Archive for the 'National cinemas: India' Category
The second half of my week at the Cinema Ritrovato festival in Bologna was centered around two Asian events: a small program of Iranian films from the 1960s and 1970s and the restored Apu trilogy. In between those screenings I tried to fit in some programs of pre-1920s cinema.
Bringing the Apu Trilogy back from the ashes
That was the title of a panel presentation during the festival, one which I missed because I was watching the first of the four Iranian films. In this case the metaphor is literal. The original negatives of the Apu films were stored in a London warehouse, and in 1993 a fire damaged them extensively.
In 2013, The Criterion Collection and the Academy of Motion Picture Arts and Sciences began a collaborative restoration. Working meticulously by hand and employing an innovative rehydration technique, experts at L’Immagine Ritrovata in Bologna rescued the images for about 40 percent of Pather Panchali and 60 percent of Aparajito. The negative of Apu Sansar (The World of Apu) was wholly lost. For it and the missing parts of the other two films, footage from fine-grained masters and duplicate negatives from various archives was used. The restoration was done in 4K. (For an interview with Lee Kline, Criterion’s technical director, see here. There is a short but informative short film on the restoration, including some before-and-after comparisons, on Vimeo.)
The result is spectacular, far better than one would expect, given the dire circumstances the restorers faced. It was a privilege to see the entire trilogy over three days on the huge screen of the Cinema Arlecchino from the front row. There were times when the replacement footage was obvious, but for the most part, the images look pristine. They also look like film, with no hint of video-y quality about them.
I had seen the trilogy only once, in 16mm back in my graduate-school days. At the time, I admired it but wasn’t bowled over. Sitting through the Ritrovato screenings, I found it a profoundly moving and beautiful experience. Satyajit Ray manages both to maintain a quiet, leisurely pace and to compress the hero’s life, from birth to early adulthood, into three parts totalling less than six hours.
Apu’s strict but devoted mother (below left, in Aparajito) anchors the first two films, gaining our sympathy despite her scolding and worrying. Apu’s wife, Apurna (below right, in Apu Sansar), is in the third film for a remarkably short time. Yet we quickly come to understand her love for this unknown man whom she marries almost by accident, her sense of humor, and her compassion, all of which are vital to our sympathy for Apu’s utter devastation after her death. Indeed, the trilogy involves five major deaths, all of which makes the hopeful ending the more affecting.
Presumably The Criterion Collection will bring out a Blu-ray set of the three films, though no date has yet been announced.
Iran’s own New Wave
Admirers of Abbas Kiarostami, Mohsen Makhmalbaf, Asghar Farhadi, Jafar Panahi, and other notable directors of the Iranian cinema of the past few decades might be curious about their forerunners. Iranian film critic and historian Ehsan Khoshbakht has begun to satisfy that curiosity by programing a short series of classics of pre-Revolutionary cinema. According to his program notes (available in their entirety online), the four films shown in Bologna constitute about a quarter of the output of the Iranian New Wave. I hope there will be further screenings at future festivals.
As Khoshbakht warned in introducing the earliest film in the series, Shab-e Ghuzi (Night of the Hunchback, 1965), it is not a masterpiece and certainly not a forerunner of the filmmaking that would later bring Iran to prominence in international festivals and art cinema. Director Farrokh Ghaffari was a pioneer of Iranian filmmaking beginning in the 1950s, but he is perhaps equally important in having started the first Iranian film archive.
Night of the Hunchback is a black comedy with a story loosely derived from The Trouble with Harry. A player in a cheap entertainment troupe is accidentally killed, and the bulk of the film follows his corpse as it is passed from one group of characters to another; these include a pair of smugglers running a beauty salon, who provide much of the film’s humor (above). Most try to dispose of it, but a society woman trails it in the hope of retrieving an incriminating document in its jacket pocket. By Western standards it seems like a fairly mainstream commercial work, but it departed from commercial Iranian cinema, according to Khoshbakht, “with its respect for folklore and its bitter portrayal of the upper class.” It was a commercial flop but gained some attention at European film festivals.
The most famous film of the era is Gaav (The Cow, dir. Dariush Mehrjui, 1969). It centers around Hassan, the owner of his village’s sole cow. He dotes on the beast, as is quickly established in an early scene when he affectionately bathes her.
When the cow mysteriously dies (a cause is hinted at but never confirmed), the villages lament the loss of their only source of milk, but they also worry about how Hassan will react when he hears the news.
Although Hassan is the evident protagonist of the film, the drama centers more around the ignorance, lack of judgment, and even cruelty of the villagers. The film begins not by introducing Hassan and his cow but with a disturbing scene of the local children chasing and tormenting a mentally defective young man. This establishes the tone for several later scenes.
When the cow’s death is discovered, the small group of men who wield authority initially concoct a story of the cow having run away, and the villagers bury the carcass (bottom). As Hassan descends slowly into madness, the people supposedly trying to help him make every possible wrong decision, leading to disaster.
If the films I discussed in my previous entry extolled the virtues of village life and represented leaving home as unwise, The Cow is just the opposite. Cut off from the outer world, the villagers have little education or ability to come up with logical solutions to problems. It’s a theme repeated in the other two Iranian fiction films on the program as well.
Yek Ettefagh-e sadeh (A Simple Event, dir. Shrab Sahid Saless, 1973), the latest of the films shown, seems the most obvious forerunner of the wave of Iranian cinema that started in the 1980s. It closely follows the daily routine of a young, unnamed boy living in a small town on the edge of the Caspian Sea. We see him at school, helping sell the few fish that his father catches each day, eating and trying to study in the almost unfurnished house he shares with his father and sickly mother.
There’s little dialogue, apart from scenes in the school. I believe the boy speaks two lines in the entire film, and his father communicates with him only occasionally, to order him around: “Close the door” or “Study.” Much of the action consists of the boy running through the streets on errands, including his night-time visit to fetch a doctor for his ailing mother (below).
Although there’s a superficial resemblance between A Simple Event and the later films of the “child quest” genre, I see considerable differences as well. In films like Kiarostami’s Where Is My Friend’s Home? or Panahi’s The Mirror, the child protagonists have clear-cut goals which they have decided upon themselves. They are stubborn and determined, and as they doggedly pursue their goals we are never unsure about their motives.
In A Simple Event the boy has no goal, and we learn almost nothing about his character. Is he really as stupid as his teacher believes, or is he behind his classmates because he gets little chance to do his homework? Does he love his mother or is he indifferent to her declining health? Is he resentful but cowed by his elders? Or is he resigned and accepting of his lot? We have no way of knowing. His one independent action is to buy a bottle of Coca-Cola to go with his usual meager meal after his father uncharacteristically gives him a little money.
There’s certainly a suggestion, once again, that small-town life is deadening to people. The rote learning and lack of relevance in the subjects taught in school help explain the lack of imagination and the resignation to their situation among the students.
My suspicion is that later directors may have seen the potential in A Simple Event and built upon it, introducing a greater empathy with their child protagonists and certain greater drama and suspense.
To me, the surprise among the Iranian films was Oon Shab Ke Baroon Oomad Ya Hemase-Ye Roosta Zade-ye Gorgani (The Night It Rained or the Epic of the Gorgan Village Boy, dir. Kamran Shirdel, 1967). It’s a sophisticated investigative documentary that reminded me of the work of Erroll Morris.
The film begins with a written report on the making of the film itself, submitted to the authorities by Shirdel. It seems to describe earnest attempts to document an inspiring story that had been widely circulated in newspapers. On a rainy night, a boy in the village of Gorgon had discovered that flooding had undermined the local train tracks; he signaled an oncoming train by setting his jacket alight, successfully stopping it and saving 200 passengers’ lives.
Doubt begins to creep in, though. Among the many newspaper titles shown trumpeting the boy’s feat, we find one calling it a pack of lies. Shirdel’s report indicates that his team could not find the boy and set out to interview various people. Gradually it becomes apparent that the whole story was concocted and that the train–a cargo train with no passengers aboard–was stopped by local railway officials. Throughout the film, there are further passages from the production report, describing the filming work as if it were for a simple, laudatory documentary about the heroic boy. We see, however, that much of the filming undermines that heroism and satirizes the government’s willingness to perpetuate false accounts of it.
Shirdel carefully avoids making that point explicitly. He intercuts interview scenes, some of the boy rattling off his story and some of newspaper editors defending the story (above). In other scenes, we hear from indignant railway officials and an editor who dismisses the incident as pure fiction. The director seems to let us decide on the truth, but the the absurdity of boy’s supposed heroism becomes increasingly apparent.
Not surprisingly, Shirdel’s film was banned. Six years later, according to the program notes, “it was deemed harmless. It was then premiered at the Tehran International Film Festival where it won the Best Short Film award.” Clearly the officials who cleared it for release missed the ironic underpinnings of the film.
The Night It Rained (and perhaps others of Shirdel’s films) may have offered a model of reflexive filmmaking that later directors picked up on. Close-up, The Mirror, Salaam Cinema, and Through the Olive Trees all bring filmmaking into the stories they tell.
Thanks to Ramin S. Khanjani for some corrections concerning the Iranian section of this entry. His article on The Night of the Hunchback, “Actors and Conspiracies,” was published in Film International 15, 3/4 (Autumn 2009/Winter 2010): 66-71.
David has already posted an early report on his first full day at Il Cinema Ritrovato in Bologna. It conveys something of the overwhelming abundance of offerings at this year’s festival. Writing another entry during the festival itself proved impossible, given our packed schedules, but now we have time to catch our breath and reflect on what we were able to see.
As with the 2013 festival, I decided that the only way to navigate the many simultaneous screenings was to pick out some major threads and stick with them. I chose the retrospective of Polish widescreen films of the 1960s, that of Indian classics from the 1950s, and the third season of early Japanese talkies. Miraculously, none of these conflicted with each other, the Polish films being on mainly in the mornings, the Japanese ones directly after the lunch break, and the Indian films starting late in the afternoon.
Again, it was possible to fit in a few films from the other programs on offer, including a series of Germaine Dulac’s films, restorations of East of Eden and Rebel without a Cause, a selection of Riccardo Freda’s work, Italian contributions lifted from various anthology films of the 1950s and 1960s, a celebration of the 50th anniversary of the Österreichisches Filmmuseum, and many Chaplin shorts (the festival was preceded by a brief conference on Chaplin).
The annual Cento Anni Fa program, showing films from 100 years ago, has changed, in part to accommodate the fact that the transition to feature films was well underway. The series programer, Mariann Lewinsky, has also branched out. Having discovered many unknown or little-known early silents during her annual quests, she has included other brief thematic programs, such as fashion in early films. In addition, there was a lengthier selection of early films dealing with war, given that we are now in the centenary of World War I.
A Journey from Pole to Pole
The Saragossa Manuscript (1965).
To me the biggest revelation of the festival was the program of Polish anamorphic widescreen films. Representing most of the major Polish directors working in widescreen in the 1960s, these were shown in 35mm, mostly in original release prints from the period, on the big screen of the Cinema Arlecchino theatre. Despite occasional wear in the prints, they looked great.
The series kicked off with Aleksander Ford’s little-known The First Day of Freedom (Perwszy dzień wolności, 1964). Like many of the films in the program, it dealt with World War II. Polish soldiers, escaped from a POW camp, enter a nearly deserted German town. They disagree on whether to help protect the civilians they encounter or participate in the general rape and pillage in the wake of the Nazi retreat. It’s a grim and realistic look at a topic seldom tackled in films about the war.
Also on the program was Andrej Munk’s Passenger (Paseżerka, 1963), left unfinished when the director was killed in a car accident. His colleagues eventually decided to assemble the film without additional footage, drawing upon still photos for some scenes and an effective voiceover filling in the action. The effort works well, and the result is a powerful examination of a Nazi death camp. The story does not concentrate on Jews but on political prisoners, implicitly communists and other rebels. The result is the sort of disguised political comment on Poland’s contemporary situation that is common in these films.
Early on, a middle-aged woman aboard a ship tells her companion about her life in as an official in the camp–a story that is contradicted when the actual scenes of her activities at the camp play out. The woman singles out a female prisoner, Marta, and rationalizes her irrational mixture of rewards and punishments as efforts to save her from the other prisoners’ fates. With its depictions of cat-and-mouse games between prisoners and captors and its references to mysterious sadistic rituals played out by the guards, the film is a powerful meditation on the camps, worthy, as Peter von Bagh’s program notes say, to sit alongside Resnais’s documentary, Night and Fog.
Among the unexpected delights of the series was Lenin in Poland (Lenin w Polsce, 1966) by Sergei Yutkevich (or, as he is credited here, Jutkevič). Yutkevich began as a member of the Soviet Montage movement, contributing a little-known, late feature, Golden Mountains (1932). Working in Poland, he managed the formidable task of humanizing Lenin in unorthodox ways. Yutkevich concentrates on the leader’s Polish exile on the eve of World War I. Framed by Lenin’s brief imprisonment on charges of espionage, the film proceeds through flashbacks to his recent activities. As portrayed by Maksim Strauch, whose resemblance to the revolutionary leader gave him a long career in numerous films, Lenin is humorous, kind, thoughtful, and a likeable protagonist. Yutkevich includes touches from the Montage movement, with some passages of quick cutting and frequent heroic framings of the protagonist.
With my interest in ancient Egypt, I was particularly curious about Faraon (Pharaoh, Jerzy Kawalerowicz, 1966). The director tackles the unusual and obscure topic of the end of the 20th Dynasty, which led to the end of the golden age of the New Kingdom and the instability of the Third Intermediate Period. The film’s drama comes from the real-life conflict between the impoverished, weakened monarch and the wealthy, powerful priests of Amun in Thebes. I’m not sure how well an audience not familiar with this era would follow the plot, even simplified as it is. There are some remarkable crowd scenes, as at the top of this entry, when Herhor, the chief of the priests, rallies the crowd against the pharaoh. Still, I did not find the story engaging. Presumably it was a covert commentary on politics in Poland at the time.
The best-known of Polish directors, Andrzej Wajda, was represented by two films. One was the earliest film shown in the series, Samson, from 1961. It concerns a young Jewish man who is lured to escape from the Warsaw Ghetto and spends most of the film dodging the police by moving from one temporary haven to another. Wajda creates a compelling depiction of the ghetto early on, and I wished he had stayed in that environment longer.
My favorite film of the festival was Wajda’s little-known Ashes (Popioły [not to be confused with Ashes and Diamonds], 1965), an epic tale of the Napoleonic wars and Poland’s unwise participation in them on the side of the French. The protagonist, Rafal Olbromski, is a naive young nobleman from a rural area, a Candide-like figure whom we follow as he leaves his estate to go to war and moves from locale to locale, manipulated by more sophisticated characters. The result is a dizzying succession of battle scenes, largely without any context being established, punctuated by visits to the estates of those who are backing the Polish participation in Napoleon’s conquests. Wajda seemed to have had nearly limitless funds for the film, and the battle scenes are monumental.
Far less obscure is Wojciech Has’s The Saragossa Manuscript (Rękopis znaleziony a Saragossie, 1965), a cult item among film buffs and reputedly one of Luis Buñuel’s favorite films. It’s a complex, surreal tale of a wandering soldier of the 18th Century who passes the gibbets of two executed men in a bleak Spanish landscape and enters a mysterious inn. There he encounters a large bound manuscript that leads him into a world of shifting fantasy and tales within tales within tales. Has’s was certainly one of the most humorous and entertaining films in the series.
The latest film in the program, Adventure with a Song (Przygoda z piosenka, Stanisław Bareja, 1969), was radically different from the others and provided a look at popular Polish cinema of the 1960s. Bareja was a successful director of comedies and musicals. This one follows a young singer who wins a local singing contest with the improbably named “The Donkey Had Two Troughs,” and decides to head for a professional career in Paris. The filmmakers’ attempts to replicate the Mod styles and garish colors of the 1960s in the West yield an incongruous and awkward but fascinating film .
The one disadvantage of seeing these vintage distribution prints (mostly with English subtitles) was that some were abridged versions, occasionally radically so. Samson, The First Days of Freedom, Adventure with a Song, and, inevitably Passenger were shown complete. Judging by imdb’s timings, however, others were missing significant amounts footage: Ashes (shown at 169′, originally 234′), The Saragossa Manuscript (155′ vs. 175′), Pharaoh (149′ vs. 180′).
Recently there seems to be a revival of interest in Polish classic films. Martin Scorsese has curated a large program that is currently touring the US with digital copies of restored films. (For links to numerous articles on the series and the restorations, see its Facebook page.) I hope that some enterprising company will issue the complete versions of these Polish classics in their proper widescreen ratios. Ashes is a particularly good candidate for such treatment. Having sat through it once at nearly three hours, I would happily watch it at closer to four.
Worthy of restoration
There’s a growing interest in recent Indian films, at least in the USA. Our biggest local multiplex nearly always devotes one screen to a Bollywood musical, and sometimes two. Yet few know the great classics of the early post-colonial period in India, following World War II and independence from Great Britain, which are seldom seen, even by film historians.
One reason is because many of these classics still await restoration. While most programs shown in Bologna consist of newly restored prints, this series was titled “The Golden 50s: India’s Endangered Classics.” Each of the features was accompanied by an episode of “Indian News Review,” a newsreel that for years was shown in film programs across India. Shivendra Singh Dungarpur, founder of the Film Heritage Foundation, curated the series and introduced each film, emphasizing that even the eight classics selected for the program are in danger if not properly restored soon.
The need was evident from the prints. Some were old distribution prints, but three of the films could only be shown on Blu-ray. Even under these conditions, however, the range and quality of Indian cinema of the 1950s was apparent.
The earliest film in the series, Chandralekha (S. S. Vasan), was made a little before that decade, in 1948. Its presence stems from its crucial importance in Indian film history. It was the first big, successful Indian musical of the post-colonial era and set the pattern for many of the country’s subsequent films. The story has a fairy-tale setting, with a good and an evil brother fighting over the throne of their father’s kingdom and also for the hand of the beautiful Chandralekha. The rambling plot includes lots of songs and dance numbers, leading up to the climactic, legendary Drum Dance (below right), with dozens of dancers atop rows of enormous drums. It lives up to expectations. (For more on Chandralekha, see fellow Ritrovato fan Antii Alanen’s epic blog post.)
David has already described seeing the sole Raj Kapoor film in the series, the very popular Awara. Bimal Roy’s Two Acres of Land (Do Bigha Zameen, 1953) is a very different sort of film. Quite consciously inspired by Bicycle Thieves, Roy’s film eschews the standard musical numbers and deals with a poor farmer destined to lose his small farm unless he can pay off a large debt. His journey to Kolkata, with his son trailing after, throws obstacle after obstacle in his path, and Roy avoids a happy ending. The film was shot on the streets of Kolkata, which Dungarpur assured us have not changed much since this record of them.
One of the great Indian directors, Ritwik Ghatak, has become somewhat familiar in the West, thanks in part to the British Film Institute’s issuing two of his masterpieces on DVD: A River Called Titas and The Cloud-Capped Star. The series at Bologna included Ghatak’s first feature, Ajantrik (1957). It is set among the poverty-stricken Oraons, an isolated population in Central India, and follows a man who is devoted to his dilapidated taxi, which he manages to hold together well enough to supply him a marginal living. He has come to think of the car as a human companion. (Accordingly, the title means, roughly, “not mechanical,” although for western distribution it was given the unenticing title Pathetic Fallacy.) Though Ajantrik is not a major film on the level of the others in the program, it was good to have the rare opportunity to see Ghatak’s first film.
The star of the series was undoubtedly an equally respected director, Guru Dutt. Two of his films, in both of which he also starred, were shown. One of his finest films, Pyaasa (The Thirsty One, 1957), was perhaps the best film of the program. Dutt is considered to have integrated the conventional song episodes of Indian cinema into his films more skillfully and in more original ways than other directors.
Dutt plays a great but unappreciated poet whose work is ignored by the intelligentsia of his own class. He wanders in despair among the poor and outcast, for whom he has great sympathy. In one haunting scene, he walks through a brothel district and sings of his despair for humanity (below). Early in the film he meets a prostitute who appreciates his poetry and falls in love with him. Only after the poet’s apparent death does his work become widely loved among the the common people, but his reputation is exploited by his hypocritical family and publisher.
Dutt’s Kaagaz Ke Phool (Paper Flowers, 1959), was also shown. Again Dutt plays an unappreciated artist. A film director divorces his wife and becomes the target of gossip when he casts a beautiful young actress in his next movie. His personal misery affects his ability to direct, and after a slow slide into alcoholism, he loses his job. The plot allows Dutt to express self-pity more obviously than in Pyaasa, and the comic scenes with his ex-wife’s family strike an odd tone in such a grim story. Kaagaz Ke Phool was not a success, and Dutt gave up filmmaking altogether, dying of an overdose of sleeping pills five years later. As Dungparapur pointed out, he was one of several important Indian filmmakers who died rather young, which makes the rescue of these classics all the more essential.
Reporting on the magnificent Cinema Ritrovato festival at Bologna has become a tradition with us, but it’s become harder to find time during the event to write an entry. The program has swollen to 600 titles over eight days, and attendance has shot up as well; the figure we heard was over 2000 souls. The organizers–Peter von Bagh, Gian Luca Farinelli, and Guy Borlée–have responded to requests for more repetition of titles by slotting shows in the evening, some starting as late as 9:45. (You can scan the daily program here.) There are as well panel discussions, meetings with authors, and some unique events, such as carbon-arc outdoor shows, the traditional screenings on the Piazza Maggiore, and Peter Kubelka’s massive and mysterious Monument Film. Add in time to browse the vast book and DVD sales tables, and the need to socialize with old friends.
In all, Ritrovato is becoming the Cannes of classic cinema: diverse, turbulent, and overwhelming. How best to give you a sense of the tidal-wave energy of the event? I’ve decided to take off one morning and write up just one day, Monday 29 June. I don’t know when Kristin and I will find time to write another entry, for reasons you will discover.
9:00 AM: Ned Med Vaabnene! (Lay Down Your Arms!, 1914) was a big Danish production, based on a popular anti-war novel by the German Bertha von Suttner. It’s a remnant of the days when the rich went to war along with the common folk. (Sounds quaint in today’s America, where the elite have other priorities.) The Nordisk studio specialized in “nobility films,” melodramas that show the upper class brought low by circumstances; Dreyer’s The President (1919) is another example. The film, directed by Holger-Madsen, shows a family devastated by war and its aftermath. It’s shot in tableau style, with the restrained acting and sumptuous, light-filled sets characteristic of Nordisk. The combat scenes are remarkably forceful, but the most harrowing scene, for me, is the shot showing a battlefront hospital, with exhausted nuns and wounded men strewn around the shot–a tangle of limbs and heads.
Premiered soon after the Great War broke out, Lay Down Your Arms! anticipates Nordisk’s wartime policy. Denmark was a neutral country, and the Danish industry depended on both the German and the American markets. As a result, most of the films studiously avoided taking sides. After the war, with the revival of the German industry and the circulation of American films in Europe, Nordisk lost its powerful position in the international market.
The entire film is available for viewing online at the Danish Film Institute site.
Programmer Mariann Lewinsky, in charge of the “100 Years Ago” thread, wisely included other pacifist films from the mid-teens. One of the high points was the evening screening, on the Piazza Maggiore, of the fine Belgian film Maudite soit la guerre (1914), in the hand-colored version I discussed some years back. Not by accident, I suspect, Lay Down Your Arms! featured several Lewinsky dogs.
10:30 AM: Werner Hochbaum was an unknown name to me, but after seeing Morgen beginnt das Leben (Life Begins Tomorrow, 1933), I realized that was my loss. This story of a cafe violinist released from prison is a sort of anthology of 1920s International Style devices: canted angles, rapid montages, City Symphony passages, flamboyant camera movements, multiple-image superimpositions, and huge close-ups of faces, hands, and objects. The work on sound is no less ambitious, with voice-overs, sound motifs (a carousel, a canary’s call-and-response to a chiming doorbell), offscreen dialogue, and harsh auditory montages of traffic and city life. Everything from Impressionist subjective-focus point-of-view to Expressionist shadow work comes into play.
The plot is gripping throughout. At first we don’t know why the violinist was imprisoned, and we learn about the case first from his gossiping neighbors (excellent run of whispers during fast-cut close-ups of housewives), then from his own flashbacks, which build up to a revelation of the murder he committed. Threaded with all this is another uncertainty: Has his wife begun a love affair while he was in jail? Giving us only glimpses of her life as a cafe waitress, Hochbaum leads us to suspect that he will come home to more misery–and perhaps another temptation to murder.
Along with all this were arresting side scenes of cafe life, like a fat woman ordering up a gigolo to dance with her, reminiscent of Georg Grosz and the New Objectivity’s cynical portrait of daily desperation. It’s a lot to pack into 73 minutes, but Morgen beginnt das Leben succeeds smoothly and made me want more. Alex Horwath‘s introduction confirmed that this is a director we should know better. We can hope that a DVD edition is coming soon.
Noon: A packed house for the panel of three American studio archivists: Schawn Belston of Twentieth Century Fox, Grover Crisp of Sony, and Ned Price of Warners. Too many ideas to summarize here, but one that emerged: Digital tools are great for restoration, not so reliable for preservation.
Ned (left) emphasized that now scanners are very sensitive to the oldest negatives, with their shrinkage and warpage. But Ned pointed out that today’s monitors don’t often render the full color scale needed to respect film’s tonal range, so that weak monitors mean that we are “working blind” and may “bake in” flaws that will be evident when display devices improve. Likewise, low bit-depths (often only 10-bit) in outputting to film for preservation can cause problems later. Grain reduction is another big problem. Grover (center) added: “When you do anything to grain, you’re denaturing the film.”
On the restoration front, Schawn showed clips from the 1959 Journey to the Center of the Earth, first from a beautiful photochemical restoration of twelve years ago, then from a recent digital one. To my eye, the warm skin tones of the 35mm image were more attractive than the almost porcelain surfaces of the digital version, but the latter was sharper and contained a healthy amount of grain. Grover screened A/B comparisons of the main titles of Only Angels Have Wings and Vaghe stelle dell’Orsa (Sandra ), both of which showed how handily digital restoration creates a rock-stable image, without the jitter and weave unavoidable with a strip of film.
All the panelists agreed that digital restorations are rapidly improving; ones finished only a few years ago could now be done better. A major problem coming up is that younger restoration workers know the digital tools better than the look and feel of photochemical, particularly the surface of older films. Grover recalled that one eager techie added flicker to a Capra silent because he thought that was how old movies looked.
1:15 PM: Hurried lunch with Schawn. Main topic: The Grand Budapest Hotel, but also the vagaries of the DVD and Blu-Ray market.
You Never Know Women (1926) is an exercise in good old classical storytelling. The plot presents Vera (Florence Vidor), star of a troupe of Russian entertainers, momentarily entranced by a no-good millionaire who wants to seduce her. The magician of the troupe, Norodin (Clive Brook) loves her, but she’s unaware of her feelings for him until the Lothario’s true nature is exposed. El Brendel adds spice as a clown devoted to his pet duck.
Variety‘s review was ecstatic, claiming that “Wellman at the megaphone lifts himself into the ranks of select directors with by his handling of this story, for his direction is never obvious or old-fashioned.” I’ll say. Filled with running gags, seesawing conflicts, and motifs (Ivan’s skill at knife-throwing, the expletive, “Ridiculous!”), You Never Know Women has a headlong pace. With nearly a thousand shots in 70 minutes, it relies on glances, gestures, and reactions to channel the dramatic flow. It needs only three expository titles, letting its 100 or so dialogue titles pinpoint key emotional transitions. In anticipating the sound cinema that was just around the corner, You Never Know Women resembles the more famous Beggars of Life (1928, given pride of place at Ritrovato), which as I recall uses dialogue titles exclusively.
The Man I Love (1929) tells the familiar story of a prizefighter who, as he rises in the game, leaves his loyal woman behind. As an early sound film, it relies on multiple-camera shooting for extended dialogue scenes, but Wellman enlivens the staging with unusual angles, including a view of a quarrel seen through a window in a dressing-room door. The Man I Love boasts the sort of ambitious, somewhat bumpy tracking shots we sometimes find in early talkies. One swaggering camera movement takes us from the locker room into an arena, down the aisle, past the ring, and to Dum Dum’s anxious wife in the crowd, a sketchy prefiguration of the celebrated Steadicam movement in Raging Bull. The fight scenes, not requiring sync sound, are shot with brio, while the dialogue scenes are extremely well-miked, allowing for fairly fast line readings and varied volume and emphasis in the voices.
Gina Teraroli and David Phelps, along with other colleagues, have assembled a wide-ranging dossier on Wellman’s work that serves as a fine complement to the Ritrovato thread.
5-something PM: One of the things in the first edition of our Film History: An Introduction that made me proud was the inclusion of sections on Indian cinema, a subject usually ignored in textbook surveys. I remember in the late 1980s and early 1990s watching the 1950s-1960s classics of Hindi filmmaking with a sense of discovery: How could we not have known this invigorating tradition? It was therefore with a sense of homecoming that I visited Raj Kapoor’s Awara (“The Vagabond,” 1951), in a pretty sepia-tinted print.
The young ne’er-do-well Raj (no last name, and this is important) is on trial for attacking a judge in his home. A female lawyer, Rita, takes up his defense and urges the judge, on the witness stand, to tell why he expelled his wife from his home many years ago. The wife had been kidnapped by the gangster Jagga, and the judge assumed that the child she was now expecting was Jagga’s. Before the courtroom, Rita recounts up the story of how young Raj, actually the judge’s legitimate son, took up a life of crime. To add spice, Rita is the judge’s ward and Raj’s lover.
No coincidence, no story, they say, and Awara offers plenty of timely misunderstandings and improbably neat encounters. No matter. We’re told that TV narrative, by stretching its tale over several hours, can introduce novelistic breadth, but so can Indian classics of the 1950s. This one takes us across twenty-four years and as many ups and downs as a mini-series might offer. Not to mention Kapoor’s vigorous visual style, with huge sets, vivacious fantasy sequences, and traces of 1940s Hollywood hysteria (chiaroscuro, fluid track-ins to overwrought faces, even thunder and lightning in the distance). Here Raj, about to stab the judge, shatters the childhood picture of Rita; her simple gaze checks his moment of revenge.
Then there are the songs, lusciously sung by Lata Mangeshkar and Mukesh. Of course the sprightly “Awara Hoon” is the official classic and Kapoor’s signature tune, but this time around my favorite was the duet, “I wish the moon…,” with Rita asking the moon to look away and Raj asking it to turn to him. With its glamorized social realism, its tale of a good boy gone wrong, unjustly punished, and eventually redeemed, and its primal themes of mothers, fathers, and sons, Awara is a milestone in the world’s popular cinema…. and just one of several Indian classics in this year’s Ritrovato.
That was one day. Now I’m off to…what? Polish films in widescreen? The Riccardo Freda retrospective? The rare Ojo Okichi? Or maybe the restored Oklahoma!? In any case, this afternoon an incontro on Nicola Mazzanti‘s book 75000 films, and tonight Guru Dutt’s glorious Pyaasa.
I tell you, it’s hard to keep up, running on Ritrovato time.
Nargis and Raj Kapoor sing to the moon in Awara.
Audiences gather for screenings at the Bell Lightbox, hub of the Toronto International Film Festival.
Around midnight tonight, the crowds packing the Toronto International Film Festival will disperse, leaving the city full of memories of another extraordinary year. I’ve been back in Madison for this last week, but my few days at TIFF remain on my mind. This is partly because along with the films came a lot of ideas, opinions, and information. At any festival, fraternizing with audiences, critics, and programmers is one fine way to get that stimulation. It happened after some of the Wavelengths section’s short-film programs. Here are Raymond Phatanavirangoon and Bob Koehler outside the Art Gallery of Toronto, where their Devo retro-stylings raised our conversation to a new level.
More structured sessions delivered too. Out of my 4-plus days at the Toronto International Film Festival, I set aside about one and a half for industry panels and filmmaker Q & A’s. Let me tell you a little of what I learned.
From Assayas to Asia
TIFF: Where programmers meet stardom.
The talkfests I attended shed light on both film artistry and film business-making. Central to the first area was the master class with Olivier Assayas, hosted by Brad Deane.
Assayas, a charming fellow, talked fluently about how Something in the Air (discussed here) bears traces of his youth. During the 1970s, high-school kids were “footsoldiers of the cultural war of the time.” He recalled his affinities with the artistic side of the counterculture, as opposed to the extremes of the political activists, some of whom, being aligned with Maoism, refused to recognize the Cultural Revolution as “disaster on a demented level.” Yet this shouldn’t be taken as apolitical aestheticism; Assayas has been a vigorous advocate for the work of Situationist Guy Debord.
Assayas was refreshingly detailed about his working methods. He writes only one draft of his screenplay, partly because he wants to protect the “digressive” aspects of his story. (This tendency is apparent, and enjoyable, in Something in the Air.) Since his films are difficult to classify within standard genres, he needs to cobble together creative financing for each project. But the script becomes obsolete when he casts the film and visits locations. By embodying the characters, the actors create beings “more powerful than what I’ve written.” Working with them, he refuses to supply background on the characters’ psychology. “I look to them to understand the characters.” This hands-off approach yields striking results in the new film, where nearly all the cast is non-professional.
Assayas doesn’t undertake elaborate rehearsals, instead coming to the set each morning and describing the shots they’ll make. He wants to take account of the evolution of the film as it’s been developing. He doesn’t fully block the shots. He sketches each one in longish takes that, as the actors expand on the action, “add layers” to what he’d initially planned. Alternatively, he cuts up the long takes and combines pieces of them. For Something in the Air, he relied on stable and wide framings, partly in reaction to trends toward handheld shots and close-ups, partly because he used the crane to create a “floating,” more lyrical circulation through the space.
Artistry, mixed with business sense, was apparent in one of the panels at the Asian Film Summit’s day of meetings. Colin Geddes hosted a session on Asian genre cinema, and several producers and directors shared thoughts on action cinema as an international genre. Fanboy blood pulsed high.
Eli Roth (left), another kid who grew up with Kung-Fu Theatre on TV, was bowled over years later by Korean and Japanese thrillers like Sympathy for Mr. Vengeance. Now Roth is producer and co-writer of The Man with the Iron Fist, directed by RZA–who is, according to Roth, letter-perfect on his kung-fu film knowledge. “We wanted to do a movie like we saw as kids on Saturday afternoon.” But production values in the genre have swollen since the old days. The project is using the Hengtian studio’s vast replica of the Forbidden City. RZA, Roth says, expected The Last Emperor to be a kung-fu movie, so this is his attempt to make things right.
Tom Quinn, Co-President of the Weinstein Company’s RADiUS division, had similar affinities. As he pointed out, East Asian countries have strong local markets and so can build a base in genre cinema. With quantity comes quality. While working at Goldwyn and Magnolia, Quinn handled US distribution for The Host, Pulse, Tears of the Black Tiger, and most recently 13 Assassins, along with many other titles. Ong-Bak, on view at TIFF in 2004, was a particular triumph for him, yielding over a million dollars in its first weekend of release and eventually garnering $4.5 million in the US. Even the heavy piracy of Ong-Bak Quinn takes as a positive sign, “a validation of the film’s value.”
Bill Kong, a legendary Hong Kong producer and a force behind Crouching Tiger, Hidden Dragon, along with Stephen Fung, director of Tai Chi 0 (above), filled out the panel. Overall, the discussion ranged widely, but one question kept cropping up. Why is it that Western films are widely popular in Asia, but Asian cinema is almost completely a niche market in the West? I didn’t hear a clear answer (though I’d start an answer with Western racial prejudice).
Kong noted that Asian filmmakers don’t have high expectations about penetrating the US market, but other panelists were more hopeful about crossover projects. Quinn pointed out that the festival circuit built an audience, and Roth thinks that Tarantino has been a major player in making Asian film more popular, especially with the Kill Bill duet. The fact that Russell Crowe plays a major part in The Man with the Iron Fist suggests that things may be changing.
Bigger than Bollywood
The East/West dynamic was also the focus of two other panels. “India: Lessons from Bollywood and the Independents” brought together a nearly all-female group of experts to discuss local financing and wider distribution. All were agreed that it was necessary to convince the world that Indian cinema was bigger than Bollywood. As director Dibakar Banarjee put it: “We need to open the third eye.”
The local industry has a certain comfortable inertia. A film might cost only $150,000, but it can collect 90% of its production costs upon its opening run, said Shailja Gupta, who has been both a director and production executive. Foreign distribution is a major risk at this budget level. So how does a project, particularly an independent film, get international traction?
Coproductions are an obvious path, and while they are still rare, the trend is emerging. The Indian government’s National Film Development Corporation Ltd. has helped with coproductions since 2006, says Nina Lath Gupta, NDFC Managing Director. Such enterprises are rare and mostly involve France or Germany. By establishing the Film Bazaar in 2007, the NDFC acknowledged the importance of marketing as well as financing, and this is getting local filmmakers acquainted with the need to think more globally.
Another path to the overseas market was suggested by Guneet Monga (right). She is a producer on the network narrative Peddlers and the two-part gangster saga Gangs of Wasseypur; both earned very good buzz at TIFF. Monga pointed out that sales agents can help shape projects for international distribution.Working with Elle Driver, she was able to generate three versions of Gangs, targeted for different regions. Moreover, sales agents can help a film by avoiding the old practice of selling it as a single package. Instead, the agent can pre-sell it with a minimum guarantee and negotiate territorial rights further down the line.
Mira Nair, distinguished director of Salaam Bombay and Monsoon Wedding, has long enjoyed worldwide exposure, of course. She shared her thoughts on how filmmakers could follow their visions and still, as she put it, “put bums on seats.” That’s accomplished by not worrying about distribution but devoting energies to creative choices–such as she undertook in The Reluctant Fundamentalist, her first foray into the thriller genre.
During the India panel, moderator Meenakshi Shedde asked if China might become a coproduction partner for local films. This is currently not happening, but the question reflects the significance of the People’s Republic on the global film scene. Earlier in the day, a panel on “Financing Between Asia and the West,” moderated by Patrick Frater, concentrated mostly on China as the leading edge of the region. Once more, the question of coproductions was central.
“Coproduction is a reality now for global filmmaking,” declared Peter Shiao, CEO of Orb Media Group. But the power of China in the new media landscape has created a false optimism among Western entrepreneurs. Shiao warned newcomers that coproductions can’t be fulfilled in good faith with perfunctory gestures, such as including a Chinese actor in a secondary role. (The Expendables 2 was mentioned in this connection.) Aspiring filmmakers need to grasp and follow the China Coproduction Film Office regulations straightforwardly.
Solid coproductions are rare, agreed Bruno Wu, founder and chair of many top Chinese media groups. He pointed out that what works in China won’t necessarily work in the rest of the world, but what works in the rest of the world is likely to work in China. So the Chinese investor needs to look at projects that will play internationally. He gave as examples his firms’ deals with Justin Lin and John Woo, who have reliably won global audiences. Along similar lines, Stuart Ford, founder and CEO of IM Global, suggested that a good alternative to coproduction involves soliciting equity investment from China for Western films. For example, Chinese investors in Paranoia, a $40 million production, acquired mainland distribution rights as part of the deal.
The soundness of investing in Western films seems borne out by local box-office figures. Seventy percent of China’s market receipts come from English-language imports; the several hundred domestic films produced earn only twenty percent. And theatrical receipts provide, according to Peter Shiao, ninety percent of a film’s earnings. Windows in the Western sense don’t exist, and there’s no legitimate home video market. Gradually local filmmakers are experimenting with Western ancillary tactics; Painted Skin: The Resurrection recently tried out apps and games.
China-based Video on Demand is more promising. In a few years, Wu expects there to be several million addressable HD cable homes, and providing entertainment on demand might provide a way around the national quota system for film import. There is no quota restraining VOD distribution, and as it takes hold, it might reduce piracy.
A killer app? (as in killing off business?)
Jonathan Sehring and Winnie Lau at the VOD panel at TIFF, 9 September 2012.
Speaking of VOD, in early September I signed up. I did it partly because there was one title I needed to see immediately: Keanu Reeves’ Side by Side, the documentary about the digital vs. film controversy. More abstractly, I had been learning a little about VOD when I recast and expanded my blogs on digital exhibition for Pandora’s Digital Box, and I was curious about how VOD worked in practice.
After a period of turmoil, the US film industry has integrated VOD into its system of non-theatrical ancillaries. Before, we had DVD and Blu-ray, both rental and retail, along with movie channels like HBO and Sundance available on subscription cable. Eventually movies would show up on basic-cable channels. There was also “pay per view” via cable, a one-off transaction now known as Pay TV VOD.
Now, the internet has expanded the options.
*Electronic Sell-Through (EST) allows the consumer to download a film and own it. This service is available through iTunes, Amazon, and other outlets.
*iVOD (internet VOD) is a one-off rental, to be run immediately or within a specified time period. To check the 1.77 aspect ratio on Dial M for Murder, I rented it for 24 hours on iTunes.
*Subscription VOD (SVOD), which you get with Netflix, Hulu, Amazon, and other providers. This option provides a library of titles available at any time for a monthly fee. SVOD is comparable to cable-television subscriptions, and it’s becoming very popular, as all-you-can-eat options tend to be.
In addition, another option hovers over the business:
*Premium VOD (PVOD) consists of a one-off rental available sooner than the traditional home-video window. The transmission would be via cable or satellite, not the Net, and the price point has typically been $30 for one viewing. The studios tried out PVOD with DirecTV in 2011, with apparently unencouraging results. Worse, last year’s Tower Heist fracas, during which Universal planned to put the film on PVOD 30 days after theatrical release, triggered threats of boycotts from exhibitors. PVOD, however, is likely to reappear at some point because it can offset losses from the declining DVD market.
No surprise, then, that one industry panel was called “VOD Killed the DVD Star.” The session assembled major players in that domain to discuss the present situation and the prospects for the future.
Much of the panel’s time was devoted to explaining why filmmakers needed to be flexible about accepting VOD as a legitimate complement to or substitute for theatrical release. VOD, they insisted, shouldn’t be seen as a dumping ground for weak or narrow-interest films. The reason: The consumer is king, and consumers want everything on demand.
Winnie Lau, Executive Vice-President for Sales and Acquisitions at Fortissimo, said that companies now recognized that consumers should be able to see a film on whatever platform they want. Given the high costs of a theatrical release, that option isn’t justifiable for many films. Philip Knatchbull, CEO of Curzon Artificial Eye, put the case more strongly, declaring that with the consumer in control, notions like windows and “on demand” are losing their usefulness. His view suits a company that, like IFC, has integrated video and theatrical distribution with theatre ownership and HD delivery. There are, he suggested, only home cinema and public cinema, and everyone in the film value chain should be aiming to reach millions of screens.
Tom Quinn of RADiUS was working for Magnolia when in 2005 Mark Cuban experimented with a multiple-platform release of Bubble. “His vision,” Quinn recalled, “was to make films available whenever people liked.” The Bubble experiment was problematic because it came out on film and on DVD simultaneously, but Quinn said that “the hotel VOD numbers were through the roof.” This summer, after twelve months of preparation, RADiUS has issued its first VOD titles, and Bachelorette, released earlier in September, won notice for earning about half a million dollars in its first weekend.
The prototype of longer-term VOD success is the later career of Edward Burns. Burns, who had his first success with the breakout indie movie The Brothers McMullen (1995), was lively and articulate. “VOD helped me stay in business.” He knew firsthand the slow rollout that characterized 35mm platform release in the 1990s, along with the months of press tours. In the years that followed, he realized that his movies–basically, as he put it, people bullshitting with one another around a kitchen table–had shrinking theatrical prospects. In 2007, he offered Purple Violets exclusively on iTunes. This came around the time that IFC and Magnolia were experimenting with day-and-date releasing on different platforms.
Burns was satisfied with the results and built a production model around VOD. The cast and crew work for free and collectively own the film. Budgets can be low; he claimed last year that Newlyweds cost only $100,000. Payments are deferred, and if a film breaks through, everyone makes money. His last three films, he reported, did. He compared the business model to that of an indie band. VOD gets his work to the people who watch HBO, Showtime, AMC. “That’s our audience.”
Burns is an unusual instance, since as one panelist pointed out, he has established his own brand. Still, other VOD releases can break out. The most widely publicized example is Margin Call, with about $4.5 million on VOD. Jonathan Sehring, President of IFC and Sundance Selects, was a pioneer of alternative platforms, and he remarked that 4 Months, 3 Weeks, and 2 Days did better on VOD than in theatrical release (where it grossed $1.2 million). In a recent interview, Sehring indicates that the recent IFC release About Cherry as doing as well as Bachelorette on VOD and other revenue streams.
It seems, then, that these and other industry decision-makers see VOD as offering two avenues, depending on the film. VOD can provide a new window, to be added before or after or during theatrical release. Alternatively, VOD can replace theatrical, as it has done for Burns (who will still occasionally give a film like the upcoming Fitzgerald Family Christmas brief theatrical play). With this option, many films, both domestic and imported, will never see a theatrical release but they might make money on the less costly VOD platform.
The problem for the second strategy is finding a way to make the film stand out from the thousands of titles available in cable and VOD libraries. A theatrical release provides the “shop window,” as Knatchbull called it, but without that, the film needs other salient features–big stars or cult buzz–to attract the home viewer.
Despite the panel’s title, the guests didn’t predict that VOD would displace discs. In fact a couple of panelists agreed that DVD and Blu-ray would be around quite a while. Quinn (left) confessed that as someone who grew up with VHS he would always be collecting his favorite films on physical media.
There’s something else to consider: some dramatic disparities between VOD and DVD consumption. The differences are spelled out in a recent IHS Screen Digest report.
On one hand, the VOD audience has grown rapidly. The report counted transactions–buying a movie in any form–and came up with striking figures for the world’s top five regions.
2007: DVD retail and rental: 2.7 billion transactions; online VOD in all forms: 14.8 million transactions.
2011: DVD retail and rental: 2.58 billion transactions; online VOD in all forms: 1.4 billion transactions (nearly all SVOD).
The Screen Digest team estimates that 2012 will see an even bigger burst in online VOD, totaling 3.4 billion transactions, with nearly all that via subscription. (I’m in there somewhere.) By contrast, physical media sales and rentals are predicted to fall further, to 2.4 billion transactions.
The disparity lies in “monetization.” We have some access to weekend box office grosses, but almost none to income from DVD and VOD, so comparison is difficult. Still, everyone knows that DVD purchase and rental, along with pay TV licensing, yield the bulk of film revenues. In another research report, Screen Digest estimates that in the US the 2012 surge in VOD will yield only $1.72 billion. DVD will yield $11.1 billion, nearly ten times the VOD transactions. Even with the declining retail and rental prices of discs, VOD yields much less per transaction than DVD does, especially with subscription services leveling out the cost to consumers.
So did VOD kill, or at least wound, the DVD star? When measured in transactions, yes. In revenues, no. Moguls pay off their Ferraris in dollars, not transactions, so it seems that VOD would have to expand colossally, or raise prices, or both, to come close to achieving the returns of DVD.
It’s conceivable that VOD will cannibalize other windows, if you’ll excuse the mixed metaphor. DVD transactions were going downhill before the rise of VOD, but perhaps VOD will accelerate that plunge. iTunes already charges up to $20 for EST downloads of a new release. As consumers become used to storing their movie and TV collections digitally, the convenience of EST could hurt DVD sales.
Moreover, VOD has always threatened the theatrical market. That’s why exhibitors cried foul when Premium VOD was tried. But box-office grosses overall remain robust because ticket prices are constantly rising and 3D and Imax rely on upcharges. These revenues offer studios a good reason to maintain strict windows, at least for their most successful releases. Still, studios are very likely to continue to press for PVOD. And indie distributors have embraced VOD release exuberantly. Foreign and indie titles released on VOD before or during the theatrical run may steal business from art houses.
In sum, VOD might shake up the other platforms quite a bit. If your analogy is the music business, theatrical and DVD formats stand in for albums, while VOD is the online force that lowers consumers’ sense of a fair price point. There’s some discussion of raising prices for some iVOD and Pay TV VOD offerings to parity with theatrical ticket prices. I wonder if consumers will sit still for that. As a novice VOD’er who likes going out to see movies big, I probably wouldn’t. Unless Hulu’s Criterion library discovered a lost Mizoguchi.
Assayas’ autobiography A Post-May Adolescence has just been published in English translation. It includes two essays on Debord. At the same time, an anthology of critical essays on Assayas, edited by Kent Jones, has appeared in the sterling Austrian Film Museum series.
Patrick Frater reports on the TIFF Asian Film Summit at Film Business Asia.
My statistics on the progress of VOD come from “Movie Consumption Stabilizes,” IHS Screen Digest (April 2012): 95-98, and “Online Movie Consumption in the US,” IHS Screen Digest (May 2012): 116. See also Andrew Wallenstein’s Variety story, where we learn that Netflix’s subscription model is beating the pants off the competition. Thanks to David Hancock of IHS Screen Digest for further information.
As before, thanks to my Toronto hosts Cameron Bailey, Brad Deane, Christoph Straub, Andrew McIntosh, Andrea Picard, and all their colleagues.
TIFF leaves an indelible mark: The ankle of Crystal Decker, Marketing Manager of Well Go USA Entertainment, US distributor of Tai Chi 0.
P.S. 17 September: Thanks to Anuj Mehta for correction of a misspelled name.