (a Gaumont production). we shall see attempts of the French avant-garde (Jean Epstein. of which creative musicality would be the mark. the procedures of synchronous sound on discs or cylinders. that let us see the stars of the Paris café-concert Mayol. the first “talkie”. These filmmakers hoped and prayed for a sound cinema with its music and effects. They quickly imposed themselves as narrators of the films’ content. de «films chantants et parlants» et de comédies musicales : Éd. Finally. The initial function of the benshis was to explain the projection setup. 2004. The sound version of Lonesome. Moreover. PAULINe De RAymOND Programmer of Toute la mémoire du monde THe BeGInnInGs oF soUnD. one of the finest cinematographic attractions of the 1900 Exposition Universelle. The programme puts the accent on the period prior to the industry’s standardization of sound.

the Idéal would be replaced by the Pathé Céleste. as would be the Gaumont phonoscènes later on. where the speaking cinematograph in colour was present in several forms. There was also a sound-effects engineer and probably a barker. modelled on the “Fresh Pavilion”. FrIDAY. but this history made a prodigious leap forward in Paris during the Exposition Universelle of 1900. excerpts from stage plays). Gaumont Pathé Archives and La Cinémathèque française have joined forces to restore and reconstruct the repertoire of the Phono-Cinéma-Théâtre (1900). located in the Rue de Paris. the music hall and circus. the actress Marguerite Vrignault. On 27 December 1899. diameter: 13 cm) with a playing time of four minutes. using a 35 mm camera by Ambroise-François Parnaland with central perforation or two lateral perforations. Michel Carré’s L’Enfant prodigue. backed up against the “Théâtroscope”. who initiated the project. Another success was filmed: Henri Meilhac’s Ma Cousine. The shots were done in playback. built in 1751 by Gabriel in the gardens of Versailles. was designed by the architect Dulong. The PhonoCinéma-Théâtre limited company was created by Decauville on 2 March 1900. The auditorium of the Phono-CinémaThéâtre. accordion by Romano Todesco. premiered at the 52 THe BeGInnInGs oF soUnD. in September 1900. was named artistic director. For the first time. a bit later. a little gem of pantomime accompanied by André Wormser’s score and much appreciated at the time. Screening introduced Manuela Padoan (Gaumont Pathé Archives) and Laurent Mannoni (Cinémathèque française). The Phono-Cinéma-Théâtre was a veritable “attraction” combining several different genres: sound films synchronized with a phonograph (songs. drums and percussions by Frank Bockius. Amongst the spectacles presented during the Exposition. The long history of sound film begins with the appearance of the Edison Kinetoscope (1894). with a capital of 100. which used large-size cylinders (height: 22 cm. The programme presented the most prestigious artists of the time. engineer-industrialist Paul Decauville obtained the concession of a area within the Exposition Universelle. 19:45 THe reconstrUcteD rePertoIre oF tHe PHono-CInéMA-THéÂtre Piano accompaniment by John Sweeney.000 francs. as well as dances and pantomimes that were simply accompanied by a pianist or an orchestra. “YoU AIn’t HeArD notHInG Yet!” . The phonograph used was Henri Lioret’s Idéal. coming from the ComédieFrançaise or the popular “boulevard theatres”. the Phono-Cinéma-Théâtre was one of the most successful from the artistic standpoint. monologues. quite close to the Invalides bridge. The filming was done by Cléo de Mérode in Gavotte (1900) Clément-Maurice (real name: Clément Maurice Gratioulet). NoveMBer 30tH. was adapted for the screen.

Thus. a collector of cinema cameras. et al. despite the superb poster by François Flameng. the directress of the dance school of the Paris Opera. Polin. a set of original negatives was found. Footit et Chocolat. The operators were Georges and Léopold Maurice. despite the praise in the press. Mily Meyer. Little Tich. Jean Coquelin. very nicely hand-tinted. In 2010. and Italy. Austria. Marguerite Vrignault. Mr Olivier Auboin-Vermorel. La Cinémathèque française decided to restore this collection. especially with digital techniques. for example. the elite of dance. only two out of the three tableaux. singers. Henri Chamoux perfected the “Archéophone”. and at the end of the Exposition. Christine Kerf. The Phono-Cinéma-Théâtre films were again discovered by chance in 1961: 24 negatives (sometimes with several shots for a single title) and a positive THe BeGInnInGs oF soUnD. but many are still of fine quality. which has preserved a large collection of original nitrate PhonoCinéma-Théâtre prints. Seventeen PhonoCinéma-Théâtre cylinders corresponding to eight titles were located. Excellent news came from Manuela Padoan of the Gaumont Pathé Archives. amongst which were several from the PhonoCinéma-Théâtre. in good condition. The last brainwave: in 2012. it is now possible to savour. Clément-Maurice’s sons. Germany. The Phono-CinémaThéâtre company was dissolved on 26 November 1901. even broken. The two combined collections of Gaumont Pathé Archives and La Cinémathèque française allow for reconstructing the neartotality of the Phono-CinémaThéâtre repertoire. dancers. the balance sheet was just barely profitable. and despite the galas. which had been invisible up until present. In 2011. Having decided to reconstruct. “YoU AIn’t HeArD notHInG Yet!” 53 .Théâtre des Variétés on 27 October 1890 and starring the great actress Réjane. – in other words. Victor Maurel. the film is now once again complete with its three parts. but in the early 1930s. Claude Bessy. Most of the cylinders are at the Radio-France Museum in Paris. sometimes in colour. included in the three-act play. the tenor Cossira. pantomime and music hall of La Belle Epoque. who slowed down or accelerated according to the playback of the phonograph cylinder. an apparatus capable of reading and recording cylinders in poor shape. At the end of one of the shots. Félicia Mallet. theatre. made a positive print of Le Cid (La Habanera) available to La Cinémathèque française. unfortunately. La Cinémathèque française asked expert Henri Chamoux to turn over the recordings made on cylinders still existing. in person. but one will take pleasure in seeing again. By the way. One must listen very closely since the sound is not terribly good – as originally moreover! –. LAUReNT MANNONI Scientific Director of Cultural Heritage (Cinémathèque française) The exhaustive list of the repertoire of the Phono-Cinéma-Théâtre is available on the Website: cinematheque. Zambelli. but that did not prevent the show from continuing in Paris then Switzerland. The first show of the PhonoCinéma-Théâtre at the Exposition took place on 28 April 1900. the greatest artists of the period: Sarah Bernhardt. Cléo de Mérode. “colours and sounds correspond”. the film is comprehensible only if you know the story of the scene being performed – the rehearsal of a pantomime entitled Le Piston d’Hortense. the quasitotality of the Phono-CinémaThéâtre repertoire with its original sound. producer Bernard Nathan financed a documentary made by Roger Goupillières. Synchronization is thus once again possible. clowns and mimes who participated in the undertaking. Spain. Jeanne Hatto. which has joined the project. Ma Cousine with Réjane and L’Enfant prodigue – but. the public did not flock to the Phono-Cinéma-Théâtre. as much as possible. a lovely lady is seen crossing the stage: it is the artistic director. But some films still remain silent since the original cylinders have not been found. all of which were then deposited at La Cinémathèque française in December 1961. This attraction then sank into oblivion. with colour in addition! Henceforth. in which we can see several titles of the PhonoCinéma-Théâtre again. corresponding to 18 different titles. to quote Baudelaire… Final miracle: Gaumont Pathé Archives had in its collection the missing first tableau of L’Enfant prodigue. were also digitized. England. Le cinéma parlant en 1900. Despite the celebrity of the actors. In 1933. gave La Cinémathèque française a group of films from the early days. Rosita Mauri. with the original sound of the cylinders. These films. Sweden. Jules Moy. one of the finest cinematographic attractions of the Exposition Universelle. the synchronism was done manually by the projectionists. almost as in 1900. Some negatives have suffered.

sung by Murphy and Fragson 1913. 1910. Gaumont. life and children. 1914. performs an aria from Verdi’s Rigoletto. which marked a very important advance.). after which the artist performed the song in playback before the camera. sharpeners. 3’ A displeased officer assembles his soldiers in the barracks courtyard. 1908. 3’17 A man sings to describe his favourite spot: the bench next to his parents’ grave. sung by Georges Elval 1914. [My little husband. FILmpARLANT Le fROTTeUR De LA COLONeLLe ChemINeAU. sung by Enrico Caruso. Henry Bender sings in front of a theatre set. with its chronophone. 2’30 The phonoscène unfolds in two locations. The pieces or monologues of the phonoscènes most often came from operettas or the café-concert. the café-concert singer Gaston Dona achieves his greatest popular success. NoveMBer 28tH. 1905-14 WeDnesDAY. his jacket that is too short and his little kepi. “YoU AIn’t HeArD notHInG Yet!” . an adulated singer. as at the café-concert. During the same period. FUmeUR D’OpIUm Filmparlant directed by Alice Guy. sings. leaves the stage and returns. LIeBeS MÄNNCheN fOLge mIR sung by Jean Noté 1913. 3’ A baritone at the Opera. The sound of the phonoscènes was recorded first. 1910. sung by Polin. and the sounds are amplified by a compressed-air phonograph (chronomégaphone). sung by Jean Noté 1908. [At his parents’ grave] sung by Karl Ottemar 1907. 14:30 In 1902. [The policeman’s song] sung by Henry Bender. AveC BIDASSe. ChemINe. Le COq DReSSÉ 1906. LeS CRIS De PARIS. Germany also experienced a vogue for Tonbilder (or “sound pictures”). each corresponding to a refrain. 3’ A family prepares for going on a picnic in the country. conceived at the end of 1907. but its exploitation remained limited owing to the complexity of the synchronism and sound amplification system. 2’ A cock lands and sings on a pedestal decorated with the “G” daisy of the Gaumont company. 3’ On each refrain. LA DONNA È mOBILe MILITÄRISChe DISzIpLIN / LUSTIgeS AUf Dem KASeRNeNhOf [Military discipline / Jolly at the barracks] voice of Gustav Schönwald 1910. The Phonoscènes presented have been restored by Gaumont Pathé Archives and Lobster Films. sung by Bach. 2’30 Félix Mayol comes on stage. Le vRAI JIU-jITSU ALICe GUy TOURNe UN phONOSCÈNe sung by Dranem 1912.. presented several films synchronized by a phonograph. the greatest opera singer of the period. 4’ A happy couple sings a duet about love. 3’13 Accompanied by a “ballet” of policemen.. Gaumont produced more than 700 short sound features called phonoscènes. With the Filmparlant. Dranem turns round. sound and image were recorded synchronously using a microphone and an electric recording phonograph. It perfected this machine that was marketed in 1906 and which allowed for synchronizing the phonograph and projector thanks to an electric motor and control panel. follow me] sung by Mizzi Jezel and Karl Schöpfer. 2’30 Here. Am ELTeRNgRAB Ce qUe C’eST qU’UN DRApeAU sung by Adolphe Bérard 1912. 2’ Polin is identifiable by his coarse comedy style. thereby revealing his mandarin’s plait. 4’ This Filmparlant by Georges Mendel puts opera singer Jean Noté on stage. 1905. 3’ Bach made Filmparlants between 1911 and 1914 and went to cinema when it became talking. pioneer female filmmaker.“SiNGiNG AND tAlKiNG” CINEMA FrAnce-GerMAnY. 3’ Bérard. Screening introduced by Martin Koerber (Deutsche Kinemathek). 1910. Between 1906 and 1915. sung by Gaston Dona. Laurent Mannoni (Cinémathèque française) and Manuela Padoan (Gaumon Pathé Archives). 54 THe BeGInnInGs oF soUnD. is stretched out on a sofa in an opium den. 1908. 3’ Studio shooting of pedlars typical of Paris (glazers. Noté recorded some dozen popular and patriotic songs. SChUTzmANNLIeD LA MARSeILLAISe LA pOLkA DeS TROTTINS ANNA. This “attraction cinema” had its hour of glory at the Gaumont-Palace in Paris and thanks to some fairground stallholders. 2’30 Caruso. c. 1909. The Tonbilder presented have been restored digitally from prints preserved at the Deutsche Kinemathek. 2’30 Recording of the shooting of a phonoscène by Alice Guy. LA CROIX DU ChemIN Filmparlant. qU’eST-Ce qUe T’ATTeNDS sung by Félix Mayol 1905.

The Vitaphone was perfected during an era of great advances in electronic amplification. This device recorded sound on film. 2’ The reformist prison administrator Thomas Mott Osborne speaks about prison reforms. in collaboration with the UCLA Film & Television Archive (in charge of their preservation since 1976). THe BeGInnInGs oF soUnD. whereas their act is very carefully written. CASe CLOSe-Up Eddie White in Theodore Case Born & Lawrence in The COUNTRy GeNTLemeN United States. 3’ HOLLywOOD BOUND United States. black and white. this collective of amateurs. 35 mm. black and white. black and white. 1929. black and white. thereby ensuring the synchronization of sound and image. 1928. 1920s THUrsDAY. 9’ HARpIST SUpReme United States. 1924. collectors and archivists locates elements of silent films and corresponding Vitaphone discs to make new 35 mm prints. Vitaphone shorts consisted either of filmed scenes from opera. in which vaudeville actors perform their number. GUS VISSeR AND HIS SINgINg DUCk Theodore Case United States. black and white. The George Eastman House (Rochester. Quickly. black and white. 35 mm. 7’ I ThANk YOU United States. The idea of synchronized sound by which image and voice emanate from the same human form enchanted film audiences and producers. Eddie White’s charm stems from his way of combining quirky songs and jokes of the period. 35 mm. the Audiovisual Conservation department of the Library of Congress. ThAT SURpRISINg FIDDLeR United States. black and white. accompanied by a duck. 6’ Carlena Diamond showcases her manifold talents as a vaudeville performer. and the “Vitaphone Project”. This film is a fantastic example of the vaudeville numbers that have disappeared. Each look. In August 1926. Created in 1991. The screening will be preceded by projections of: The Vitaphone films were restored by Warner Bros. 1929. 1928. using a variable optical density. 1929. before parting company two years later. He had a long career on Broadway before appearing in several Vitaphone films. 35 mm. 2’ Gladys Brockwell appeared in some hundred silent films.“SiNGiNG AND tAlKiNG” CiNemA UnIteD StAtes. Conlin would become a film actor. In the 1920s. Shooting of a Vitaphone film. Frank Whitman in The duo gives the impression of improvising as they go along. 14:30 The Vitaphone technology was a method of sound on disc synchronized with a film. Case recorded the sound on the same film as the image. black and white. W. playing the harp and dancing at the same time. 35 mm. 1928. Hollywood Bound is one her first sound films. 1925. “vaudfilms”.000 Vitaphone shorts between 1926 and 1931. ShARpS AND FLATS United States. 35 mm. produced more than 1. 12’ Vaudeville performer Gus Visser strikes up a song. 35 mm. 35 mm. For that. Harry Fox was the presumed (and self-proclaimed) inventor of the foxtrot. The restoration was carried out by Robert Gitt (UCLA). Carlena Diamond in HARRy FOX AND hIS SIX AmeRICAN BeAUTIeS United States. Screening introduced by Paolo Cherchi Usai (Film historian). 1920s. 7’ Frank Whitman was a vaudeville performer par excellence: violinist. which is at the origin of the Movietone. 35 mm. wink and raising of the eyebrows is perfectly timed. They charmed with their strange elocution and comic talent. Jimmy Conlin and Myrtle Glass in Theodore Case explains the sound system he perfected. These three short features are sound tests. Theodore Case invented the sound process. in particular in the films of Preston Sturges. 1928. black and white. black and white. Warner presented the first full-length programme of Vitaphone shorts before the screening of the feature film Don Juan starring John Barrymore. 9’ A famous duo. NoveMBer 29tH. “YoU AIn’t HeArD notHInG Yet!” 55 . to the point that Warner Bros. or from Broadway shows and the great musical classics. Born & Lawrence appeared in four Vitaphone films in 1928. in which she plays a vamp. T. 9’ United States. 35 mm. Gladys Brockwell in AUBURN PRISON TALk Theodore Case United States. Vitaphone films became extremely popular. developed. New York) has preserved these films. actor and dancer. one year before the premiere of The Jazz Singer.

soldier of the Austro-Hungarian Empire during the Great War. The master material at George Eastman House (Rochester. Fejos was a scriptwriter in the 1920s. and then in Berlin where he collaborated with Fritz Lang. restored colors and translated intertitles were put together in a print as close to the original release as possible. After the failure of his first film. 1928. PAUl FejOs | 1928 THUrsDAY. Over the span of a few weeks in August. the film was shown with live accompaniment except for the dialogue scenes. drawing comparisons to both Murnau’s Sunrise and Vidor’s The Crowd. 17:30 Mary and Jim meet and enjoy the thrills of the Coney Island amusement park. he shot documentaries in Asia. The following month. regardless of the content or quality of what was being left behind. ostensibly for tests of this new technology. starting a panic that spread across the Hollywood studios. which offered him a contract and. only to be re-discovered and introduced to new generations of appreciative cineastes. he returned to Europe where he made films in France. As a result. the first all-talking film. In order to make the entire picture sound-on-film compatible. abandoned for decades. montage techniques. Austria and Denmark.” JAReD CASe Head of Collection Information and Access (Motion Picture Department. only to lose each other in the crowd after spending a great day together. Unexpectedly. Glenn Tryon. Hungarian émigré Paul Fejos utilized complex composite images and rapid editing and Barbara Kent and Glenn Tryon in Lonesome (1928) PAUL FejOS (1897-1963) Trained as a chemist. Critics spoke of part-talking films in derogatory terms. the silent sequences were filled out with a music and effects track that relies heavily on Irving Berlin’s “Always. George Eastman House) The main feature will be preceded by a screening of: JOSephINe MCLeAN DANCe CLASSIC USA. Lowe Jr. New York) was a Frenchrelease nitrate print entitled Solitude. rightly pointing out that they brought out the worst features of both silent and early sound films – the obsolescence of the former and the crudeness of the latter. 35 mm. The dialogue scenes were. DIRECTOR Paul Fejos SCRIPT Edward T. he made Lonesome. 1929. only his second American film. this awkwardness fit in perfectly with the uncomfortable innocent conversations of first meetings between boy and girl.” This second completed version opened in New York City on September 30 of 1928 as Universal’s first sound film. Work was completed on the film and the finished product was previewed in June of 1928 to very favorable reviews. he settled in Vienna where he worked with Max Reinhardt. 10’ The Josephine McLean Dance Troop puts on a performance especially for the camera. however. Universal shot the sound sequences for Lonesome. “YoU AIn’t HeArD notHInG Yet!” . 35 mm. Thanks to subsequent preservations. “Critics everywhere have hailed this picture as a step forward in screen technique. tinted print. The Last Moment (1927). true to form. as a result. Fearful of being left in the shadow of the sound revolution. this fully restored version was not shown. The earliest preservation of this title ignored the tinting.LONesOme Screening introduced by Paolo Cherchi Usai (George Eastman House). hand-coloring and soundtrack for the most part. Shooting Lonesome in 1928. then gave up cinema entirely to devote himself to archaeological and anthropological research. nearly 80% of these part-talking films are lost forever to history. After 1936. he self-produced his second film. Universal Studios asked Fejos to shoot three talking sequences that would be integrated into the completed film. PhOTOgRAphY Gilbert Warrenton ACTORS Barbara Kent. Audiences and exhibitors largely ignored this type of film in their rush to consume the new technology. Warner Bros. The Los Angeles Times noted. Pictures released The Lights of New York. 67’ Until recently. Not having any sound stages or equipment of their own. Egri csillagok/Stars of Eger (1923). In 1932. Its success drew the attention of Universal Pictures. awkward in inexperienced hands. 56 THe BeGInnInGs oF soUnD. Universal borrowed a Movietone News truck from Fox. Moving to New York. PRODUCERS Carl Laemmle Jr. The film was met with generally favorable reviews. NoveMBer 29tH. Lonesome is a film caught in the midst of historical change. Until now. color (Two-Color Technicolor). Gustav Partos United States.

a penniless artist. Léon Gaumont. black and white. the first French sound picture produced by Léon Gaumont following the success of The Jazz Singer in the United States. René Lefèvre France. 1’ Facing the camera. There. Screening introduced by Béatrice de Pastre (Archives françaises du film) and Céline Ruivo (Cinémathèque française). In 1926. 1931. A commercial agreement was reached whereby the Danish company would sell its licences and contribute to the forming of concessionary companies. 14:30 To avoid ruin.C. 66’ The film was restored by Les Archives françaises du film du CNC. Michel Bernheim.U. quite close to the microphone. tinted print. with the sound recording being done using a microphone and a mirror set vibrating by an electric coil. and the GPP system would quickly be abandoned in favour of the American process using a single track for image and sound. 1929. she is leading a life of luxury and boredom in Cairo. who set up a recording studio at the Théâtre du Vieux Colombier in Paris. accompanied by a recording of music. 16’ (24 frames per second) On the Île de Sein. The subtitles were made using the script written by André Sauvage. The Waters of the Nile by Marcel Vandal (1928) Pivoine is a tramp who lives on the Paris quays near Notre-Dame. PIvOINe DÉmÉNAge SCRIpT AND DIReCTION André Sauvage PRODUCeR Jean Tedesco PhOTOgRAphy Jean de Miéville ACTORS Michel Simon. Pivoine déménage and Mor’vran were made using the Synchronista process. Despite three attempts. to breakdowns in the sound system used. black and white. Based on “scientific synchronism” of the image and sound recorded on discs. based on a nitrate print loaned by the British Film Institute (BFI). René Guychard. L’Eau du Nil was released in October 1928. owing. 35 mm. André Sauvage reads a text on the new regulations concerning pedestrian crossings in Paris. This film was André Sauvage’s sole professional attempt in the area of fiction. Albert Brès. Mor’vran was restored in 2011 by La Cinémathèque française at the Immagine Ritrovata laboratory (Bologna. The film remained unfinished. 35 mm. in Brittany. 35 mm. The film will be preceded by projections of: MOR’vRAN (LA MeR DeS CORBeAUX /The SeA Of CROwS) SCRIpT AND DIReCTION Jean Epstein PRODUCTION C. This system was developed by the SECIM company. SCRIpT AND DIReCTION Marcel Vandal. René Lefèvre France. and the film remained silent. 1929. including the Société Française des Filmparlants (Gaumont) for France. by coincidence. It met with only limited success. Arthur asks his sister Anne-Marie to wed one of his creditors. Pierre. Maxudian. 35 mm. Jean Soulat ACTORS Jean Murat. a (restored) sound negative and a print were elaborated. A dupe negative. in particular. sounds and songs. founded by Jean Tedesco.The WAteRs Of the Nile L’EAU DU NIL MARCel VANDAl | 1928 SAtUrDAY. the recorded sound of Pivoine déménage was never audible. Pivoine déménage by André Sauvage (1929) THe BeGInnInGs oF soUnD. decided to connect with Electrical Fono Films of Copenhagen. (Compagnie Universelle Cinématographique) PhOTOgRAphy Alfred Guichard. of which he was the owner. men brave the sea. black and white. 25’ (24 frames per second) ANDRÉ SAUvAge’S SOUND TeSTS fOR Pivoine déménage DIReCTOR André Sauvage France. he decides to move. which was exploiting the patents of the Danes Axel Carl Georg Petersen and Arnold Poulsen. she runs into the man she loved. Vandal and Delac PhOTOgRAphy Armand Thirard. Italy). the process aimed at the synchronous dubbing of silent films and making sound versions of foreign films by replacing the original dialogues with adapted music using an automatic system. Shot as a silent picture. A few months later. These involved recording sounds and images simultaneously and synchronically on two films. Lee Parry. who was behind in regards to contemporary research relative to the recording of optical sound on film. No longer tolerating the insults of passers-by or the stonethrowing. “YoU AIn’t HeArD notHInG Yet!” 57 . DeceMBer 1st. Line Noro. 1928. Marcel Rebière France. after a novel by Pierre Frondaie PRODUCTION Le Film d’Art. The film was restored by Les Archives françaises du film du CNC. The Gaumont-Petersen-Poulsen (GPP) double-35 mm film (sounds and images) system was used for Marcel Vandal’s L’Eau du Nil (1928).

a waltz with accordion accompaniment and java (“Autrefois… aujourd’hui”). the opening frames represent a disc of Chopin’s Preludes spinning on a gramophone and leading to a series of “visual impressions” (the film’s subtitles). the most reputed record producer of the time. these two new aesthetics that have in common being born from a mechanical reproduction process that solicits one of the senses exclusively (the visual for cine. Like the cinema. In 1929. Disque 957 interested Columbia. What was lost in exchange mattered little: Dulac had more interesting ways of staging music than showing a singer singing. On Dulac’s behalf there is doubtless poetic work on music that is shown but absent. As for Dulac. Rather. But no more question of “pure cinema”: these shorts would feature little stories or play on immediately identifiable sentimental motifs. the audio for phono). This paradox is open to several possible interpretations. Made in 1930.CiNÉ-GRAmO-PhiliA SUNDAY. which sensed a way of advertising itself. or even the sentimental “opera of the people”. the fact remains that the Impressions cinégraphiques stood out in the clearest way from the aesthetic of said speaking and singing cinema. at the same moment. military marches (“Jour de fête”). by this void of the visual sense resulting from the physical absence of the musician (today. that was). a composition of images governed by the sole laws of visual harmony. in the 1920s the disc found its first passionate connoisseurs. In Celles qui s’en font. Yet Disque 957 was intended to be shown without any sound accompaniment whatsoever. there is incontestably a very explicit allusion to the “musicality” claimed by pure cinema. Gustave Charpentier’s Louise (“Un peu de rêve sur le faubourg”). Germaine Dulac’s Impressions cinégraphiques constitute a superb homage to 78 rpms. She therefore proposed “composing” films that would visually echo Columbia discs that had already been released or were about to be. Ceux qui ne s’en font pas”). was winning over the screens of France. But the disc motif says more: it justifies the triggering of a reverie. Screening introduced by Alain Carou (BnF) and Luc Verrier (BnF). In this attempt at “pure cinema”. she wanted to infuse a bit of this experience in a production that would be much more “general public”. regardless of this being the record producer’s first proposal. Choosing the disc over optical sound meant renouncing the perfect synchronism of sound and image in favour of the quality of sound. opening the way for an audiovisual 58 THe BeGInnInGs oF soUnD. Nor was there question of classical music either.. Also. 11:00 six Cinegraphic Impressions BY GerMAIne DULAc Screening in partnership with the Bibliothèque nationale de France (BnF). They proclaimed the advent of. “YoU AIn’t HeArD notHInG Yet!” . in any case a musical experience that was not the pale reproduction of a live performance but which had its own intrinsic value. “gramophilia” was already making a breakthrough in the film Disque 957. she films the imaginary doubles of the Fréhels and Damias. DECEMBER 2ND. Dulac imagined a programme of six films built round popular music in the broadest sense: songs (“Celles qui s’en font. if not a new art.. we have trouble realizing how new an experience Portrait of Germaine Dulac (1937) However close such a repertoire might seem to that of a “100% speaking and singing” cinema that. and removed from what refined record collectors listened to in their drawing room or at gramophone concerts organized by the record companies. And it draws a parallel between “cinegenic” and “phonogenic”.

Germaine Dulac abandoned directing to devote herself to newsreels. The renter distributed a sheet of instructions to the projectionists. From there. “YoU AIn’t HeArD notHInG Yet!” 59 . like the gramophiles. Between the “realistic”. which enveloped the music in a slight haze. but on stage we will not have a record-player but one of the finest models of home acoustic gramophone. finally. and those running speeds differed from film to film and sometimes between two parts of the same film! And nonetheless nothing was provided for detecting and. was noticed for its intimist sensibility. In Autrefois… aujourd’hui. Germaine Dulac henceforth had the reputation of an avant-garde director. the exhibitors stayed away from Impressions cinégraphiques. Les Sœurs ennemies.). In particular. and a producer demanding that she respect deadlines. including Disque 957 (1929) and Arabesques (id. The films respond to that two by two: Celles qui s’en font (women branded by fate) and Ceux qui ne s’en font pas (cheerful man and children). ALAIN CAROU Head of the Images department (Bibliothèque Nationale de France) 1) Translator’s note: Fréhel and Damia were “popular” singers like Edith Piaf. foreign to the spirit of the programme. Thus we don’t know whether the Impressions cinégraphiques were ever presented in the conditions desired by the filmmaker – let us even say that we doubt it strongly. the characters are in the situation of listeners. The discs and projection speeds will be respected. a discrepancy in the course of projection. the option of systematically pairing two discs in order to create a break in tone within each film: cynicism versus innocence. it must be admitted that the filmmaker did not make things easier. for the adventure turned out badly. of being able to listen to music fitting one’s emotions at any time. her first film. with metal needles. Therefore the screening at La Cinémathèque française does not pretend to be an “identical” reconstruction. asking them to respect extremely precise running speeds (to the half-image per second) in order to achieve the soundimage synchronization. Un peu de rêve sur le faubourg (listening to a disc together inspires love) and Un petit nid (the disc makes the old couple feel nostalgic for the good old days).language of the song dissociated from the singer’s body. Dulac was first caught in a stranglehold between Columbia. She made a few short features. She met Louis Delluc who suggested that she shoot La fête espagnole/Spanish Fiesta (1919) after the script he had written. one may think it is the latter that Dulac preferred – that. Dulac experiments with the tremendous range of musical emotions henceforth available and within reach by building her programme on plays of contrast. still novel. too. at the origin of experimental cinema. seeking a “pure cinema” (use of soft focuses. the project would not be held completely. the Impressions cinégraphiques called for Impressionism in sound. made by Columbia and contemporary with the films. To finish. We will thus be able to enjoy the musicality typical of this type of machine. one only dances. in sum. She had to make do with discs already available from other producers. In Un peu de rêve sur le faubourg. slum versus bucolic landscape… In truth. a fortiori. and Dulac marvellously illustrates this experience. then renounce Un petit nid and replace it with Danses espagnoles. THe BeGInnInGs oF soUnD. In 1933. Granted. multiple exposures and aesthetic processes). to play on registers of “interpretation” of the discs. and the “Impressionistic” interpretation with bamboo needles. La mort du soleil/The Death of the Sun (1921) and La souriante madame Beudet/The Smiling Madame Beudet (1923) affirmed these “impressionistic” conceptions. correcting. GeRmAINe DULAC (1882-1942) In 1915. which took its time in releasing the discs she needed. we shall endeavour. precise interpretation. past versus present.

The benshi imposed himself at the time as an indispensable “actor” in the arrangement of the projection and reception of the film. PAULINe De RAymOND and ALeXANDRA ReveyRAND-De MeNThON (Cinémathèque française) The films will be voiced by Raiko Sakamoto. The trend in western cinema was the inverse at the same moment. Spectators who did not understand the insert titles of foreign films relied on the benshi’s word. and it was these narrators who were a greater attraction for spectators than the film to be projected. whereas those capable of reading them were often amused in remarking his ‘errors’. making the benshis both lecturers. Thus the immediate reading of the texts on the screen was not a necessary modality for the experience of the Japanese spectator. a human voice was deemed necessary to embody the film and humanize its content. and the benshi was in charge of transmitting emotions and giving sense to the film. so that the same film could be interpreted quite differently according to the benshi who accompanied it. both present in the film and off screen. For the silent film. The arrival of talkies undermined the status of benshis. Then a new generation of exhibitors imposed itself and programmed more complex films that necessitated in-depth commentaries. placed on the side of the stage. and commentators on the very plot of the film. The essential dynamic at work was the relation between the benshi and his public. Even in the case of texts in Japanese. Indeed. The benshi’s speech gave a sense to what the spectators saw. A school of narrators was created in 1909. the melodious voice of a benshi narrator lies within the tradition of kabuki theatre in which singers and narrators. a relation based on tradition. they were also “storytellers” descended from a long artistic tradition. the combination of images and insert titles sought to create an autonomous cinema experience. He will be accompanied by Shunsuke Okushi on the piano.TO RELATE IMAGES THe Art oF tHe “BensHIs” Screening in partnership with the Maison de la Culture du Japon in Paris. or in films with stories that were more familiar to the Nipponese public. They were integrated into the nascent star system. In sum. the insert titles serving rather to give rhythm to the speech of the benshi who caught his breath during those moments without images. who related the images. in the 1930s. comment on the story. singers who set haikus to music. Up until the early 20th century. His favourite genre is the chanbara (sword) film. At the first showing of the Lumière cinématographe in Osaka in 1897. theatre narrators intervened before the screening to explain the technical functioning of the cinematographic apparatus. so strong and organized that the transition of Japanese cinema to speaking would be delayed. Ueda Hoteiken. the benshi remained indispensable. His role was to dismiss ambiguity and create a consensus. The spectator let himself be influenced by this omniscient orator who sees and knows all. However. Already in the 1880s. and that of the gidayu. 60 THe BeGInnInGs oF soUnD. The benshi was both narrator and spectator. Going back even further. judging everything. and he writes his own narrations. it was a gidayu singer. With a musical accompaniment. describing the set-up. the success of a benshi relied on his ability to tell different stories from one projection to the next of the same film and to make boring or disconcerting films exciting and coherent. confidence and indulgence. “YoU AIn’t HeArD notHInG Yet!” . He is appearing for the first time in Europe. that of the subject narrator in the visual arts. magic lantern shows included an oral narration so the benshi prolonged a tradition. and the benshis gradually disappeared. The first benshis had two essential functions in Japanese cinema from its origins (1896. being rather that of a narration sufficient unto itself. the youngest Japanese benshi. He has been exercising since the early 2000s. the producers turned definitively to talkies. at the risk of altering the effective narrative with his explanations. presentation of the first Edison Kinetoscopes) to the 1930s (advent of ‘talkies’): “mediators” in a foreign technology. silent cinema in Japan was an experience relying on listening. Confident of this popularity. a character with a voice and without body. Exactitude and logic were merely secondary. they organized themselves into unions and prevented the production of films whose narration might dispense with their services. and their salaries were equivalent to those of the most famous actors. Their names appeared at the head of the bill.

Naoe Fushimi. he portrays the popular hero Nezumi Kozô. with piano accompaniment by Shunsuke Okushi. Benshi narration by Raiko Sakamoto. NoveMBer 28tH. “YoU AIn’t HeArD notHInG Yet!” 61 . consecrated in the films that Daisuke Itô made at the end of the silent era. 1931. famous for having endeavoured to keep benshi cinema alive. Nobuko Fushimi Japan. Similarly.5 mm support (format for home projection of a film in abridged version).JiROKiChi the RAt OAtsUrAe JIrokIcHI KosHI DAisUKe ItÔ | 1931 WeDnesDAY. THe BeGInnInGs oF soUnD. The editing was modified so that the peasants’ distress no longer appeared to be the result of a class struggle. These prints are subtitled in English. SCRIpT AND DIReCTION Daisuke Itô PRODUCTION Nikkatsu Corporation PhOTOgRAphy Hiromitsu Karasawa ACTORS Denjirô Ôkôchi. black and white. a sort of Japanese Robin Hood. 79’ (18 frames per second) The film will be preceded by the projection of: SLAShINg SwORDS (ZANjIN ZANBAkeN) SCRIpT AND DIReCTION Daisuke Itô PRODUCTION Shochiku Kinema PhOTOgRAphy Hiromitsu Karasawa ACTORS Ryunosuke Tsukigata. In 2002. Raiko Sakamoto will be translated into French. Highly representative of Daisuke Itô’s work. This fragment was then restored digitally and “blown up” to 35 mm by the National Film Center of Tokyo. his heroes were rebellious samurais or popular thieves. Denjirô Ôkôchi. of whom he gives a subtle portrayal. Jirokichi the Rat has remained almost totally intact. Exploited. this legendary film was considered lost. A pioneer of keiko eiga (‘trendy’) films. Between the late 1920s and ‘30s. was considered the greatest actor of jidai geki (historical Japanese) films. Misao Seki. On a boat enabling him to flee the local police. Up until recently. This is one of the rare surviving films starring actor Denjirô Ôkôchi. 1929. which appeared in the late 1920s under the effect of the progressive ideas of Europe. the director of photography. black and white. Chuji tabi nikki/A Diary of Chuji’s Travels established him as a specialist of jidai geki films. In Jirokichi the Rat. Hiromitsu Karasawa. Daisuke Itô’s films are characterised by the very mobile camera use. 35 mm. he meets Osen. the film was confronted with censorship of the period. went so far as to attach the camera to his body and plunge into the crowd for the combat scenes. Kanji Ishii Japan. repressed peasants attend meetings that awaken their political awareness. nearly 20% of the film was found on a 9. They revolt against their evil lord. thanks in particular to the action of benshi Shunsui Matsuda. 35 mm. a woman accompanied by a dishonest brother. 20:30 Jirokichi is a thief who gives to the poor. For the shooting of Jirokichi the Rat. 26’ (18 frames per second) Denjirô Ôkôchi (left) in Jirokichi the Rat (1931) DAISUke ITÔ (1898-1981) It was at the Nikkatsu Studio that Daisuke Itô discovered the young actor Denjirô Ôkôchi whom he directed in Chokon/ Unforgettable Grudge (1926). several scenes of revolt were cut. In 1927.

and secondly from the organic qualities of this script. Fyodorov entered GVYRM. VAsilY FYODOROV | 1932 SAtUrDAY. DeceMBer 1st. He then shot a comedy that went unnoticed: Konec polustanka/The End of the Little Station (1935). to film dialogues… Fyodorov innovated. Shklovsky asserted that “the script was tortured in the name of the fight against Formalism. Shklovsky said that he had taken inspiration from a scene in Dostoyevsky’s Idiot that consisted of a long description of the elements surrounding the execution scene in order to prolong the wait. the scene had to be shot in the cold of winter but was finally begun in the spring and finished in summer. he collapses and remembers episodes of his political youth. […] The film carried out the script. The film was preserved by the Cinémathèque de Toulouse in collaboration with Les Archives françaises du film du CNC. To express that idea. Gels et dégels – Une autre histoire du cinéma soviétique. 1932. Fyodorov rejected this version. 30 May 19321). 1  Quotations in Bernard Eisenschitz (ed. Entitled The Prison of the Peoples. The school trained the first generation of Soviet stage directors as well as filmmakers like Eisenstein. he reproached Shklovsky for his inexact description of Dostoyevsky’s political commitment and his idealized view of the writer’s life: “… all the defects of the film’s political line stem. Fyodorov’s encounter with cinema coincided with the particular atmosphere linked to the advent of sound and the decline of certain masters of silent pictures. and corresponds to the new release of the 1930s. but it did not carry it out to the very end. “YoU AIn’t HeArD notHInG Yet!” . […] Time was spent destroying this script.” As for Fyodorov. it would have been necessary to write a completely new one. This element entered the collections of the Cinémathèque in the 1970s.The HOUse Of the DeAD MYortvYI DoM Screening introduced by Natacha Laurent (Cinémathèque de Toulouse). Nikolai Podgorny. which endeavours to preserve the stagecraft and lighting of the “silent”. first of all. 35 mm. The House of the Dead is an example of this: it is a film of experimentation. the Russian writer Fyodor Dostoyevsky is giving a speech in which he incites the people to humility. The visual and sound problems of the nitrate copy were reproduced in the new print. The other essential contradiction concerned the execution scene. following a proposal of the Cinémathèque de Toulouse. the Russian theatre school founded by Vsevolod Meyerhold. Nikolai Radin USSR. one of the first Soviet talking films. In the early 1930s. The print is a duplicate made in 2007 on a “safety” base by Les Archives françaises du film du CNC. the film’s scriptwriter and also a writer and pioneer of the Russian Formalist trend. Centre Pompidou-Mazzotta. Sketch by Ergorov for The House of the Dead (Labor camp)1 Shklovsky wrote a first script based on Dostoyevsky’s The House of the Dead in 1930. on a beach. 1926-1968. and Ekk. black and white. to capture speech. 17:30 In 1880. many Soviet filmmakers asked themselves questions of an artistic nature on the “sound” that was imposing itself. it was made up of episodes illustrating the life of those convicts sentenced to hard labour.). Victim of a malaise. 69’ VASILy FyODOROv (1891-1971) In 1921. 62 THe BeGInnInGs oF soUnD. The production lasted two years (we know of five versions of the script) and remained marked by the conflict between Fyodorov and Viktor Shklovsky. 2002. Jutkevic. DIReCTOR Vasily Fyodorov SCRIpT Viktor Shklovsky and Vasily Fyodorov PRODUCTION Mezhrabpomfilm PhOTOgRAphy Vasily Pronin ACTORS Nikolai Khmelev. A Russian nitrate print with French subtitles was used for the printing. With stage actors.” (Kino. To transpose the material that the crew had received from the studio. Fyodorov left Moscow and devoted himself to stage directing in the provinces. from [Mezhrabpomfilm’s] management. Do you know the story of the judgement of Solomon? The mother gives up her child. intended for non-commercial circuits. preferring to concentrate on the writer’s life. He would make no other films. to set music to voiceless images. he shot The House of the Dead (1932). This copy was the unique element in France.

Xavier Loutreuil (Pathé). Pierre Lhomme. pART 8 PReLUDe TO The fOUNDINg Of A mUSeUm Of The DIgITAL ImAge” A lecture by Paolo Cherchi Usai In 2010. Jeff Lambert (National Film Preservation Foundation). Jean-Pierre Verscheure (CinÉvolution). should be brought up to date. They were the respected narrators of the films’ content.30am “LINDgReN MANIfeSTO. Contributors: Margaret Bodde (Film Foundation). Marc Lacan (Pathé). Friday 30 November. Ernest Lindgren.30pm “A SUNDAy wITh… COwBOyS” Workshop and screening for children over 8 The screening of My Darling Clementine (John Ford) will be preceded and followed by workshops (11am-12:45pm. Saturday 1 December. Jérôme Soulet (Gaumont).30am-12.30pm “ReSTORATION Of SOUND fILmS” Lecture by the Conservatoire des Techniques How to restore the sound of films that are sometimes quite old? How to clean the soundtrack of a film without altering it? Contributors: Henri Chamoux. will voice two “sword films” of a social nature by Daisuke Itô. Roundtable moderated by Serge Toubiana (Cinémathèque française). Wednesday 28 November. holders of catalogues. Raiko Sakamoto. Éric Lange (Lobster Films). Céline Ruivo (Cinémathèque française). Thursday 29 and Friday 30 November. cleaning them better. Nicola Mazzanti (Cinémathèque Royale de Belgique).pRODUCeR) A major figure on the French electro scene. such as: How do we recognize a western? By its cowboys and Indians in the American Far West. 10. Thomas Christensen (Danish Film Institute). ROUNDTABLES Thursday 29 November. Run by La Cinémathèque française and Les Archives françaises du film du CNC. Frantz Delbecque (Éclair). Laboratory technicians and “project managers” take stock of these advances.30pm L’Hirondelle et la Mésange/ The Swallow and the Titmouse By The VOCe QUARTeT The Voce Quartet will draw on the chamber music repertoire to accompany L’Hirondelle et la Mésange. a lavish realistic film directed by André Antoine in 1920. Léon Rousseau (LE Diapason).30am-12. all public…) LECTURE AND ROUNDTABLE Friday 30 November. 8. which are inherent in this work. Jean-Lionel Etcheverry (Digimage). Chloé. Here he intends to develop one of his proposals: can digital become the object of a Museum? Followed by ENCOUNTERS. Maurice Gianati. Contributors: Paolo Cherchi Usaï (George Eastman House). Followed by “ReSTORATION AND New TeChNOLOgIeS”: ROUNDTABLe Digital technologies allow for better stabilizing images.30am “JOURNey IN The hISTORy Of (SINgINg AND TALkINg) CINemA” Lecture by Edouard Arnoldy Edouard Arnoldy (film historian specializing in the beginnings of sound) will organize this free itinerary round two moments of “singing and talking cinema”: the Gaumont phonoscènes and Vitaphone shorts from the 1910s through the early ‘30s. private foundations. Roundtable moderated by Michel RomandMonnier (Cinémathèque française). Rosalie Varda (Ciné-Tamaris). by its saloons and gunfights… How have the old films come down to us? “WhAT eThICS fOR ReSTORINg fILmS IN 2012?” Roundtable in partnership with the FIAF (International Federation of Film Archives) Whilst the spread of digital technologies deeply transforms the nature of films’ restoration. Martin Koerber (Deutsche Kinemathek). Closing evening: Sunday 2 December. Wednesday 28 November. 10. Paolo Cherchi Usai (head curator at the George Eastman House) paid tribute to the founder of the British Film Institute. Contributors: Thierry Delanoy (Digimage). (Lycée Paul Valery) and students from the universities Paris 8 Saint-Denis and Paris-Est Marne-la-Vallée.30pm BlacKmail BY ChLOÉ (Dj . Gian Luca Farinelli (Cineteca di Bologna). This workshop proposes discovery and awareness of the techniques for safeguarding and restoring films. Laurent Mannoni (Cinémathèque française). 5.30pm Workshop open to the individual adult public (teacher. 5. 10. Saturday 1 December. and archives work together in France and the United States? Inventory of the situation. Béatrice Valbin-Constant (StudioCanal). composer and disc jockey. the debate regarding the ethical standards. Bryony Dixon (British Film Institute). Laurent Cormier (CNC). Wednesday 28 November. 9pm WORKSHOPS “ReSTORINg A fILm” Workshop for adults and students.30am “WhAT fINANCINg fOR The ReSTORATIONS?”: ROUNDTABLe How do the public authorities.ENCOUNTERS. Film projected after the lecture.30am For secondary school students in film studies. 10. Laurent Mannoni (Cinémathèque française). and 4pm-5pm) that will answer questions. and intervening more effectively on deteriorated colours. moderated by Christophe Dupin (FIAF). the theatrical art of the benshis was an essential component of silent cinema. Céline Ruivo (Cinémathèque française). one of the rare heirs of this tradition. will mix live on the silent version of Alfred Hitchcock’s Blackmail (1929). 9. WORKSHOPS AND CINÉ-CONCERTS 63 . Béatrice de Pastre (Archives françaises du film). student. WORKSHOPS AND CINÉ-CONCERTS LECTURES “FeDOR Ozep’S The Living Corpse (1929) A CASe STUDy” by Martin Koerber and Oliver Hanley The lecture will trace the history of The Living Corpse and the two successive restorations undertaken in 1988 by the Deutsche Kinemathek (Berlin) and in 2011 by the Filmmuseum of Vienna. CINÉ-CONCERTS Benshi SpeCTACLe By RAIkO SAkAmOTO In Japan. 2.