Saturday, April 22, 2017
Once In A Blue Moon
It’s also clear that the festival itself is continually evolving as it has to, a reminder that it began way back in 2010 almost at the moment when studios were about to make 35mm prints sparse to favor digital projection. While two Cinerama presentations were on the program down the street at the Cinerama Dome this year, certainly the big news of the festival was that the recent renovation of the American Cinematheque’s Egyptian Theater which included retrofitting the projection booth to screen the famously combustible and unstable nitrate film stock with director Alexander Payne in particular given credit for the idea to get what was called 'a massive undertaking' to finally happen. Although there was a special Cinematheque showing of a nitrate print of CASABLANCA last November, this was the first time the format really got a spotlight in the huge theater and to display how these prints themselves really are works of art as it was described. Availability of certain titles is an ongoing issue for the festival and it’s not like there are DCPs available for every film let alone 35mm prints but no matter how important some of the digital screenings are, like this year's restoration of PANIQUE, I still wish there could be one more house equipped for film again at the festival to make it that much more special. At times it’s the 35mm prints shown in the nooks of the smaller theaters where the real flavor of the festival can sometimes be found; maybe because of the big titles and classic oldies that gets shown there the main Chinese Theater (now officially the “TCL Chinese IMAX” but please don’t make me call it that) winds up having the most tourist oriented flavor during the festival and it’s sadly not equipped to run 35mm anymore regardless.
One of the places that does screen 35mm is the infamous theater #4 up in the Chinese 6, always the smallest theater used by the festival only seating 178, and which has become its own sort of clubhouse in recent years due to how it would automatically fill up for certain noir and pre-code titles. After reaching a breaking point last year due to how fast the 1933 pre-code DOUBLE HARNESS filled up almost instantly for both showings certain changes have clearly been made to the decisions of what gets shown in theater #4 and some of them have clearly been moved down the street to the Egyptian meaning the private members vibe went away but it’s hard to complain about actually getting into see certain films. Although, that said, the crowds didn’t always show up regardless of where they were and I honestly felt a few pangs of sadness when my friend Marya, aka @oldfilmsflicker, tweeted from a relatively empty theater #4 while waiting to see King Vidor’s STREET SCENE (and here’s her own review of that film) which under other circumstances I might have tried to get to myself. It can sometimes feel a little strange to be off at the Egyptian away from the main action which admittedly doesn’t make any sense but it worked for the best and hearing from people who were spending most if not all of certain days in the Egyptian gave the place its own vibe and without shutting so many people out turning it into an all-new alternate track of the festival, the heart and soul of glistening black & white and occasionally stunning color.
Mr. Peel will return in Vol. 2 of the 2017 TCM Classic Film Festival report.