Ariel’s Print Resource Guide for TCMFF 2017: Moving Pictures

It’s that time again! Time for TCMFF (TCM Classic Film Festival)!!!

Last year I decided to make an official film guides to assist in examining the program and schedule and use that data to do a format breakdown. Using my skills as a film archivist and preservationist, I thought that these things would be useful for fans and attendees to have.

This year I think this is an ESPECIALLY useful tool since we have an all new item to add for our viewing pleasure: 35MM NITRATE!!!

So first of all, let’s get a few rumors settled: nitrate is not OMGZFIRECAUSING and it will not blow up if you simply touch it. The chemicals that are released when the film begins to deteriorate (called “off-gassing”) can lead to some nasty toxicity though and the more you pack nitrate in…the more likely you are to cause a fire. Nitrate doesn’t like close quarters and it doesn’t like to to be under pressure. Think of Nitrate as the hippie film base- it just wants to chill, man. But if it gets a bad dose (ie, starts to deteriorate) or is put under bad pressure/circumstances, it could really blow.

BUT HAVE YOU SEEN A 35MM NITRATE PRINT??????????

Don’t miss the chance to do it this year.

Seriously, guys.

PART I: PREPARATION & PLANNING

Listed below, in the alphabetized spreadsheet, is all the films that are playing as of Friday, March 31, 2017. The spreadsheet moves down and also moves to the right and includes notes, theaters, times, formats and all kinds of details!!

If you want to download the spreadsheet and organize it according to your own wants (format, notes, theater, day/time, etc.) that link is here:

https://docs.google.com/spreadsheets/d/1BZuaCal1g9zZu0GYSdGScDKBWjB8uDpIuffrWImC6Q0/edit?usp=sharing

PART II: DATA BREAKDOWN

This (obviously) is the way that the formats broke down this year. The wonderful thing to notice is that we still have a thick chunk of rare kinds of films to see, including different kinds of formats. While there is no 16mm or 8mm (except digitized in the Hollywood Home Movies program which usually occurs on Saturday afternoon in Club TCM), the Cinerama and 35mm nitrate is pretty nifty stuff. We’re pretty spoiled on basic technicals.

Format Chart TCMFF 2017

TCMFF 2017

Last year’s stats looked like this:

Screen Shot 2016-04-20 at 12.34.25 AM

TCMFF 2016

So I think we’re doing pretty well for 2017!!! Analogue has gotten a more diverse face this year, which is definitely a plus. That is, of course, thanks to the Egyptian Theater/American Cinematheque for taking that risk and refitting their projection booth with all the necessary items for the projection of nitrate. Not every theater is able to project nitrate. We’re exceptionally blessed that they were able to do that in time to work with wonderful people like the UCLA Film and Television Archive and access prints from their MASSIVE nitrate collection.

I can personally assure all of you that UCLA FTVA’s nitrate collection is brilliant. I helped move their archive from where it used to be in Westwood and Hollywood to where it resides now, in a glorious archival palace in Santa Clarita. Their collection is beyond compare.

PART III: WHATCHA SEEIN’?

So I have some definite “MUST SEES” this year:

One of my favorite films of all time and a film that I wrote about for the National Film Registry/Library of Congress, Born Yesterday.

A film I’ve seen a gazillion times but it’s also one of my FAVORITE FILM IN THE UNIVERSE EVERZ, The Court Jester.

Last year I saw Larry Peerce’s One Potato, Two Potato at TCMFF and it was a revelation. This year I plan on seeing The Incident, come hell or high water.

I missed the screenings & talks for the restoration of The Front Page this year. But I won’t miss it at TCMFF!!! Especially with one of my favorite professors and awesome people from archiving school giving the intro!

There are plennnnnttttyyyyyy more that I’m thinking about & considering but that’s all I’m committing to on blog right now.

See ya at the movies!

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A-“GOG” at #TCMFF 2016: Talking 3D & Restoration With Bob Furmanek

We’re heading into the final stretch, guys and gals. So many plans and schedules have already been posted (mine is forthcoming, I swear)! The slow trickle of #TCMFF pals into my Hollywood hometown and everyone’s excitement is (as usual) giving me such joy. I’m just giddy with Classic Film Craziness!

So aside from the Print Resource Guide that I posted a few days back, I have something else very special to add to my “preservation and restoration stream.” As one of the TCMFF Social Producers, my focus is to increase knowledge about preservation, restoration & film archiving through social media platforms. As a working archivist, I wish to showcase why I truly believe that TCMFF is one of the strongest film festival venues dedicated to these critical procedures.

IMG_4784

One of my favorite parts from TCMFF 2015 – an entire booth dedicated to cinephilia and why we, as film lovers, “heart movies”! So great!

For this blog, I got a wonderful and in-depth pre-TCMFF interview from the knowledgeable Bob Furmanek of the 3D Film Archive about the restoration of GOG (Herbert L. Strock, 1954), which will be playing as the midnight show on Saturday night, April 30th at the festival! Bob will be there in person with his restoration colleague Greg Kintz, so that will be extra cool!!

Hope all of you enjoy this interview and perhaps learn a bit more about 3D preservation!gog3dposter1

 

1) Can you give a short history on your relationship to this film and why it’s such a unique opportunity for TCMFF fans to be seeing it this year?

When I was living in Los Angeles and working for Jerry Lewis in the mid-1980’s, I spent a lot of time doing work in the old Technicolor building in Hollywood. Director Herbert L. Strock was still active at the time and maintained an office on the first floor. I used to visit with him quite often and naturally, we discussed GOG. At that time, it was lost in 3-D (the studio only had material on the right side) and he lamented the fact that nobody would ever see it again.  For that reason, I made it a top priority to try to find the missing left side.
 
I eventually discovered the lost 35mm left side print in 2001 and carefully matched it to a new 35mm right side print from MGM. We screened the dual-35mm polarized 3-D prints in 2003 at the World 3-D Film Expo at the Egyptian Theatre in Hollywood. Mr. Strock got to see it again with a sold-out audience of 700 fans and it was a wonderful moment. Sadly, he passed away in 2005.
 
We spent five tedious months restoring the film last year for 3-D Blu-ray release through Kino-Lorber. Our new digital master has extensive color restoration and shot by shot 3-D alignment and left/right panel-matching. As a result, the audience at TCMFF will be seeing GOG in a better presentation than was technically possible in 1954. Mr. Strock would have loved it!
GogPoster2

TRULY exquisite examples of the restored L/R eye work can be found by clicking on this picture. It will take you to the AMAZING “before & afters”!

2) You head up the 3D Archive. Why is it important to have a 3D Archive? Isn’t 3D still coming out?

Nearly every 3-D feature from the first forty years of stereoscopic cinema (1922 – 1962) was photographed and printed on dual-strips of 35mm film with one print representing the left side and the other representing the right. They were projected theatrically on two 35mm machines in precise synchronization. Polaroid filters in each projection port – and the corresponding polarized glasses worn by the audience – insured that each eye only saw the intended side in order to create a 3-D image. If either the left or right elements are missing, you have lost the film in 3-D. Since the early 1980’s, the Archive has worked very hard to ensure that most of them survive.
 
There were fifty Golden Age (1952-1955) domestic 3-D features and thankfully, forty-eight survive in their complete stereoscopic versions. The only lost 3-D features from that period are TOP BANANA with Phil Silvers and one half of SOUTHWEST PASSAGE with Rod Cameron.
A lobbycard for Southwest Passage (Ray Nazarro, 1954) a lost 3-D film...

A lobby card for Southwest Passage (Ray Nazarro, 1954) a partially lost 3-D film…

 
We are doing our very best to get as many released onto 3-D Blu-ray as possible so that people can see these films as they were originally intended. It’s been quite an obstacle and uphill battle securing licenses from the copyright holders but we don’t give up easily.

3) What is the most difficult thing about restoring a 3D film? What was the most difficult part of restoring GOG?

Right out of the gate, the workload is doubled and that presents many challenges with respect to time and financial resources. You basically have to restore the film twice. The most challenging aspect is ensuring that both left/right sides are perfectly aligned and panel-matched in order to present the best possible viewing experience. That means going through the film and making adjustments on every single shot. It’s very time-consuming and labor intensive but it’s absolutely crucial that both the left and right sides are matched.
 
On the average, we can restore a 3-D feature in three months: GOG took five. It was an enormous challenge because the left side was completely faded with no yellow or cyan information whatsoever. In addition, every single shot in the film required up to seven levels of correction including color restoration, left/right panel matching, flicker reduction, image stabilization, detail extraction from the superior right side element, stereoscopic vertical alignment and dirt/damage clean-up. Greg Kintz has literally worked a restoration miracle in bringing this 3-D gem back to life.

4) GOG is a Eastman color film, a stock that is known to fade if not cared for correctly. Can you talk a little bit about the process of the color restoration and why color restoration and 3D film preservation might be especially challenging (if it is)?

 

GOG had a rather complicated history so far as lab work and processing. It was filmed on Eastman color negative 5248 (25 ASA tungsten) and processed by the Color Corporation of America laboratory – formerly SuperCinecolor/Cinecolor – in Burbank. By time it was edited and ready for theatrical release in May 1954, the lab was in financial trouble and had been sold to Benjamin Smith and Associates, owners of the Houston Fearless Corp. As a result, the 35mm release prints of GOG were made by Pathé Laboratories in Hollywood. While some early Eastman color negative stock holds up pretty well if it has been stored properly, the 1954 Pathé color release prints were already faded within a few years after it was released.
 
Thankfully, the right side element used in the restoration (a 35mm inter-positive struck from the original camera negative) still had quite a bit of color. With a little finesse, we were able to tweak it digitally to bring back its original palette. The biggest challenge was then matching the faded left side with the right.

5) Without any spoilers, can you give us a scene to look for that was *especially* challenging in the process but your team thinks came out particularly well?

To be honest, there wasn’t one particular scene that was more difficult than others. The entire film was an incredible challenge! When Greg Kintz was doing his work and sending me 3-D Blu-ray test discs, I was constantly amazed at the restoration and how the image kept improving with each new level of correction. Additional dirt and damage clean-up was then done by Thad Komorowski and that helped immensely.
 
To give you an idea of what we achieved on a shoestring budget, Warner Bros. spent close to $300K restoring HOUSE OF WAX. We brought in the 3-D and color restoration of GOG for $10K.
 
After suffering through flat, black and white 16mm open-matte full-frame transfers on TV for decades, I never expected GOG to look as good as it does today. We’re very proud of the final result in bringing this lost 3-D classic back to life.

6) What are you particularly looking forward to seeing at the TCMFF?

Boy, that’s a tough question. The entire schedule is wonderful and there are many cinematic treasures to be enjoyed.
 
For me personally, the new restoration from the 35mm nitrate camera negative of FRANKENSTEIN MEETS THE WOLFMAN (Roy William Neill, 1943) is going to be quite a treat. That’s been a favorite of mine since I was a young Monster Kid in the 1960’s and watched New York TV’s Chiller Theater on Saturday nights. I even had the three-minute Castle Films 8mm fifty-foot home movie edition. It’s going to be great fun seeing it fully restored on the big screen!

Thanks again so much, Bob!!! Can’t wait for this screening!

It’s been a pleasure Ariel, thank you!

 

Ariel’s Print Resource Guide for TCMFF 2016: Moving Pictures

TCMFFlansbury

I’m ready. BOY AM I READY.

I have been since last year when TCMFF2015 ended. I live for this film festival. My experience has shown me that TCMFF is one of the most organized and best staffed film festivals that I have ever attended and the content is truly the most dynamic and rare. For a film archivist and preservationist to say this is no small feat.

The films are sometimes familiar, many times obscure, always challenging and enjoyable. The festival welcomes audience members from all over the world and gives them access to films that they would not normally be able to see, especially not in the environment that they were designed to be seen in: a theatrical setting. This annually growing community of passionate film-goers and classic film fans that TCM has created is what I have termed “Classic Film Summer Camp.” I don’t think I’ve ever had such a great time waiting in line for a film as I have at TCMFF. I’ve met people from everywhere and learned about so many different lives, experiences and classic film star fandoms. Y’all can have Christmas- this is MY most wonderful time of the year!EarthaKittenTCMFF

For the second year in a row I have been asked to be a member of the wonderful TCMFF Social Producers’ Team. As Social Producers, we are a group of fabulous and intelligent classic film advocates and cineastes working with the TCMFF social media team to advance the goals of the festival and make it more enjoyable for everyone involved! Each of us has our own “theme” or line of “promotion” and we can be found under the hashtags #TCMFF and #TCMFFSP. Whether or not you are in attendance, you want to follow these hashtags! These folks are some heavy hitters!

TCM_CFF_Horz_NoYear[2]

So my theme this year? Well, nothing’s changed. Leopard and spots and all. I’ll be Tweeting, Tumblring, Instagramming on my most beloved subjects: film archiving, preservation and restoration.

So, for my first intro post, I have created a resource for everyone who may be currently planning their TCMFF schedules. I designed a spreadsheet that has cataloged the 35mm prints, DCPs, noted the restoration and preservations, and did my best to signify notes on World Premiere or North American Premiere, etc.

OF NOTE: the TCMFF schedule, while extremely reliable, is always subject to change. As a preservationist, projectionist and film series programmer myself, I can tell you that there are innumerable variables that can cause variations in guests, film format or program itself. This is just your garden variety disclaimer, folks,  but it has to be said. You know it does. And since you’re reading this blog, I’m likely preaching to the choir, but it’s a necessary statement. Additionally, if I have not written it here, that does not mean it is NOT a premiere/restoration/etc. I have based this upon as much information as I could get. If there is something in need of correction, please contact me immediately! I would be pleased as punch to change it!

So let’s get down to business, shall we?

PART I: RESOURCES & PLANNING

So. Now that the disclaimers have been said, here is your 2016 TCMFF Format & Preservation Resource guide. Get to scheduling!

It’s alphabetical, and if anyone has any questions or problems reading it (or understanding the manner in which it has been broken down) please let me know. I will actively pay attention to any and all comments  as they come in, and will be ABSOLUTELY ready to alter something if needs be.

If you would rather have it in a link form rather than embedded, go here.

It is critical for attendees to have this kind of format map. It may have taken some time to put together, but I know how important this resource is. Being able to access a full report of what has been restored, what has been preserved, what has been digitally reconstructed and how to identify each of these pieces in order to put together the fabulous puzzle that will eventually be your TCMFF experience is just invaluable.

Before moving into Part II, I briefly mention a remark about formats and preservation. Please consider the curatorial dedication and labor that has gone into the maintenance of all the films that you will watch this festival season, no matter what format they are in. Whatever your sensibilities or thoughts about format (analogue/digital, etc), every person with whom I have personally come into contact in my archival career who is involved in classic film preservation takes their job very seriously. Whether moving towards the creation of a Digital Cinema Package or striking a new 35mm print, my classic film archival colleagues work really hard to make sure that these materials see another generation and that another generation sees them. So let us be certain that if we downplay a digital format in favor of analogue, we do not forget that the digitization and digital work had to have an incredible amount of analogue preparation work done to it first. There are no classic films that were “born digitally” and thus you cannot have digital without analogue attention. Let us not forget that aspect of the workflow.

PART II: DATA BREAKDOWN

I compiled some data based upon what we have this year, print-wise. So if you want to get nerdy with me, here’s what we have…

From a preservation standpoint, I noted that the vast amount of 35mm was made up of rare works and, quite simply, the films that rarely make it out of the vaults. These films are the very reason that I continually attend TCMFF, religiously watch the channel until stupid o’clock in the morning (just…one…more…movie….), and truly appreciate educated colleagues like Will McKinley‘s continued updates on TCM as we move forward into various streaming and cable variations.

These are the films that caused me to become a preservationist. But we can get back to that.

Screen Shot 2016-04-20 at 12.34.25 AM

The analytics – 33% of the films appearing at TCMFF this year will be shown in 35mm. These are films like One Potato, Two Potato (Larry Peerce, 1964) a film about interracial marriage that came out BEFORE the more socially palatable Guess Who’s Coming to Dinner? (Stanley Kramer, 1967). Or a bewilderingly unheard-of feature like Double Harness (John Cromwell, 1933), a pre-code film that has been, quite literally, sitting in a vault until TCM bought the rights to it in 2006. These films catalyzed my film archival career and have subsequently reignited my film passion every year at the TCMFF. They are the “lost” or “forgotten” children of classic cinema.

While it’s beyond incredible to watch an old favorite on the big screen with a crowd, I would highly recommend that folks try to make it to at least ONE “rare pick” at TCMFF. Try the Film Noir Foundation/UCLA Film & Television Archive Restoration of Repeat Performance (Alfred L. Werker, 1947) or the rarely screened Bulldog Drummond Strikes Back (Roy Del Ruth, 1934). This is your opportunity!

So here are my “5 Points to Consider When Making Your TCMFF Schedule and Beyond.”

  1. Restoration costs a GREAT deal of money. A LOT. Many grants, volunteer labor and insane hard work is involved just to get to the point of being able to approach the physical restoration. This relates to 35mm *and* DCP. Love your restoration folks and the restorations!

  2. Lesser known films are riskier and have less potential for “return investment” in many people’s eyes. When you get the opportunity to investigate rare works at TCMFF or at a home repertory theater, you can be part of a new kind of “return investment.”

  3. Supporting restorations & preservations (in 35mm *and* DCP) and making your voice heard through social media & online makes a difference. Boutique labels do exist for DVD/Blu distribution and we do have wonderful companies like Warner Archives, Flicker Alley and others who make it a mission to serve our community.

  4. TCM (and TCMFF) serves the classic film community in a positive way by their continual & consistent showcasing of “forgotten films” or unusual materials — there is the possibility that, with more exposure, viewing more rarities on 35mm may lead to more preservation and restoration!

  5. TCM also showcases incredible panels like the Academy Home Movies presentation (something that I will be livetweeting for the second year in a row) with the wonderful Lynne Kirste and Randy Haberkamp. What was previously a closed circuit of “35mm features” is now open to different formats and narratives (Super8, 8mm, 16mm – all transferred of course, but that IS what we get to see). If you have not attended this panel, DO IT. It is one of my favorite parts of TCMFF every year.

PART III: SAY HELLO!!! I’D LOVE TO MEET YOU! 🙂 

When you see me walking around during #TCMFF, I will have my badge on and it will look like this:

TCMFF2016Pass

Look for the blue and burgundy 16mm reels and the red circled SP on the badge.

My social media platforms that you can follow are…

INSTAGRAM: www.instagram.com/archivistariel

TWITTER: https://twitter.com/ArchivistAriel

TUMBLR: http://archivistariel.tumblr.com

And once again, check out the hashtags this year – #TCMFF, #TCMFFSP and follow @tcm on Twitter!

I will be returning with another post soon letting you know what my schedule will possibly be so that you can stalk…er…find me during TCMFF if you wish. But for now, enjoy!

 

See you at the festival! ❤

 

ArielSchudsonTCMFFSocial

 

TCMFF: Socially Leading You To Film Preservation Victory or Where’s the 35mm, yo?

Hello all!

Our beloved TCM film festival starts tomorrow but I thought that I would give you a heads’ up on a few points of interest!

One question that is asked every year is: How many of these films are being shown ON FILM?

To a film archivist and preservationist such as myself, this is a critical question and very important thing to ask. While it is absolutely true that each time a print is shown we lose a generation and the ability to locate prints of many films is not a piece of cake (if it was, you wouldn’t need archivists! TOTAL SHAMELESS PLUG FOR MY PROFESSION), there are so many beautiful prints out there and one of the things that I love the most about TCMFF is how much film, ACTUAL FILM, they project every year.TCM_CFF_Horz_NoYear[2]

 

 

 

 

I really believe that the fabulous programmers and hardworking folks at TCM really make it a point to put as much 35mm and 70mm into the festival as possible and this year is no exception. In fact, if anything, this year is even more exceptioNAL in that sense. There is one session that discusses the birth of Technicolor (something all classic film fans are familiar with but not too many know enough about) and one session where films will be HAND-CRANKED, the way films used ta be, back in the beginning!

And yes- the theme this year is his/her-story according to Hollywood. But they didn’t *have to* include these panels/screenings as part of the festival. Film history didn’t have to be there. There are certainly enough historically-based classic films to have 3 TCM Film Festivals. Trust me, as someone who has programmed before, I can tell you THAT. And anyone who has any familiarity with classic cinema would rightly agree.

In my role as TCM social producer this year, I want to celebrate what they do for film preservation and restoration. By continuing to show 35mm and 70mm prints for features, by showcasing 16mm, 8mm and other small-gauge in the “Home Movies Panel” with Lynne Kirste and Randy Haberkamp, TCMFF supports the fact that this is a format that is worth seeing and loving. In fact, some of the films shown (Too Late for Tears for example) may be projected on brand-new prints! You never know!

In this post, I am going to let you know what films are going to be showing this year at the TCM Film Festival on film. Feel free to tweet at me (@sinaphile) or comment if I have left any titles out. I think this should be pretty full. I feel that, in favor of projectionists everywhere, as audience-folk, always be appreciative of those awesome ladies & gentlemen in the booth. They’re working hard for ya and caring for those reels. Many of these prints come with VERY strict guidelines on how they are to be handled so that they remain in as good of condition as they are and will remain playable for years to come and the folks who are playing them are gonna do their best to make sure that they get shown beautifully. And entirely for our pleasure. HOW SPOILED ARE WE???

So let’s get on with the show!! Also- please note- I would say…screening location is subject to change. So these are based on the schedule as it is today, 3/25/2015. Please rely on the TCMFF schedule routing information as it is given to you and as you are directed by the lovely TCM humans. And be nice to them. They are awesome. And work super hard to make this run smoothly!

Thursday

(d. Rouben Mamoulian, 99m, 35mm) 6:30 PM Chinese Multiplex House 6

(1933, d. Rouben Mamoulian, 99m, 35mm)
6:30 PM
Chinese Multiplex House 6

(d. Byron Haskin, 99m, 35mm) 6:45 PM Chinese Multiplex House 4

(1949, d. Byron Haskin, 99m, 35mm) 6:45 PM
Chinese Multiplex House 4

 

(d. Michael Curtiz, 127m, 35mm)  10:00 PM Chinese Multiplex House 6

(1940, d. Michael Curtiz, 127m, 35mm) 10:00 PM
Chinese Multiplex House 6

 

 (1980, d. Bruce Beresford, 107m, 35mm)  9:45 PM Chinese Multiplex House 4

(d. Bruce Beresford, 107m, 35mm) 9:45 PM
Chinese Multiplex House 4

Friday

(1960, d. Stanley Kramer, 128m, 35mm) 9:00 AM Chinese Multiplex House 6

(1960, d. Stanley Kramer, 128m, 35mm)
9:00 AM
Chinese Multiplex House 6

 

DAWN OF TECHNICOLOR panel/screening – 9:00 am, The Egyptian Theater

(1931, d. Ernst Lubitsch, 93m, 35mm) 9:30 AM Chinese Multiplex House 4

(1931, d. Ernst Lubitsch, 93m, 35mm)
9:30 AM
Chinese Multiplex House 4

 

(1985, d. Woody Allen, 82m, 35mm) 12:15 PM Chinese Multiplex House 6

(1985, d. Woody Allen, 82m, 35mm)
12:15 PM
Chinese Multiplex House 6

 

(1949, d. Anthony Mann, 89m, 35mm)  12:00 PM Chinese Multiplex House 4

(1949, d. Anthony Mann, 89m, 35mm)
12:00 PM
Chinese Multiplex House 4

 

 (1974, d. Bob Fosse, 111m, 35mm) 11:30 AM Egyptian Theatre,  In Attendance: Dustin Hoffman, interviewed by Alec Baldwin.

(1974, d. Bob Fosse, 111m, 35mm) 11:30 AM
Egyptian Theatre, In Attendance: Dustin Hoffman, interviewed by Alec Baldwin.

(1939, d. John Ford, 100m, 35mm)  2:45 PM Chinese Multiplex House 4

(1939, d. John Ford, 100m, 35mm)
2:45 PM
Chinese Multiplex House 4

 

(1965, d. Norman Jewison, 102m, 35mm) 3:15 PM Egyptian Theatre

(1965, d. Norman Jewison, 102m, 35mm)
3:15 PM
Egyptian Theatre

 

(1952, d. Charles Chaplin, 137m, 35mm)   2:30 PM Chinese Multiplex House 6

(1952, d. Charles Chaplin, 137m, 35mm)
2:30 PM
Chinese Multiplex House 6

 

(1931, d. William K. Howard, 35mm) In Attendance: MoMA film curator Anne Morra,  5:30 PM Chinese Multiplex House 4

(1931, d. William K. Howard, 70m, 35mm) In Attendance: MoMA film curator Anne Morra,
5:30 PM
Chinese Multiplex House 4

 

(1933, d. James Whale, 71 m, 35mm) 7:30 PM Chinese Multiplex House 4

(1933, d. James Whale, 71 m, 35mm)
7:30 PM
Chinese Multiplex House 4

 

[A Man For All Seasons] (1966, d. Fred Zinneman, 120m, 35mm) 6:00 PM Chinese Multiplex House 6

[A Man For All Seasons](1966, d. Fred Zinneman, 120m, 35mm)
6:00 PM
Chinese Multiplex House 6

 

(1965, d. Peter Watkins, 48m, 35mm)  In Attendance: Film Author and Professor Emeritus Joseph Gomez. 9:30 PM Chinese Multiplex House 4

(1965, d. Peter Watkins, 48m, 35mm) In Attendance: Film Author and Professor Emeritus Joseph Gomez.
9:30 PM
Chinese Multiplex House 4

 

 

(1940, d. Alfred Hitchcock, 130m, 35mm) 10:00 PM Egyptian Theatre

(1940, d. Alfred Hitchcock, 130m, 35mm)
10:00 PM
Egyptian Theatre

 

 

(1940, d. Edward F. Cline, 72m, 35mm) 9:15 PM Chinese Multiplex House 6

(1940, d. Edward F. Cline, 72m, 35mm)
9:15 PM
Chinese Multiplex House 6

 

(1968, d. Joseph Losey, 110m, 35mm) 12:00 AM Chinese Multiplex House 6

(1968, d. Joseph Losey, 110m, 35mm)
12:00 AM
Chinese Multiplex House 6

 

Saturday

(1937, d. Mervyn LeRoy, 95m, 35mm) 9:00 AM Chinese Multiplex House 4

(1937, d. Mervyn LeRoy, 95m, 35mm)
9:00 AM
Chinese Multiplex House 4

 

(1945, d. John Ford, 135m, 35mm) 9:45 AM Chinese Multiplex House 6

(1945, d. John Ford, 135m, 35mm)
9:45 AM
Chinese Multiplex House 6

 

(1975, d. John Huston, 129m, 35mm) 10:00 AM Egyptian Theatre

(1975, d. John Huston, 129m, 35mm)
10:00 AM
Egyptian Theatre

 

(1948, d. Harold D. Schuster, Hamilton Luske, 79m, 35mm)    11:30 AM Chinese Multiplex House 4

(1948, d. Harold D. Schuster, Hamilton Luske, 79m, 35mm)
11:30 AM
Chinese Multiplex House 4

 

[The Miracle Worker] (1962,  d. Arthur Penn, 106m, 35mm) Arthur Penn, 106m, 35mm)  In attendance: actor Andrew Prine 1:30 PM Chinese Multiplex House 6

[The Miracle Worker] (1962, d. Arthur Penn, 106m, 35mm) Arthur Penn, 106m, 35mm) In attendance: actor Andrew Prine
1:30 PM
Chinese Multiplex House 6

(1992, d. Spike Lee, 202m, 35mm) 1:30 PM Egyptian Theatre

(1992, d. Spike Lee, 202m, 35mm)
1:30 PM
Egyptian Theatre

 

(1932, d. John Ford, 84m, 35mm) 1:45 PM Chinese Multiplex House 4

(1932, d. John Ford, 84m, 35mm)
1:45 PM
Chinese Multiplex House 4

 

(1977, d. John Power, 99m, 35mm) 4:00 PM Chinese Multiplex House 4

(1977, d. John Power, 99m, 35mm)
4:00 PM
Chinese Multiplex House 4

 

(1940, d. Preston Sturges, 67m, 35mm) 4:15 PM Chinese Multiplex House 6

(1940, d. Preston Sturges, 67m, 35mm)
4:15 PM
Chinese Multiplex House 6

Hollywood Home Movies – 6:00 – Club TCM at The Hollywood Roosevelt

>>Highly recommend attending this due to the exciting “behind the scenes” coolness factor! Various formats, various movie folks, various amazing things to see! If you can “Home Movie” it, do it!

(1952, d. Elia Kazan, 113m, 35mm) 6:15 PM Chinese Multiplex House 6

(1952, d. Elia Kazan, 113m, 35mm)
6:15 PM
Chinese Multiplex House 6

 

[The Wind and The Lion]  (1975, d. John Milius, 119m, 35mm)  6:15 PM Egyptian Theatre

[The Wind and The Lion] (1975, d. John Milius, 119m, 35mm)
6:15 PM
Egyptian Theatre

(1943, d. Mervyn LeRoy, 124m, 35mm) In attendance: Nuclear Chemistry Professor Emeritus Darleane C. Hoffman Phd. 6:30 PM Chinese Multiplex House 4

(1943, d. Mervyn LeRoy, 124m, 35mm) In attendance: Nuclear Chemistry Professor Emeritus Darleane C. Hoffman Phd.
6:30 PM
Chinese Multiplex House 4

 

( 1950, d. George Cukor, 101m, 35mm) Note: The film will be preceeded by a 30-minute performance by Greg Proops, which will be recorded for use on his podcast, Greg Proops Film Club. 9:30 PM Egyptian Theatre

(1950, d. George Cukor, 101m, 35mm) Note: The film will be preceeded by a 30-minute performance by Greg Proops, which will be recorded for use on his podcast, Greg Proops Film Club.
9:30 PM
Egyptian Theatre

RETURN OF THE DREAM MACHINE: HAND CRANKED PROJECTOR SHOW (1902-1913) – hand cranked films from the early part of film history!!! You are cheating yourself if you miss out on this one!! Click on the link above for more information. – (d. various, 105m, 35mm) – 9:30 PM, Chinese Multiplex House 6

Old_projector

 

(1965, d. Tony Richardson, 122m, 35mm)  9:30 PM Chinese Multiplex House 4

(1965, d. Tony Richardson, 122m, 35mm)
9:30 PM
Chinese Multiplex House 4

 

 (1984, d. Tom Schiller, 82m, 35mm) 12:00 AM Chinese Multiplex House 6

(1984, d. Tom Schiller, 82m, 35mm)
12:00 AM
Chinese Multiplex House 6

Sunday

(1970, d. Franklin J. Schaffner, 172m, 70mm) 9:00 AM Egyptian Theatre

(1970, d. Franklin J. Schaffner, 172m, 70mm)
9:00 AM
Egyptian Theatre

 

 

(1947, d. Edmund Goulding, 110m, 35mm) 9:45 AM Chinese Multiplex House 6

(1947, d. Edmund Goulding, 110m, 35mm)
9:45 AM
Chinese Multiplex House 6

 

(1963, d. George Stevens, 180m, 35mm) 12:30 PM Chinese Multiplex House 6

(1963, d. George Stevens, 180m, 35mm)
12:30 PM
Chinese Multiplex House 6

 

 (1939, d. George Stevens, 117m, 35mm)  1:00 PM Egyptian Theatre

(1939, d. George Stevens, 117m, 35mm)
1:00 PM
Egyptian Theatre

 

(1961, d. Stanley Kramer, 186m, 35mm) 4:00 PM Chinese Multiplex House 4

(1961, d. Stanley Kramer, 186m, 35mm)
4:00 PM
Chinese Multiplex House 4

 

(1961, d. William Wyler, 107m, 35mm) 4:45 PM Egyptian Theatre

(1961, d. William Wyler, 107m, 35mm)
4:45 PM
Egyptian Theatre

I hope that this list helps all of you who are looking for the “what’s on film” films. As someone who loves handling film and adores film as a format and a way to watch stories being told, I am beyond excited to see so many wonderful narratives being projected this year.

It is absolutely and unquestionably a part of the history of Hollywood therefore it is only right that it should be such a beautiful and magnificent presence at the TCM Film Festival, 2015, as it has been each year.

Please stay tuned for another post that will celebrate the fantastic digital restorations being screened and discuss the importance that they have to our cinematic culture and to the TCM Film Festival as well.

 

Ruminations, Recommendations, and Restorations: TCM Film Festival, 2015

The full schedule is up and we are only a few days away.

Yes, THAT schedule. The one that we have been impatiently waiting for with bated breath since our teary goodbyes and final hugs of “see you next year” last spring.

TCMCFF_2015-Key-Art_Steamboat-Bill-Jr_8513_

TCM FILM FESTIVAL IS ON LIKE TRON.

Last week, just before I left my house to join my colleagues and do some work for the Film Noir Foundation, I was alerted to the fact that the full schedule was up online and mine for the perusal. Getting that alert was Hell. On. Earth. There I was, rushing out the door, pushing my cats out of the way so that I could get on public transportation and make it to the lab on time, all the while knowing that the FULL LIST of films awaited me after my work was completed. But I love what I do and get completely entranced by it, whatever the particular job may be- print consultation, database research, repairing one of my own personal 16mm prints- so I almost forgot about it for that brief sliver of the day.

Don’t let anyone ever tell you that film preservation isn’t an amazing gig. It’s the dream of a lifetime, especially working with the Film Noir Foundation. My gig with them is tops. So I got home and opened my computer. A multitude of Facebook “TCMFF 2015-what-I-am-seeing-lists” exploded after the schedule announcement. Some of them full of hard and fast absolutes, and others flexible but still completely booked-up in their calendars and planning their eating methods and what theaters they would be running back and forth from. All within less than 36 hours of the schedule being up online. My good pal (and excellent writer) Mr. Peel of Mr. Peel’s Sardine Liquor asked the reasonable question: “How can you all be so sure so fast?” The short answer for me was that I’m wasn’t. And, I’m still not. So this post, while a rumination on the schedule and a brainstorming, will also serve as a recommendation list. I am going to go through this year’s schedule selectively. I am only going to mention certain films. But I will likely mention more than I will be able to watch during the festival. And I’m going to look at them in a very particular manner. And here is why:

  • Along with several other worthy film fans and professionals, I have been asked by the TCM Film Festival to be part of a new program called the “Social Producers Team.” Each member of the team will be specializing in their own social media-thread or theme based on an aspect of the TCM Film Festival that they have proposed or that they are best at. For example: my theme/thread centers on film restorationpreservation, and rare films/discoveries. I made this my raison d’etre because (duh) I’m a film archivist and my aim (in life as well as at #TCMFF) is to raise more awareness, interest and understanding about film preservation. I hope to “stock up” those TCM social media channels with a better understanding and a great passion for this important part of the film world in addition to fun tidbits of specialized information that I can provide.
  • Due to my career specialization, my film interests and choices may seem a little “off,” even for a classic film fan. While many TCM-ites will jump at the chance to see a movie on its anniversary or a silent picture based upon a live orchestral arrangement (superfragalistically cool, no doubt), I feel that it’s actually my job to see the restorations that are programmed. And that is across the board- on every format, 35mm or DCP. And yes, sometimes that may include a more modern festival presentation like Apollo 13 (I haven’t decided on that though). This is one of the ways I am able to keep myself up to date on what my colleagues are doing, how technology is evolving and what works are being preserved and why. Watching a modern restoration and the work that has been done can assist an archivist’s work in any number of classic film preservations.
Eartha Kitten asks, "Why can't I go to the Film Festival tooooo?"

Eartha Kitten asks, “Why can’t I go to the Film Festival tooooo?”

  • My work as the Nancy Mysel Legacy Project Recipient at the Film Noir Foundation has allowed and given me special training and insight into the restoration and preservation processes of these films as well as a unique advantage as to the discussion of film noir and its cast of characters (both fiction and non-fiction) itself. So in the discussion of these films and recommendations, I will definitely use that training to guide (and suggest) audiences see these films. It is a huge chunk of my life.

Film_Noir_Foundation_logo

So now that we’ve gotten all of that out-of-the-way and you, my lovely reading public, know how I’m going to be recommending and dealing with these films, let’s get on with it, shall we? I’m gonna go by the TCM Festival Schedule if you wish to open that in a separate tab and follow along, and list day by day.

OH! Before I forget! I want to give a few shout-outs to my #TCMFF homies! So my TCMFF bestie is Dennis Cozzalio and if you don’t know him, well you should. His primary writing zone is Sergio Leone & The Infield-Fly Rule but he also has a fab new column called Fear of the Velvet Curtain over at one of my favorite sites ever invented, Trailers From Hell.  While he’s not part of the Social Producers Team, I always get super-stoked to get to go to the movies with him every year.

My pal Peter Avellino- mentioned in the very beginning? Check out Mr. Peel. You won’t be sorry.

Señor Dan Schindel. He makes amazing desserts, kicks ass at Cards Against Humanity, is one of the nicest & smartest humans, and I’m hoping that we can see some movies in the same vicinity. I know he writes for various publications. He tweets at @danschindel.

There’s more, but let’s get on to the movies, eh?

Thursday

3:00pm: The awesome and fantastic Bruce Goldstein from Film Forum in NYC is doing Trivia. If you are unaware, this man is really pretty rad. Guaranteed, he knows more than you do. I’ve seen him at my film archiving conferences and he’s a genuine badass. The time I got to hang out & chat with Norman Lloyd was when we were all at an event together. Am I gonna do trivia because I think I will win? OH HELL NO. I am positive that there are some of you out there who have memorized people’s entire filmographies much more thoroughly than I have. Do I wanna do it because it’s gonna be a hellovalotta fun? YOU BETTER BELIEVE IT. Now accepting offers for teammates…..

5:00pm: TCM PARTY – schmooze! Wheeee!

6:45pm: TOO LATE FOR TEARS: even if I am not there seeing it, watch out for my thread- I will be posting allllll about it. The restoration and the story behind it is MINDBLOWING. If you like film noir and you miss this film, I will question your commitment to sparkle motion. I have seen it 5 times now, never get sick of it. The restoration was nothing short of a miracle and the film content itself is just thrilling. Even my MOM loved it. She said, “I wanna see more films like that!” when I took her to the LA Restoration premiere. DO NOT MISS. 

"Don’t ever change, Tiger. I don’t think I’d like you with a heart. "

“Don’t ever change, Tiger. I don’t think I’d like you with a heart. “

10:00pm: MY MAN GODFREY Pure and simple on this one, I’m a sucker for Powell and Lombard. I highly recommend BREAKER MORANT however, as Beresford is fantastic and seeing it on 35mm is going to be great. Plus, going with the historical theme, I don’t think you could get much better. So I may end up there. But for now, I’m thinking GODFREY.

Friday

First up- THE DAWN OF TECHNICOLOR David Pierce has done a great deal of writing on film preservation, silent film and archival topics. There is NO way I’m missing this. Technicolor is pretty much the coolest thing. You KNOW when you’re seeing Technicolor. This is one of the most thrilling things on the whole weekend for a n3rd like me. And in 35mm *and* HD? DUDE. I’m gonna be in a FRENZY when I get outta there…

glorioustechnicolor

Alternative to g33k lecture of amazingness? THE SMILING LIEUTENANT  Ok, so if I wasn’t going to go do some Technicolor dorking out? I’d go and hang out with Ernst Lubitsch. I programmed this film in grad school as part of the film series I did at the New Beverly Cinema that celebrated archiving and 35mm. It played amazingly well and people loved it.  This falls under “rarities and discoveries” and is a fabulous way to start your day. Highly recommend!

Miriam Hopkins is a goddess.

Miriam Hopkins is a goddess.

The next section is a doozy:

Probably hitting THE PROUDEST REBELThis world-premiere restoration of a very rarely discussed Michael Curtiz film seems to hit a whole bunch of things I wanna check out. I’d like to see how Warner Bros did with this restoration and will be interested to hear David Ladd talk about his dad, Alan. For those of you not joining me there, I will make sure to set up a few notes to go out about REIGN OF TERROR because director Anthony Mann is The MAN. And you just can’t miss Norman Lloyd or John Alton’s cinematography. If you haven’t checked this out before…this is big screen French Revolution Noir. And yes- that *is* a thing.

I’m going to try to hit CHIMES AT MIDNIGHTalthough I feel it may be packed and difficult to get into. I have been wanting to see this since I was in my late teens-ish. So 20 years or so? The main draw for me, of course, aside from Welles, is to look at it critically and see what the visual quality is of this restoration is and perhaps look a little deeper into what elements were used to create this new digital version we are to see. If I do not get into CAM, I’ll go see THE CINCINNATI KID because I’ve never seen it and my grandma’s in it. No-brainer.

I will stomp Hollywood-Blvd-Superhero-people out of my way to make certain that I get to DON’T BET ON WOMENIt’s a restoration (points!!), it’s a rarity (major points!!) annnnnd it has Roland Young in it (OMGZ MAJOR POINTS!!!). It also has Anne Morra from MoMA in New York coming to talk and she’s a rock star curator. Great lady to hear. Edmund-Lowe-Jeanette-MacDonald-Roland-Young-Dont-Bet-On-Women-1931

Film Noir Alternative: RIFIFI – if you have not see this film, and you are looking for something to see during this time slot GO SEE RIFIFI. JUST TRUST ME. You will not be sorry. It needs to be seen on a big screen. It is delicious and exciting and everything that you could possibly want a film to be. It may be one of my very very very very favorite heist films of ever. And that’s saying….A LOT.

I’m going to see THE WAR GAMEI went to University in Kent, England and I would very much like to see how this banned doc looks at the place I went to school in, many years later. Also, my own personal work in 16mm educational films really made this one peak my curiosity as well, considering all the nominations and the subject matter. I think this film is going to be a “TCMFF Sleeper Success.”

And there ain’t NOTHING NO HOW that’s keeping me away from the midnight screening of BOOM!. I mean, come ON!!!

You can't keep me away from a film that has a hairpiece like this. NO WAY.

You can’t keep me away from a film that has a hairpiece like this. NO WAY.

Saturday

I am going to WHY BE GOOD? because I want to see the film of course but also because I *love* the Vitaphone Project and I want to see their restoration work on this! Can you imagine that this film, with Jean Harlow, Andy Devine and Colleen Moore may have never been found let alone restored? *shiver*

I highly recommend that folks go to the World Premiere of Warner Bros’ Restoration of 42ND STREETI love that film, Dick Powell & Ruby Keeler. But I will be likely trying to go for the rarity, SO DEAR TO MY HEART due to a love for Burl Ives, an obsession with Beulah Bondi and a serious interest in seeing what looks like it could be a very unusual work for Disney, even live-action/animation mixed.b70-64661

John Ford. AIR MAILThis was a rough choice due to the fact that I really wanted to go to MALCOLM X  in 35mm or what I believe will be an absolutely REMARKABLE restoration of 1776  done by Sony. I mean, they’re using unseen footage and the restoration is done from the original negative…I’ve always had such a great experience from Sony’s restorations. They really care about the FILM side of things even if it’s a 4K, so I’m a little bummed that the John Ford is up against 1776. But what can you do? Maybe I will change my mind.

You all need to go see THE PICTURE SHOW MAN.

Think of me like a doctor and that is my prescription. I have my own 16mm print of it and a poster of it from Hungary. It’s a GREAT movie. Those of you who do go, FIND ME DURING TCMFF and let me know what you think, okay?

It is at this point that I do a “wacky weird archivist thing” again- I highly advise that any/all/as many of you as possible go and check out the Hollywood Home Movies over at Club TCM at 6:00pm on Saturday. Lynne Kirste, one of the most amazing women that I’ve been lucky enough to get to know over the years in preservation, will be there showing you GREAT stuff. Ever thought about what Alfred Hitchcock did at home with the family? Ever considered what your fave stars might have been filming on vacation or when they had a BBQ? THIS AMAZING SESSION IS FOR YOU. HIGHLY RECOMMEND. And if you meet Lynne or Randy Haberkamp (also a SUPER rockstar!!) tell ’em I sent ya!!

During this next block on Saturday night, TCMFF decided to play three of my very favorite films right up against each other. And not just a teensy bit favorite, take-to-a-desert-island favorite.

So, what I’m saying is…if you wanna just go check out a movie, you can’t go wrong with FRENCH CONNECTION, ADAM’S RIB or THE LOVED ONE. But one a scale of 1 to rare? Go for THE LOVED ONEYou can just never see it enough and it’s goddamn brilliant. Gets more brilliant every time.

But you wanna get SUPER RARE? Like still moo-ing? Like ordering your steak blue??? Then I suggest where I’m going.

I will be smashing myself into a seat to watch hand-cranked films from the early 1900s. If you remember my writing series that I haven’t worked on in a while, I mentioned Lois Weber? They’re playing one of her films. I am SO excited about this one. The theme of history this year is just mind-blowing for me. Every year at #TCMFF has been good, but this one…wow. So yeah. I’ll be at the RETURN OF THE DREAM MACHINE: HAND-CRANKED FILMS FROM 1902-1913 if you need me.

projector_3__45740.1409767621.1280.1280

One of the most awesome people I know in archiving & preservation: Dino Everett, hand-cranking some film!!!

One of the most awesome people I know in archiving & preservation: Dino Everett, hand-cranking some film!!!

I’ve seen NOTHING LASTS FOREVER  on a big screen. But that’s exactly why Imna see it again. See y’all at midnight on Saturday, eh?

Sunday

So there’s a bunch of TBAs on here.

My basic plan is pretty stable. I have to see Patton because, well, 70mm and George C. Scott and I ain’t never seen the dang thing before and I’m a Scott-a-holic. Ever since FIRESTARTER. Yes, you read that correctly. The film I started loving him in was FIRESTARTER. Still like that film.d150-patton

I plan on providing PLENTY OF INFORMATION for everyone about NIGHTMARE ALLEYin my role as Social Producer. I’ve seen that film somewhere between 7-12 times in the theater and it’s one of my top 5 film noirs. If you have not seen it, but feel safe going into a movie blind, I highly recommend that. Tyrone Power has never been like that and the lady-love of my everything, Joan Blondell, is….well, you just gotta see it.

I’m an information specialist. If I don’t go see DESK SETI feel like the data management system gods will strike me dead the next time I try to call on them for help. Plus? I REALLY LOVE THAT FILM SO DAMN MUCH. Why are there no good movies about archivists or librarians anymore? Enough Said with James Gandolfini was pretty good but where are the rest? Representation, man!

Then its magic time. I’m a carnival and magic junkie. I’m hitting up the discovery, HOUDINI with Tony Curtis & Janet Leigh and then, the film I have been waiting for ever since it was announced, it’ll be time for THE GRIM GAME restoration. I am SUPREMELY excited about being able to report on the details, especially noting that this film’s restoration was a combined effort between a private collector and studio efforts. These are very interesting elements in any case but the fact that the film and its restoration became the thing of primary importance is fabulous.

See you in the seats! Check you on the Internetz!

Really excited to be going to TCMFF again this year and even more thrilled to be part of the Social Producers Team.

This is going to be a great year and I’m looking forward to celebrating film preservation, restoration and classic film with all you guys! Check you on the Blvd!

If you want to follow my TCMFF adventures and my Social Producer documentation, you can find me in the following places:

Twitter: @sinaphile

Tumblr: sinaphile.tumblr.com/

Instagram: @littletriggers

And I will have some public posts and pictures on my Facebook here: https://www.facebook.com/sinaphile

The Lack of Obsolescence: The FOUND FOOTAGE FESTIVAL, 10th Anniversary Tour

FFF_Tour_Poster_Vol7

As a moving image archivist and profound fan of VHS tapes, when I heard about the Found Footage Festival I grew very excited.

For many, I think the comic factor is attractive. And that is understandable. But that’s not why I was thrilled. I didn’t get excited because the on-coming works to be shown seemed cheesy or ironically “awesome, dude.”

I wasn’t ready to support this show simply because it featured thousands of work-out tapes of the 80s that had been rediscovered in thrift-shops all over the United States, or because it was ready to seemingly exploit weird and wild home-made after-hours “Buy this! It’s only $99.99!” Mr. Popeil-style programs.

The Found Footage Festival, founded and curated by Joe Pickett and Nick Prueher got me because it was a film festival generated by the same confidence and love for visual media that San Francisco Guardian critic and Castro programmer Jesse Hawthorne Ficks has discussed at length when he has railed against the modern viewer’s concept of “neo-sincerity” and the damage that this has done to pure enjoyment of the visual text. It is what I mentioned when I talked about the uniquely new concept of non-ironically loving what others seem to consider “Bad” media. When I was asked to do a list for Rupert Pupkin Speaks on Bad Movies We Love, this is what I wrote:

 

 

I believe that the term “bad movie” requires a great deal of unpacking. Tragically, when I was first in film school, * mumblemumble * years ago, it did not. “Bad” simply meant the opposite of good. It meant that you did not like the film. It was a poor choice at the video store or the box office, you wouldn’t do it again, you had to go off and knock back a bunch of beers with pals to wash out that “bad movie taste” and that was that. No recommendations for that cinematic failure. The movie sucked.
Somehow, in the last 15 or so years, “bad” has taken on all sorts of different meanings to people. Now we all remember what Michael Jackson meant when he asked, “Who’s bad?” but that’s not exactly what I mean. Although, in a way, it is. When we go around to look at people’s collections at their houses and we agonize that they have the most “amazing VHS collection evAr” because it has a few dozen films starring your favorite wrestling stars, what does that mean? Does it mean those are good films or does it mean those are good films to you? Please note that I do not use the term “bad” here. I do not believe that it comes into play. I absolutely hate when people use the “so bad its good” descriptor. That, to me, is like saying “but he only hits me because he loves me.” IT MAKES NO SENSE ON A LOGICAL LEVEL. 
 So let’s get a few things clear right now:
1)    There is no such thing as SO BAD IT’S GOOD.
2)    Very few films are ever perfect. Sometimes, it is in their imperfections and in their relentless references to time, place and cultural objects that you can find absolute glory.
3)    Polarizing terms applied to art (which, by its nature, exists in a gray area) are likely to change in time. How many films can you think of that were once completely shunned and are now considered “masterpieces”? Be careful of hyperbole. It’ll bite you in the ass.
All that said, when Jesse Hawthorne Ficks (of the MiDNiTES FOR MANiACS film series at the Castro Theater in San Francisco) came down to L.A. one night to present ROCKULA, he spoke about a thing called neo-sincerity, and that hit home. He said that we don’t watch these movies because we want to make fun of them, or because we think that they are stupid or so that we can, somehow, feel more superior by knowing that we dress “better” or some such. We watch these films because something in them actually appeals to us and we do actually dig them. So, with that, I give you a few films that other people may index underneath the genre of “bad movie” but I love the HELL out of.

As an archivist, I have learned that all media has a certain importance and this festival seemed like one that would not only be entertaining (being fronted by comedians and men who genuinely love both the VHS format and the comic craft) but also fascinating to my own work as a preservationist. It spoke to me on many levels since their approach mirrors the work of Rick Prelinger and Dan Streible in certain respects. Perhaps not the same tone, but like those respected archivists, these young men have taken the Home Movie Day approach with collections of old VHS works and they have most certainly become not only connoisseurs of the craft but experts in their field. To be frank, these men can reasonably do what any archivist does with a given set of elements: assess the collection, catalog the works, then provide access.  In my eyes, the Found Footage Festival is a unique and new kind of traveling archive. Yes, they give humor alongside the visuals. But these works are also reflections of an era that (most likely) many audience members now were not alive for.

Most people in the audience never owned a VCR. I OWN THREE. YES, STILL. Also, these clips, much like home movies, are like time capsules and windows into another region or era that none of us ever were part of. I will argue that this Festival is an important one. And these guys can make you laugh while you ingest important things that you didn’t even realize were important. Because it just looks like a crazy lady with an unfortunately feathered hairstyle doing yoga.

I highly recommend that you attend one, two or all of their events, as listed here. The link to where you can ACTUALLY BUY the tickets is HERE

I WILL BE AT BOTH OF THE NEW BEVERLY SHOWS. LET’S DO THIS THING!!!!!!!!!

Wed, May 7, 2014 @ 8:30pm Meltdown The Meltdown
Thu, May 8, 2014 @ 9:00pm New Beverly Vol. 7 in Los Angeles, CA
Fri, May 9, 2014 @ 9:00pm New Beverly Vol. 7 in Los Angeles, CA
Sat, May 10, 2014 @ 7:00pm The Loft Cinema Vol. 7 in Tucson, AZ
Tue, May 20, 2014 @ 8:00pm Spegeln FFF in Malmö, Sweden
Wed, May 21, 2014 @ 7:30pm Cinema Neuf FFF in Oslo, Norway
Thu, May 22, 2014 @ 8:30pm Bio Rio Vol. 7 in Stockholm, Sweden
Thu, Jun 5, 2014 @ 8:00pm E Street Cinema Vol. 7 in Washington, DC
Thu, Jun 19, 2014 @ 7:30pm Colonial Theatre Vol. 7 in Bethlehem, NH
Tue, Jun 24, 2014 @ 8:00pm Regent Square Vol. 7 in Pittsburgh, PA
Fri, Aug 1, 2014 @ 10:00pm Leicester Square Theatre Vol. 7 in London
Sat, Aug 2, 2014 @ 10:00pm Leicester Square Theatre Vol. 7 in London
Tue, Aug 12, 2014 @ 8:00pm Fine Line Music Cafe Vol. 7 in Minneapolis, MN
Thu, Aug 14, 2014 @ 8:00pm The Bishop Vol. 7 in Bloomington, IN
Thu, Sep 11, 2014 @ 8:00pm Lesley University Lesley University
Sat, Sep 20, 2014 @ 9:00pm University of New Hampshire University of New Hampshire

 

There’s Nothing Like It: Ursula Liang’s 9-MAN

9-Man (Ursula Liang, 2014)

To a native Californian and Angeleno like myself, volleyball has always meant white guys and the beach. While I know that it is played professionally, and there are women’s teams, the concept of anything volleyball-esque brings up a Pavlovian response in me. Visions of blonde men with their tanned caucasian bodies appear in my imagination and I see these perfectly formed specimens, glistening with sunscreen, throwing themselves around in the sun and sand, as their bikini-clad-companions watch. While that may seem romantic and sexy, it’s always been an extreme turn-off to me.

These are precisely the kind of guys and just the kind of culture that I want nothing to do with. In fact, it is the kind of world that I spend an alarming amount of time railing against. They represent the worst of the worst to me. They are the frat-boy types who eat, sleep and breathe white privilege and couldn’t see the world any other way than monied and upper and of the higher-classes. They are blind to what is really going on and that pisses me off. I feel a little bad for the sport of volleyball, since it has suffered my associations, but I will recognize here and now that is my prejudice.  Too many summers near Santa Monica watching people play, I guess.

With this in mind, I can only describe myself as insanely curious and awkwardly starving for Ursula Liang’s documentary, 9-MAN (Ursula Liang, 2014), which played at the Director’s Guild of America as part of the Los Angeles Asian Pacific Film Festival on Friday night, May 2nd. Co-presented by the Asian Youth Center in the San Gabriel Valley and the Chinese American Museum in Downtown LA (they’re currently running a whole exhibit on hot sauces called “LA HEAT”- it’s totally great! Check them out!), and introduced by the popular and highly entertaining Phil Yu, also known as Angry Asian Man, this documentary blew my mind. Completely unseen, Yu told the audience that he was putting 9-MAN on a list of films he would consider to be in his “Angry Asian Film Club.” “Unless it sucks.” he joked,  “But I know it won’t suck!” And boy was he right. This belongs on that Film Club List with honors!

For what it’s worth, 9-MAN is a sports documentary. Technically, 9-man is a volley-ball-style sport that began in Chinatown communities in the 1930s but it is quite definitely not volleyball.  In fact, that may be why I liked it. The terms “jungle ball” and “streetball” were thrown around quite a bit. Yeah, my ears perked up for sure. As a huge fan of brutal and hyper-masculine sports activities, the minute one of the athletes described 9-man as a game that commits itself fully to a “warrior mentality” I was IN. But it’s not simply a game. 9-man developed historically and has played a significant part in the way that Chinese men have been able to keep their culture alive and dynamic, especially between fathers and sons. As Liang documents so eloquently, this was one of the only outlets that many Chinese men had to express their masculinity during the 1930s/40s and onwards. The Chinese Immigration Acts that started in the late 1880s had seriously diminished roles for Chinese men to play in American culture, and the places that they were allowed to inhabit were exhaustively feminized at that time: laundry work, food service, etc. In order to regain a sense of masculinity and as a way to bond as a community, this game was created. It gave them a sense of dignity, fun and released the stress from these daily horrors.

Picture of 9-man team, 1946

Picture of 9-man team, 1946

But, as Liang stated in the Q&A after the film, she wanted to give a sense of this historical background while still keeping the modern storyline. And that is what she most certainly did. The core of the film and the “meat” focused on today’s teams and the journey towards the 2010 Boston Labor Day finals for several regional teams, and, like a truly great sports film, she makes you truly love and care for all the characters. If I thought that I cried in fictional films like Warrior or He Got Game, this film gutted me. I was at the edge of my seat, really WITH every character. Loving them, routing for them, on their journey. But what made it more interesting was each person’s discussion of the cultural ties and the fact that this was not just a game to them. This was part of their life. While Liang did pointedly say afterwards that her goal was to reimagine Asian men in the sports world and do some stereotype-busting through diverse portrayals (which was quite well-done, I might add) the sports/culture/ethnic connection was what really stood out. The media does not often investigate these issues for Asian men. The discussion of these 9-men player’s masculinity stories, whether done through tales of family connections, cultural struggles or sports dedication was really singular and revealing.

Credit: A player dunks over the net at a 9-man game in Philadelphia. (Andrew Huynh), published in LatitudeNews.com

The film does an excellent job in explaining the rules of the game with animated visuals- there is a difference between 6-man and 9-man games, for instance, and no women are allowed to play. There were wonderful illustrations to explain these things and the placement of the players as well. The intertitles were also quite helpful, as far as technical info was concerned. As of 1991, there was an “ethnic rule” that became part of the rule book- at least 6 men on the court had to be Chinese. The other 3 could be mixed. When asked about this in the Q&A afterwards, the responses were fascinating and reflected a very different 9-man than what had started so many years ago. Ursula was joined on-stage by two 9-man players, and each answered this question differently but with the same basic result. Both agreed (as did Ursula) that at this point it is really up to how good the player is. Many times, it comes down to that and not ethnicity. They will have the “how Chinese is he” arguments, but it will really boil down to “how good of a player is he.” They added that there are many mixed players now, and that will probably increase with time.

Credit: Andrew Choy, Flickr

Credit: Andrew Choy, Flickr

I wondered if this was losing the spirit that been expressed by so many of the older interviewees in the film, especially certain men who had discussed playing 9-man in the 1970s, who had learned to have Chinese community and brotherhood through this activity, and had passed the tradition on to their children. It also made me think about something more serious. As someone who has studied sports that are familial and passed on in that manner (ie wrestling), this “more sports than culture” view being expressed might end up deteriorating the 9-man community and a cultural history and important activity that goes beyond “sports.” But as the final interviewee in the film said about the game, sports or cultural expression, “There’s nothing like it and I’d never give it up.”

Producer Theresa Navarro, director Ursula Liang, and producer Bing Wang of 9-MAN, at Boston premiere

Producer Theresa Navarro, director Ursula Liang, and producer Bing Wang of 9-MAN, at Boston premiere

Ursula Liang has created a documentary that has inspired tears of triumph and heartbreak, nail-biting suspense and loud cheers of joy. This primarily female-produced film (as Liang discussed during the Q&A, most of the crew were women as well, something “you don’t see very often these days!”) combines historical fact with tough sportsmanship and really intelligent discussion about a highly marginalized and underrepresented community.

One of the most beautiful things about the screening was when Phil Yu asked the athletes during the Q&A what it was like to watch the film, and Lawrence, one of the athletes, replied, “I got to see people I know for once.” While it was clear that this referred to 9-man players he was pals with, it had a double-meaning: he got on-screen representation for once. Which is really what the Los Angeles Asian Pacific Film Festival is about, and I am glad for it.

 

CS_9Man

FILM ARCHIVIST’S PLEA:  One final note that I would have to make and this is more of a plea. I spoke to Ursula after the screening because, as a moving image archivist I was SINGULARLY IMPRESSED by the footage in the film. Not only is the subject INCREDIBLY unique and rare (she told me very few people she encountered had even heard of 9-man) but the stills and visual elements that are used have come almost entirely from personal collections. Museums and archives that specialized in Asian or Chinese historical works didn’t have anything on this, regional archives were empty, barely anything. I know that Prelinger Archives was on there, but they are amazing like that. Here’s the thing-  THIS WAS ALOT OF HOME MOVIE STUFF, GUYS.  This is not a surprise to mePLEASE see this movie. I will tell you why:

1) It is THAT good. I’ll say it again. IT IS THAT DAMN GOOD.

2) The archival footage will show you that you need to go looking in your Nana’s house for all the cultural 16mm/8mm/etc stuff. It can be really important. LIKE NOW. GO.

3) If you are a POC, your works are EXTRA important and MUST BE SEEN. This film is a FABULOUS WATERSHED EXAMPLE of what can be done if you have a good subject and are a great researcher & can get some help. Liang went the extra mile on this because she taught herself how to be a filmmaker as she was making this film.

4) If you know of anyone who might have any other footage like this, let’s make sure it’s all out there. Seeing this was so great. As an archivist & as someone in preservation, this is *exactly* what we strive to do- restore history to its rightful viewers: us and everyone in the future. Make goodness happen with film. It can be magic. I BELIEVE THIS.

5) Female filmmaker. Need another reason?????

 

DID YOU MISS 9-MAN LAST NIGHT? NO WORRIES. IT’S PLAYING AGAIN! HERE’S THE INFO!

9-MAN – LOS ANGELES ASIAN PACIFIC FILM FESTIVAL

MONDAY, MAY 05, 2014 – 4:30

Tateuchi Democracy Forum, National Center for the Preservation of Democracy
111 N. Central Ave., Los Angeles, CA 90012

BUY TICKETS HERE!