Mourning.

DB here:

At the Wisconsin Film Festival I saw the best film I’ve seen over the last six months. I can’t really say much about it, but I’ll do what I can. My remarks make most sense, I think, if I embark on a pretty long detour.

The frame-rate shuffle

3D still photographs by Peter Jackson taken during the filming of the Lord of the Rings trilogy.

In the wake of April’s convention of the National Association of Theater Owners, the biggest press tumult surrounded Peter Jackson’s ten-minute demo from The Hobbit. Fulfilling what James Cameron had called for at the 2011 NATO confab, Jackson has been shooting at 48 frames per second, and the demo was screened at that rate. Cameron and Jackson are concerned that there’s too much image judder and strobing in digital cinema, especially 3D. They propose a higher frame rate to smooth things out.

Opinion on the Hobbit footage was divided. Some theatre owners and operators were happy with it, but others were uneasy. The higher frame rate tends to eliminate motion blur and create a sharpness that recalls, for some viewers, the brittle look of HD sports broadcasts.  “It looked to me like a behind-the-scenes featurette,” said one.

Jackson, who has been preparing for this initiative on his Facebook page, defended his decision. He maintains that audiences will adapt to it, just as his production team has. Many exhibitors seem to have dismissed the new initiative as too expensive, particularly at a time when many are still paying off the digital conversion. But the Regal Entertainment Group, the largest cinema chain in the US, announced plans to outfit up to 2700 screens so that The Hobbit can be screened at 48 fps. It now seems possible that The Hobbit may be shown in no fewer than six formats: 2D, 3D, and Imax, and in each there will be both 24 fps and 48 fps presentations.

Not being present to watch the footage, I have to withhold judgment about how it looks.  I haven’t though, withheld my opinion about how Cameron and Jackson, along with George Lucas, have used their roles as superstar directors to prod exhibitors to adopt expensive new technology. They acted as the figureheads for the switch to digital in 2005, using 3D as the incentive for exhibitors to convert. A few years later, after proposing 3D television, Cameron upped the ante by urging higher frame rates for film. Jackson has joined him by actually making a film at 48 fps. Cameron has said he prefers 60 fps, which may mean that the goal posts get shifted again when Avatar 2 or something else comes along.

You can go to my earlier post for more thoughts on their tactics. My book on the digital conversion, due out on this site in a few days, offers a fuller account. In the meantime, I’m going to try to understand this frame-rate fracas in a wider historical context.

The palette

Cinema technology has been surprisingly stable, as befits its status as the last surviving nineteenth-century engine of popular entertainment. The dimensions of the film strip, the rate of shooting and showing, and other fundamental factors have altered relatively little. The coming of sound and then the replacement of nitrate-based film by acetate are perhaps the biggest alterations in the basic technology. Below this macro-level, though, innovation has been constant.

From the 1920s through the 1960s, most of the change came in the production sector. The adoption of panchromatic film stock; color processes, principally Technicolor and the monopack systems like Agfacolor and Eastman Color; the development of various lighting units (carbon-arc, incandescent, Xenon); the shift from optical sound recording and reproduction to magnetic processes; the emergence of different sorts of camera support (varieties of tripod, dollies, and cranes, along with handheld devices)—all of these shaped how movies were made but had relatively little effect on how they were shown.

Some 1950s innovations launched in the production sector, notably widescreen cinema, stereophonic sound, and 3D, reshaped exhibition more drastically, because they came at a moment when theatres were anxious to lure back their clientele. Other revampings of exhibition, like wide-gauge film (65mm/70mm) and Cinerama, were never intended to be the universal standard. They were designed for a distribution system that included roadshow exhibition. Dedicated screens showcased big films like The King and I and Lawrence of Arabia for long, well-upholstered runs before the film hit the neighborhoods and the suburbs.

Producers innovate and exhibitors hesitate. Exhibitors must be cautious and conservative; they risk revamping their venue at great cost only to find that the new technology isn’t catching on. The roadshow system repaid exhibitors well, until it collapsed in response to the rise of saturation booking in the 1970s. For similar conservative reasons, exhibitors looked askance at the digital sound reproduction technologies that emerged from the 1970s through the 1990s. At one point, a house had to accommodate four different sound systems, some of them subject to periodic upgrades.

When technologies emerge in the production sector, they mostly promise to enlarge the filmmaker’s palette. A 1950s film could be made black-and-white or color, deep-focus or soft-focus, with arc or incandescents, flat or anamorphic, and so on.

In practice, of course, not everything was possible on every project. Budgets, as ever, limited options, and many directors and DPs disliked shooting in color or CinemaScope but were obliged to do so. And there were some trade-offs. Filmmakers of the 1930s could not shoot on orthochromatic stock, and after the mid-1950s, it was hard to make a film destined for the classic 1.37 Academy ratio. Still, there were few absolutely forced choices, and many directors explored different options from project to project.

The prospect of an enhanced palette is in fact one reason that some filmmakers embraced new technologies. Sergei Eisenstein (who trained as an engineer) was eager to try out sound, color, and even television because they expanded creative choice. Orson Welles saw in the RKO effects department, which had pioneered sophisticated optical-printer work, a way to create images that couldn’t be generated in the camera. As is now widely known, many of Citizen Kane’s most famous “deep-focus” shots were achieved through special effects. Similarly, Stanley Kubrick renewed the power of his images through his eager adoption of new technologies, including long lenses for Paths of Glory, the handheld camera in Dr. Strangelove, faster lenses for Barry Lyndon, and the Steadicam for The Shining. These filmmakers wanted to multiply options, not foreclose them.

Share our fantasy

The changes that Cameron and Jackson propose are more sweeping. Now that digital projection is an accomplished fact, there will be backward pressure to create a wholly digital workflow. Filmmakers who want to shoot on 35mm will be reminded that they will eventually be fiddling with a digital intermediate, and that the final version will be digital, not film-based. A selling point of digital cinema to the creative community was the promise of complete control over the film’s look and sound, so that the audience gets exactly what the filmmaker envisioned. To assure that integrity, the director will have to shoot and finish the project on digital. That will take away an entire dimension of choice—specifically, shooting on film.

The pressure to shoot 3D adds to this. Martin Scorsese and Ang Lee showed up at the same NATO convention to praise the format. Now films that aren’t tentpole items can be made in 3D, they agreed. According to Variety, Scorsese claimed that “2D projection [sic] will eventually go the way of black-and-white—used primarily as a stylistic choice—as auds will soon acclimate to depth even in indie films.” This sounds like a widening-of-the-palette defense, as does his reaction to new frame rates. “You can do anything you want [in post-production] with that image at that level of clarity, can’t you?”

In contrast to Scorsese’s offhand pluralism, Cameron, Jackson, and their confrère Lucas may be creating a scorched-earth policy. Their conception of cinema, I would say, is now largely that of the Gearhead. Their notion of artistry has become quite mechanical, in that they see progress to depend almost wholly on improved hardware (and software).

They represent three mini-generations of Hollywood techno-lover: Lucas, who began in animation; Cameron, who started as a model-builder; and Jackson, the 1980s fanboy who played with King Kong action figures. They are directors who treat cinema as a delivery system for stories grounded in genre conventions. Fantasy is their touchstone, and realism of any sort bears only on how vividly we perceive the images, not what the films show or say or suggest.

Back in 1999, Lucas noted frankly that film was becoming a form of painting, “unfixing the image.”

You have news footage, you have documentary footage—which are supposedly realistic images—and then you have movies, which are completely fantasy images. There’s nothing in a movie that’s true or real—ever . . . . The people in the movie are actors playing parts. The characters are not real. The sets are not real. If you go behind that door you’ll see there’s no building—it’s just a big flat piece of wood. Nothing is real. Not one little tiny minutia of detail is real.

The Hollywood cinema was then putting fantasy and special effects at the center of its aesthetic, and Lucas understood that every film—action picture, romantic comedy, even dramas—would rely on special effects to a new extent.

Here’s Cameron saying the same thing in defending 3D in 2008.

Godard got it exactly backwards. Cinema is not truth 24 times a second, it is lies 24 times a second. Actors are pretending to be people they’re not, in situations and settings which are completely illusory. Day for night, dry for wet, Vancouver for New York, potato shavings for snow. The building is a thin-walled set, the sunlight is a Xenon, and the traffic noise is supplied by the sound designers. It’s all illusion, but the prize goes to those who make the fantasy the most real, the most visceral, the most involving. This sensation of truthfulness is vastly enhanced by the stereoscopic illusion.

It’s hard to believe that Lucas and Cameron don’t know the long tradition of debate in the arts about realism. Realism can be considered a question of subject matter, plot plausibility, random detail, psychological revelation, and many other things; it isn’t just about trompe l’oeil illusion. Moreover, documentary and experimental filmmakers have suggested that cinema can capture moments of unplanned truth. And André Bazin and others have argued that even when presenting fictional tales, photographic cinema gives us unique access to some essential qualities of phenomenal reality. For Bazin, even an awkwardly shot scene could preserve the sensuous surface of things with a conviction that no painterly manipulation can equal—not perfection but brute facticity. Instead, Lucas and Cameron offer a Frank Frazetta notion of realism: glistening, overripe, academically correct rendering of things we’ve seen many times before.

Turnstile dynamics

NATO’s 2005 ShoWest convention: Lucas, Robert Zemeckis, Randal Keiser, Robert Rodriguez, Cameron.

I see a valid place for a cinema of splendor and spectacle, especially in certain genres. There’s nothing wrong with seeking new methods of pictorial representation, as Spielberg did in Jurassic Park, a genuine triumph of veridical realism. Nor am I trashing Lucas and Cameron wholesale; I admire their early films a fair amount. But they’re forcing their conception of cinema on all filmmakers.

Am I being unfair? I don’t think so. When directors say that digital or 3D or 48 fps is the future of cinema, they’re implying wholesale conversion is in the offing. Although Scorsese says that 2D or another frame rate will remain an option, Cameron and Jackson aren’t quite so open-handed. Because they’re convinced that the result is much more immersive, and immersion is always good, the technology should suit every kind of movie. Cameron again:

It is intuitive to the film industry that this immersive quality is perfect for action, fantasy, and animation. What’s less obvious is that the enhanced sense of presence and realism works in all types of scenes, even intimate dramatic moments.

Both directors usually add that they’re not insisting that every film is suited to the new bells and whistles, that it has to suit the plot and so on—the usual boilerplate about the primacy of “story.” “Stereo [imagery] is just another color to paint with,” says Cameron.

But they sound as if not having 3D or 48 fps puts the movie at a disadvantage. Cameron in 2008:

Every time I watch a movie lately, from 300 to Atonement, I think how wonderful it would have been if shot in 3D.

Jackson in 2011:

You get used to this new look [48 fps] very quickly. . .  Other film experiences look a little primitive. I saw a new movie in the cinema on Sunday and I kept getting distracted by the juddery panning and blurring. We’re getting spoilt! . . . There’s no doubt in my mind that we’re headed toward movies being shot and projected at higher frame rates.

As happened before, the pronouncements of the directors mesh well with the initiative of the manufacturers. Back in 2005, Cameron, Lucas, Jackson, Robert Rodriguez, and Bob Zemeckis took to the NATO stage to help sell the Digital Cinema Initiatives program to skeptical exhibitors. Their support (and the box-office numbers of the 3D Chicken Little) aided the projector manufacturers Christie, Barco, NEC, and Sony in rolling out units. The number of digital screens in the US and Canada jumped from ninety in 2004 to over 300 at the end of 2005.

This year, with about two-thirds of all US screens fully converted, Christie circulated a promotional leaflet tied to Jackson’s demo. A few years ago, the future was all about 3D, but now, the text states flatly, “The future of cinema is all about high frame rates.” The cards are on the table.

At just 24 FPS, fast panning and sweeping camera movements that are a critical part of any blockbuster are severely limited by the visual artifacts that would result. . . .

The “Soap Opera Effect” has been derisively used to describe film purist perceptions of the cool, sterile visuals they say is [sic] brought on by digital.

But the success of Hollywood, Bollywood and big-budget filmmakers around the world has little to do with moody art-house films. The biggest blockbusters are usually about immersive experiences and escapism—big, vibrant, high-action motion pictures.

The HFR system, then, aims to spiff up franchises and tentpoles, and all other filmmaking must be dragged along and adjust. Although Jackson says he has heard no plans to charge more for 48 fps shows, Christie thinks we would pay for this treat:

Beyond the simple turnstile dynamics of “must-see” movies, a new, higher standard of movie-going should support premium pricing. Managed right, hotly-anticipated 3D HFR should empower ticket up-charges.

By all signs, the churn won’t stop. “Every three months you’re behind,” says Ang Lee. “We’re guinea pigs.” David S. Cohen, technology writer for Variety, believes that 48 fps is a transitional technology and that 60 fps will win out (“but not soon”). He adds: “Bizzers in both TV and movies are going to be making creative and financial decisions about HFR for years—maybe forever.”

Lucas and Cameron, and then Jackson, grasped that if cinema technology went wholly digital, it would change in fundamental ways. It would turn a medium into a platform, like a computer operating system. The most basic technology of showing a movie would become subject to rapid, radical, ceaseless remaking. It would demand versions, upgrades, patches, fixes, tweaks, and new software and hardware indefinitely.

I’m not sure that NATO’s members have fully realized this. They went into the deal lured by the chance to raise ticket prices and thus offset flat or slumping admission numbers. But attendance is still stagnant, even with the occasional stupendous successes like Avatar and The Avengers. Interestingly, AMC, one of the Big Three circuits that invested heavily in digital projection, is reportedly in talks to sell out to Chinese investors, and other chains are on the auction block. The studios are proceeding with VOD plans that may thin theatrical attendance even more.

Meanwhile, exhibitors face a long future of payouts. When cinema goes IT, as Steve Jobs might put it, we should expect a big bag of pain.

And now for something completely different

I saw Morteza Farshbaf’s Mourning (Soog) on a so-so DigiBeta copy at the Wisconsin Film Festival. This Iranian feature was shot on some godforsaken digital format, certainly nothing that Cameron and Company would approve. For all I know, its camera movements may have strobed unacceptably. I didn’t care.

Cameron et al. claim to worship the god of Story, but no film they’ve made has this subtle a grasp of narrative. Mourning gives us a plot so full of twists—in terms of what happens and how we learn about it—that I can’t summarize even the basic situation without subtracting some of your pleasure. A man and a woman are driving a little boy through a landscape. That’s about all I can tell you.

The film critics at Christie would consider it a moody art-house film. It’s also simple, suspenseful, and surprising, even shocking. It is formally inventive, emotionally poignant, and respectful of its characters and its audience. It is gentle but also unflinching. It’s the closest thing to Chekhov I’ve seen onscreen in a long time.

Was I immersed? Yes, but not in the way Cameron et al. define that state. I was trying to figure out what had already happened, what was happening at the moment, and what might happen next. And maybe I wasn’t seeing things “realistically,” in the 3D sense, but I was seeing something that captured the world we live in—our surroundings (and their stubborn physicality) and our relations to others. That world was also poetically heightened through the most straightforward means: camera placement, lighting, cutting, sound design. The film was, in other words, working in ways that we have always considered central to cinema’s creative mission.

Mourning is part of the fine Global Lens program of circulating features. Here’s a schedule of where and when films in the program are playing. Ask your local festival or art house to book Mourning, or try to see it when it’s available online or on disc. It’s even worth an upcharge.

Lucas’s remarks on realism come from “Return of the Jedi,” an interview with Don Shay in Cinefex no. 78 (July 1999), 18. Figures on the adoption of digital cinema are taken from the report, “Digital Cinema Roll-Out Begins,” Screen Digest (April 2006), 110. A detailed video explaining Hobbit production methods is here, as part of the video diaries on Jackson’s Facebook page. For more from a veteran, see “‘The Hobbit’: Douglas Trumbull on the 48 Frames debate.”

After writing this, I found that Devin Faraci of Badass Digest has a vigorously critical entry on the footage and even calls Jackson and Cameron “gearhead directors.” So I can’t claim originality, but it’s nice to know I have a badass ally.

Thanks to Jim Cortada, author of the forthcoming Digital Flood and Co-Director of the Irvington Way Institute, for explaining IT matters to me.

P.S. 11 May: Christopher Nolan, still embracing film-as-film, claims he’s no gearhead.

Chaz Ebert and Roger Ebert on the stage of the Virginia Theatre, Ebertfest 2012. Photo by DB.

DB here:

The fourteenth Ebertfest, held in the sumptuous Virginia Theatre in Urbana, had its customary mix of independent films old and new, Hollywood classics (sometimes cult classics), an Alloy Orchestra performance, and some unclassifiable items. It was, as ever, a crowd-pleasing jamboree. It reflected Roger’s eclectic tastes and was brought to us by Chaz Ebert, festival director Nate Kohn, and woman-who-knows-and-does-all-things Mary Susan Britt.

You can see the intros, the panels, and the Q & As—that is, nearly everything, except the movies and the offside fun–on the Festival channel here.

The young and the restless

Kinyarwanda.

First features are a hallmark of Ebertfest, and many have stayed in my memory, among them The Stone Reader (2003), Tarnation (2004), Man Push Cart (2006), The Band’s Visit (2008), and Frozen River (2009). This year there were several feature debuts.

Patang (The Kite) concentrates on a single day in the life of a family celebrating the annual festival of kite-flying in Ahmedabad, India. An uncle has returned to town with his daughter, and usual in such movie reunions, old tensions are reignited. A side-story concerns Bobby, a street-wise local, and a little boy who delivers kites. Needless to say, this story intersects with and sheds light on the primary family conflict.

Prashant Barghava is a pictorialist with an eye for startling color and compositions. Shot in nervous handheld images, with many planes of action jammed together and the camera eye seeking something to focus on, Patang reminded me of The Hurt Locker, but without that film’s sense of ominous vigilance. The tone of this one is more exuberant, and the cast of nonactors gives it vibrancy.

Kinyarwanda, by Alrick Brown and an energetic team of collaborators, explores the Rwandan genocide of 1994 in an unusual way. It displays the role of the Muslim community in protecting the Hutu population (many Christian, some not) from the depredations of the Tutsi death squads. To emphasize the breadth of experience, the film adopts a chaptered network-narrative structure. A Catholic priest, a young woman, an angry Tutsi, a sympathetic imam, a little boy, and a leader of the Rwanda Patriotic Front gradually converge, first in a mosque compound, and ten years later in a reeducation and reconciliation camp. The film also plays with time, replaying some key events—notably the Tutsi’s advance on Jeanne’s home—but also anticipating some outcomes. Interestingly, by showing many of the Tutsi killers in 2004 repenting their crimes before we see those attacks, the film builds a degree of compassion into its overall form.

Scenes with adults are dominated by either personal problems (the Hutu/ Tutsi clash infiltrates a marriage) or discussions of religious doctrine. There are as well wordless moments in which we follow children—a little girl whose Qu’ran has been defaced, a boy who encounters a death squad while sent to fetch cigarettes. If the adults supply the film’s prose, the kids are its poetry.

Patang played both Berlin and Tribeca and will be opening in New York, Chicago, and San Francisco soon. Kinyarwanda won awards at several festivals, including Sundance and AFI Fest, and is coming to several other festivals. It arrives on DVD 1 May.

The misfit section

Terri.

Two other young directors got good exposure. Robert Siegel wrote the screenplay for The Wrestler after working on The Onion (Madison cheer obligatory here). His debut feature, Big Fan, is the story of a football fan who is mangled by his idol and has to struggle against his family’s pressure to sue. Patton Oswalt, who had to cancel his Ebertfest visit at the last minute, played Paul with a potato-like obstinacy that offset the shrieking caricatures around him. On the down side, I could have done with a couple of hundred fewer close-ups. (Watching a movie at the Virginia reminds you of the power of the two-shot.) Still, Siegel wisely doesn’t give his hero a girlfriend who would lead him to the Big Normal and wean him away from his obsession. As Siegel points out, “He’s completely happy, but everyone around him thinks he’s unhappy.” Big Fan is an enjoyable portrait of the sports nerd.

More laid-back was Azazel Jacobs’ second feature Terri. It’s sort of a coming-of-age movie, but it has a peculiar humor that such wistful exercises usually lack. Terri, an enormous teenager, goes to high school in pajamas and is teased mercilessly, but he reacts with a dead-eyed passivity that suggests both resignation and resilience. Like the hero of Gulliver’s Travels, the book Terri is working his way through, he’s tied down by Lilliputians around him, but he gets by.

It’s a film of character revelation rather than plot turns. No, Terri’s addled uncle isn’t going to die; no, Terri’s not going to lose his virginity. The action revolves around Jacob Wysocki as the title character and John C. Reilly, who never disappoints in any film, as the school principal. Their scenes together are the heart of the film, and if Terri is looking for a father-figure/ role model this off-center administrator with a soft heart for hard cases wouldn’t be a bad choice. To the film’s credit, though, we have little reason to suggest that he’s looking for any such thing. This movie has tact.

I ran into another Ebertfest first-time-director, Nina Paley, whose Sita Sings the Blues (2009) I first saw and loved at Roger’s event. Kristin had already seen it at the Wisconsin Film Fest. Sita worked her way into our blog and into our Film Art material. Nina, long a foe of copyright in any form, told me she plans an act of “copyright civil disobedience” soon. In the meantime, check her effervescent blog site, news of her new project Seder-Masochist, and excerpts from her new books about Mimi, Eunice, and their take on IP.

And then there was…

Take Shelter.

The first evening’s late show was given over to John Davies and Raymond Lambert’s Phunny Business, a documentary about the rise of a Chicago comic club, and this was preceded by Kelechi Ezie’s The Truth about Beauty and Blogs. I had to miss the doc, but go here for a review from Scott Jordan Harris. The short was charming—a snappy comedy about a single woman trying to be Queen of All Media on her YouTube show. Very quickly her aplomb cracks and she uses her online persona to recapture her straying boyfriend. Her web skills give her a rostrum, and then a tracking device (she follows him on Facebook), but soon her site turns into a diary of mounting desperation.

Higher Ground: Not a come-to-Jesus moment but a go-from-Jesus one. I had trouble figuring out the tone. I think the obvious caricatures, including an unctuous evangelical marriage counselor, were there to suggest that the ordinary believers were more worthy of respect. But they all gave me the creeps, including the relentlessly sunny pastor. Also, it seemed a bit of a hothouse drama. I missed a sense of exactly where this story took place, and I kept wondering how all these people made a living wage. But of course it’s Vera Farmiga’s film, and as usual she projects a wary intelligence. The opening sequence showing a string of people being immersion-baptized had a winning radiance.

Joe vs. the Volcano: Joe wins the match, sort of. It deserves to be a cult film for its portrayal of a workday out of the dankest basements of Brazil and Hudsucker Industries. Still, I thought everybody was trying a little too hard, especially Meg Ryan. Cinematographer Stephen Goldblatt talked about how he likes shooting on film and showing on digital: Film’s richness can support 4K, 8K, or whatever. As for 48 frames per second: “I can’t wait.”

Paul Cox: On Borrowed Time: A warts-and-all tribute to the stubborn director of over thirty films. I can’t think of a question to ask about Paul Cox that the film doesn’t answer.

The Alloy Orchestra: Wild and Weird: Classic early trick-films plus a couple of avant-garde items from the 1920s given new brio by the Alloy boys. It was fun but less hefty than earlier efforts. I especially liked re-seeing Winsor McKay’s Dream of a Rarebit Fiend (aka The Pet) from 1921, which replays McKay’s fascination with figures and spaces that swell to mammoth proportions (a bit like Avery’s King-Size Canary), though the effect is less looming onscreen than in the comics. You can see the whole thing, and other of the W & W titles, on Fandor, one of this years E-fest sponsors.

I’d like to see the Alloy talents and others move away from the big spectacles like Napoleon and Metropolis, which appeal to our current tastes in splashy films with special effects, and toward quieter, less-known silent masterworks by the French (e.g., Germinal), the Danes (The Abyss, The Ballet Dancer, The Evangelist’s Life), Italians (Il Fauno, Rapsodia Satanica, Ma l’amore mio non muore) and above all Victor Sjöström. Audiences would, I think, love Ingeborg Holm, Sons of Ingmar, Masterman, and The Girl from Stormycroft, and the Alloyists could do them proud. Not to mention William S. Hart, whose films are among the pride of US silent cinema.

Take Shelter: A tour de force of what literary theorists call the fantastic: Is the hero going mad, or is there indeed something real behind his visions of impending disaster? Everyone has praised, and rightly, the precision of the performances and framings. Jeff Nichols was another first-timer at Ebertfest some years back, with Shotgun Stories. Take Shelter is the sort of movie that makes independent American cinema proud.

A Separation: I wrote about it here a year ago, having seen it during what might be my last visit to Hong Kong. This time around, I admired it all over again. It shows many characters’ attitudes without bias (everyone has his or her reasons), and it’s aware of how lies told out of loyalty corrode love. The screening was enhanced by excellent background information from Michael Barker of Sony Pictures Classics and Omer Mazaffar during the Q and A.

If you’re a good storyteller, I think, you balance straightforward presentation (e.g., A Separation’s exposition, which sketches in the core of a relationship) and somewhat sneaky suppression (e.g., the ellipsis that hides a key event from us). I’ve argued that Iranian directors understand suspense better than almost anybody working today, and this film supports that hunch. Now let’s get hope we get to see, on some platform, Arghadi’s earlier exercise in mystery and ambivalent morality, About Elly. Now there’s an overlooked/ forgotten film.

E-fest goes digital

Ebertfest has shown digital copies of films in the past, notably Bad Santa and Woodstock, but this time around only Take Shelter was on film. Everything else was on HDCam, except Paul Cox: On Borrowed Time, which was on Blu-ray.

James Bond, legendary projection magician and theatre designer/ outfitter, oversaw the shows. Although the films often looked very good on the 50+ -foot Virginia screen, his expert eye saw shortcomings in the digital versions. Even I could detect the videoish quality of Joe vs. the Volcano. It looked pretty good, but compared to what James had shown in years past—70mm prints of Lawrence of Arabia, Play Time, My Fair Lady—there was definitely a sense that we were passing into a new era. Above you see James between his thoroughbreds, the lovingly assembled 35/70mm projectors.

Because Steak ‘n Shake became a festival sponsor this year, Roger presented James with the first-ever S-n-S award, a cap displaying the motto, “In Sight It Must Be Right,” a fitting label for James’ superlative standards in projection. Here he receives the Order of Takhomasak.

James was ably assisted by Steve Kraus and Travis Bird, who is both a musician and a cinephile. Great guys and great professionals, all.

The Virginia Theatre, an analog artifact if there ever was one, is closing after Ebertfest this year. It will be renovated and spiffed up, with new seats and many other upgrades.

The festival wrapped up with Citizen Kane brought to us digitally. A Blu-ray copy was screened, and instead of the film’s original track, we heard Roger’s pointed and wide-ranging 2001 commentary. He was by this point an old hand at play-by-play explication, after years with his “Cinema Interruptus” series, now taken over by Jim Emerson. After the screening, I was happy to be able to interview Jeff Lerner, of Blue Collar Productions. Jeff produced and recorded Roger’s commentary. Again, check the Ebertfest channel if you want to see the Q & A, which takes off after Chaz’s moving memoir.

Thanks to the many staff and guests who made this year’s Ebertfest especially enjoyable. I’m particularly grateful to C. O. “Doc” Erickson for giving me an interview for an upcoming blog entry, and to David Poland and Michael Barker for enlightening table talk. Thanks as well to Jim Emerson, excellent companion of the highway.

Thanks to Kat Spring and Nate Kohn for correction of boo-boos.

Speaking of digital, here’s a neat possibility: http://gizmodo.com/5906353/the-avengers-screening-delayed-because-some-dunce-deleted-the-freaking-movie.

This deserves a blog entry of its own. The hands belong to Steven Bentz, Virginia Theatre Director, whom we must thank for preserving this ad (from, I assume, 1941). Note the listing of start times for the feature, and the request not to miss the opening. This is a topic discussed elsewhere on this site.

Clash by Night.

DB here:

Amplifications, corrections, and updates have been piling up over the last couple of months, and we began to realize that simply appending postscripts to older entries probably didn’t register with many readers. Judging by our stats, revisiting older entries isn’t a priority for most of the souls whom fate throws our way. So here’s some new information about older posts.

*I wrote about Jafar Panahi‘s This Is Not a Film at the Vancouver International Film Festival. Today Variety reported that an appeals court has upheld Panahi’s sentence of six years in prison and a twenty-year ban on travel and filmmaking. His colleague Mohammad Rasoulof’s jail sentence was reduced to a year. Panahi’s attorney says that she will appeal the decision to Iran’s Supreme Court. Be sure to read the Variety story for some background on the despicable treatment of other filmmakers, notably a performer who, merely for acting in a movie, was sentenced to a year in jail and ninety lashes.

*My trip to the Hong Kong festival last spring was to have included a visit to Japan. But the earthquake and the tsunami decided otherwise. Here are two remarkable items about the country’s catastrophe and the people’s resilience. First, a camera captures what it’s like to be in a car that’s swept away. Then we have photographs of the remarkable recovery that some areas have made–a real tribute to Japanese resilience. (For the links, thanks to Darlene Bordwell and Shu Kei.)

*At Fandor, in response to Once Upon a Time in Anatolia, Ali Arikan wrote a penetrating and personal essay that I wish I’d had available when I wrote my review at VIFF.

*Tim Smith‘s guest entry for us, “Watching you watch THERE WILL BE BLOOD,” was a huge hit and went madly viral. At his site, Continuity Boy, he has posted a new, no less stimulating entry on eye-scanning. It shows that we can track motion even when the moving object isn’t visible!

*During my trip to Brussels in early September for the conference of the Screenplay Research Network, I stole time to visit the superb Galerie Champaka for the opening of its show dedicated to Joost Swarte (above). Longtime readers of this blog know our admiration for this brilliant artist, so you won’t be surprised to learn that I had to get his autograph. The show, consisting of work both old and new, was also quite fine; it’s worth your time to explore the pictures, such as the one revealing how Disney was inspired to create Mickey (above). Thanks to Kelley Conway for taking the shot, and to Yves for taking this one. And special thanks to Nick Nguyen (co-translator of two fine books, here and here) for alerting me to the show.

*An update for all researchers: Now that we have online versions of the Variety Archives and the Box Office Vault, we’re happy as clams. (But what makes clams happy? They don’t show it in their expressions, and their destiny shouldn’t make them smile.) Anyway, to add to our leering delight, we now have the splendidly altruistic Media History Digital Library, which makes a host of American journals, magazines, yearbooks, and other sources available in page-by-page format, ads and all. You’ll find International Photographer (too often overshadowed by American Cinematographer), The Film Daily, Photoplay, and many more. Get going on that project!

*This just in, for silent-cinema mavens: The Davide Turconi Project is now online, thanks to a decade of work by the Cineteca di Friuli. Turconi was a much-loved Italian film historian who, among other accomplishments, collected clips of frames from little-known or lost films. The archive of 23,491 clips, usually consisting of two frames, is free and searchable. On the left we see a snip from Louis Feuillade’s Pâques florentines (Gaumont, 1910). Paolo Cherchi Usai and Joshua Yumibe coordinated this project, with support from Pordenone’s Giornate del cinema muto, George Eastman House, and the Selznick School of Film Preservation. (Thanks to Lea Jacobs for supplying the link.) For more on Josh’s research, see our entry here.

And while we’re on silent cinema, Albert Capellani is in the news again. Kristin wrote about this newly discovered early master after Il Cinema Ritrovato in July. A recent Variety story discusses some recent restorations and gives credit to the Cineteca di Bologna and Mariann Lewinsky.

*My entry on continuous showings in the 1930s and 1940s attracted an email from Andrea Comiskey, who points out that when Barbara Stanwyck and Paul Douglas go to the movies in Clash by Night (above), she prods him to leave by pointing out, “This is where we came in.” Thanks to Andrea for this, since it counterbalances my example from Daisy Kenyon, which shows Daisy about to call the theatre for showtimes. And since posting that entry, I rewatched Manhandled (1949). There insurance investigator Sterling Hayden hurries Dorothy Lamour through their meal so that they’ll catch the show. He apparently knows when the movie starts. So again we have evidence that people could have seen a film straight through if they wanted to. It’s just that many, like channel-surfers today, didn’t care.

*Finally, way back in July, expressing my usual skepticism about Zeitgeist explanations, I wrote:
I’m still working on the talks [for the Summer Movie College], but what’s emerging is one unorthodox premise. As an experiment in counterfactual history, let’s pretend that World War II hadn’t happened. Would the storytelling choices (as opposed to the subjects, themes, and iconography) be that much different? In other words, if Pearl Harbor hadn’t been attacked, would we not have Double Indemnity (1944) or The Strange Affair of Uncle Harry (1945)? Only after playing with this outrageous possibility do I find that, as often happens, Sarris got there first: “The most interesting films of the forties were completely unrelated to the War and the Peace that followed.” Sheer overstatement, but back-pedal a little, and I think you find something intriguing.

David Cairns, whose excellent and gorgeously designed Shadowplay site is currently rehabbing Fred Zinnemann, responded by email:
Firstly, I find the start of WWII being equated with Pearl Harbor a little American-centric. Much of the world was already at war when that happened. Secondly, it could certainly be suggested that the two films you cite WOULD have been different without a world war. Billy Wilder and Robert Siodmak were comfortably making films in France before Hitler’s invasion drove them to a new adopted homeland. Those movies might well have happened without WWII, but they would probably have had different directors.

David replied with his usual generosity:
That’s OK! BIG SLEEP and MURDER MY SWEET definitely work! Plus any number of non-flag-waving musicals, westerns, swashbucklers (though there’s a little propaganda message in THE SEA WOLF at the end) and certainly comedies and horror. . . .
And then there’s KANE and AMBERSONS.

Better late than never–something you can say about all these updates.

Coming up here soon: A photo roundup from Vancouver, then blog entries about auditory replays, “scenic density,” and film archives’ digital dilemmas.

Probably not what Spielberg and Jackson had in mind: Tintin leads the indignados. Photo by Stef Franck, with thanks.

The Green Wave.

Kristin here:

The Vancouver International Film Festival has offered a rich selection of Iranian and Israeli films this year. I tried to see as many as I could, and most of the screenings were packed.

Iran

The range of Iranian films, made within the country and by émigrés, reflects the paradoxes of that unhappy nation. The glory days of the Iranian cinema of the 1980s and 1990s seem irrecoverable, with leading directors Abbas Kiarostami and Mohsen Makhmalbof and his family working abroad and their younger colleagues, mostly famously Jafar Panahi, being arrested and forbidden to work. Although this national cinema has triumphed at international film festivals, forces in the regime seem determined to squelch the creative people who made that prominence possible. Yet somehow impressive films continue to be made.

Mohammad-Ali Talebi’s Wind & Fog recalls the classic Iranian films of the 1980s and early 1990s, simple stories centered around children’s quests. Talebi himself is a veteran director whose career stretches back to the mid-1980, an era when major filmmakers were skirting the censors by focusing on children and seemingly uncontroversial situations.

Wind & Fog is set in the north of Iran, during the early days of the Iran-Iraq war—a safe enough era, since the loyalty to the government during such a conflict would be unquestionable. The story concerns an eight-year-old boy who becomes mute when his mother is killed during shelling. His father takes him and his older sister to live with their grandfather in the mountains while he works elsewhere. The forested, misty hills are beautifully photographed and contrast sharply with the desert landscapes familiar from other Iranian films. The children form the core of the action as the boy struggles both with his trauma and with bullying at his new school. Both child leads gives wonderfully affecting performances, and the gradual acceptance of the strange young boy by the villagers makes for the sort of happy ending that is rare in the contemporary adult-oriented dramas reaching festivals.

One such film is Goodbye, by Mohammad Rasoulof. Although made within the Iranian industry and presumably passed by the censors, it deals remarkably directly with the efforts of its heroine, a young lawyer named Noora, to leave the country. Initially she plans to depart with her journalist husband. A black-market agency has concocted a scheme to have her become pregnant, be invited abroad to give a paper (arranged by the agency), and give birth abroad; in that way she can avoid returning to Iran.

The film stays entirely with Noora, often filming her in medium-close-up against simple, blank backgrounds. The result is an austere visual scheme of black, gray, and blue-tinged white, with an intense concentration on Noora and her increasing doubts and anxieties. The only moments of everyday life come from a motif of Noora feeding her pet turtle and coping with its tank when it begins to leak. Eventually the turtle escapes, and we never learn its fate, an obvious parallel with Noora’s situation. Possibly the authorities thought this story would be an exposé of illegal agencies fostering emigration, but our sympathies are entirely with Noora and her desire to flee.

I also caught up with A Separation, by Asghar Farhadi. David wrote about this exceptionally fine film from the Hong Kong Film Festival earlier this year. His earlier film, About Elly, is unfortunately not available on English-subtitled DVD but deserves to be released.

Maryam Keshavarz’s Circumstance is often spoken of as an Iranian film, and it gained a higher profile when it won the Audience Award at this year’s Sundance Film Festival. It actually was shot in Beirut and is a US/Iranian/French co-production. Based in part on Keshavarz’s own youth in Iran, it deals with two lesbian teenagers in love and the increasing opposition they face from the brother of one of them—a reformed drug addict who swings to the opposite extreme by becoming an informant for the police. Circumstance has impressive production values and is skillfully shot. I found it a bit sensationalistic, as if the director were flaunting the fact that her film was made far away from the repressive society it depicts. Moreover, its heroines looked more like glamorous models than suffering teenagers. I also wished a more plausible explanation had been given to explain how the brother gained so much power within the police establishment, to the point where he pops up everywhere and seems able to determine the outcome of every situation the reckless girls get themselves into. Indeed, the general stigma attached to homosexuality in Iranian culture is not explored; the girls’ troubles are largely reduced to a family melodrama of conflict between siblings.

The Green Wave is a documentary about the events of May and June, 2009 surrounding the suppression of the brief democratic movement that coalesced around the candidature of  Mir-Hossein Mousavi. Made in Germany and directed by Ali Samadi Ahadi, the film stitches together talking-head interviews with activists who have fled Iran, simple animated sequences visualizing accounts culled from blog entries written during the events, and clandestine footage of the demonstrations and brutal crackdown that followed. Much of the clandestine footage was captured on cell phones and other amateur video formats, and the quality is often poor. Still, it provides a valuable record of the police and military firing on and beating peaceful protestors and bystanders in the streets

The film is skillfully laid out, initially conveying the atmosphere of hope that surrounded the campaigning for Mousavi, moving on to show the election itself and how it was rigged to return Ahmadinejad to the presidency, and then focusing on the horrendous crimes committed by the government against its own people. The series of events recalls the hope of the democratic demonstrations in Tiananmen Square in 1988 and the equally brutal attacks on the crowds gathered there. The hopeful attitudes of the crowds in the early days of these events provide a sad contrast with the more recent successful revolutions in Tunisia, Egypt, and Libya, though the Iranian government’s thorough control of its military made a similar outcome impossible. One can only trust that similar documentation of the current events in Syria are being created and will someday be assembled into an effective film like The Green Wave.

A note on This Is Not a Film

DB here:

Jafar Panahi, as you probably know and as this site noted last year, spent several weeks of 2010 in jail for “preparing an anti-government film.” While he was under house arrest in 2011, he made what has been called, for want of a better term, an “effort.” This Is Not a Film is at once funny and disturbing, playful and provocative. It takes its place in the remarkable tradition of Iranian films that oblige us to reflect on cinema–Close-Up, Salaam Cinema, Moment of Innocence, Through the Olive Trees, and Panahi’s own The Mirror. At the same time, this non-film reminds us that artistic matters are tightly intertwined with both political ideologies and the everyday lives that surround their creators.

Panahi and another distinguished director, Muhammad Rasoulof, were arrested while they were making a film in Panahi’s apartment. This Is Not a Film takes place in that space, as if to defy the government’s control over what artists may create in the privacy of their homes. While never letting us forget the political price that Panahi may have to pay—banned from filmmaking for twenty years, sentenced to prison for six—the non-film reflects more broadly on what a film is. At first Panahi seems more or less resigned to his solitude, with his family away and his big-screen TV connecting him to the world outside. He gets a call from his attorney, who suggests that his appeals may shave off some penalties, but “prison is certain.” He ponders this news, but then turns his attention to the real reason he’s recording today.

Panahi explains that he will try to read, with supplementary explanations, the script that he had intended to film. Trying to “create an image of it,” he runs yellow tape across his living-room carpet to mark out a room, a corridor, and a staircase, a skeletal spatial model recalling von Trier’s Dogville. He starts to enact the story of a girl who’s prevented from registering at a university by being locked in her room by her parents. In that reflecting-mirror fashion beloved by Iranian cinema about cinema, we’re invited to see that film, and its reenactment here, as echoing the director’s real-life situation.

The enterprise forces us to ask: Is even this partial, virtual version of an unfilmed film not itself a film? Can you shoot a script by reciting it? Up to a point, Panahi suggests yes. After a couple of tries, though, he falters and seems near tears. “If you could tell a film, then why make the film?” Rerunning a scene from Crimson Gold reminds him that during filming, a project swerves into unexpected territory: a performer’s physical being creates a texture than can’t be captured in language, let alone planned. “A film must be made before you can explain it.” This isn’t just a titillating theoretical aside. It acknowledges the Iranian cinema’s gift for discovering a  spontaneous specificity in the most everyday events.

The script-reading-as-film project goes on hold, and mundane household matters intrude. It would be unfair to catalogue all of the anecdotal incidents that invade Panahi’s stronghold. (Yes, as you may have heard, an iguana and a dog named Micky are involved.) The non-film ends with Panahi’s co-director, Mojtaba Mir Tahmaseb, departing and leaving his camera behind. There follows one of those casual, piercing encounters with ordinary people that give Iranian cinema a unique glow. Without warning, the abandoned camera takes on a life of its own, suggesting that house arrest—particularly on the night of a fireworks festival—is as hard to define as a film can be.

An unhappy coda: Documentarist Mojtaba Mir Tahmaseb, the only other individual credited in This Is Not a Film, was one of six Iranian filmmakers arrested on 17 September and imprisoned. A petition on behalf of these people is online here.

Israel

Footnote.

Kristin again:

Judging by the three Israeli fiction films on offer at Vancouver, the country’s cinema is striving toward more straightforward entertainment appeal in some of its productions, though one of the three contains a strongly political subject.

Footnote is that rare comedy set in academia that actually focuses its plot around the main characters’ research. The core conflict is between a father and son, both Talmudic scholars. Eliezer Shkolnik is a stubborn, bitter old man. His lengthy, meticulous study of variant versions of the Talmud was upstaged just before its publication by a colleague, Prof. Grossmann, who made a chance discovery that proved the same conclusions. Eliezer had continued to teach, but his main scholarly claim to fame has been a single footnote in a large introductory study, acknowledging his help.

Eliezer’s son Uriel has become much more famous, based on his many popularizing books that have made him a public intellectual. Early on he is inducted into the Academy. Later, through a mistake, Eliezer receives word that he is to receive the prestigious Israel Prize, but the intended recipient is actually Uriel. Academic politics intervene when Uriel tries to decline the prize in favor of his father: it turns out that the scholar who had beaten Eliezer into print is dead set against him receiving the award. The title takes on a double meaning. In his publication on the Talmudic variants, Grossmann had not acknowledged Eliezer’s work at all, and the missing footnote in that text becomes as significant as the actual one upon which Eliezer has pinned his sense of his own accomplishment.

The film is funny and fast-paced, cleverly using voiceover and PowerPoint-style graphics to lay out the exposition about father and son. It’s apparent why Footnote won the prize for the best screenplay at Cannes. There are many droll touches, including an absurdly small conference room in which Uriel argues with university officials about denying the prize to Eliezer. There’s also a scene where a guard tries to keep Eliezer from re-entering the Israel Museum during the Academy investiture party and he adamantly refuses to provide the information that would gain him access. The whole thing has something of the air of a Coen Brothers film.

Restoration, directed by Joseph Madmony, is a somewhat more conventional family drama, though again with a father-son conflict. The main character, Yaakov Fidelman, is an expert furniture restorer in an age of disposable products. The death of his partner reveals that the business is bankrupt, and Fidelman’s son hopes to sell off the shop’s valuable premises. Fidelman’s young helper discovers that an old, seemingly worthless piano sitting in the shop is a Steinway worth a great deal—if it can be restored. The film is a slick, well-made item. It won the best-screenplay prize at Sundance this year. That surprises me a little, because it depends on an enormous coincidence. The young wastrel hired off the street as Fidelman’s assistant happens to be a promising pianist who abandoned his career path, but who could recognize the value of the old piano.

Policeman (Nadav Lapid) is the one distinctly political film, but in a novel way. It deals not with the usual threats from Palestine and from nearby countries but with masculine identity class tensions inside Israeli society. The first half concentrates on Yaron, a member of an elite anti-terrorist unit, and his bluff, muscular comradeship with his partners. A sudden switch introduces Shira, a member of a cadre of well-off Israeli terrorists determined to invade a lavish wedding and take hostage some of the country’s most wealthy industrialists. Yaron’s squad is brought in to save the situation, and he is stunned when face to face with home-grown terrorists, including a beautiful woman with a gun. It’s a fast-paced film that might do well in the U.S., though so far it apparently doesn’t have distribution there.

P.S. 17 October: Panahi’s appeal has failed and the original sentence of six years in jail and twenty years of forbidden filmmaking has been upheld. Panahi’s attorney plans to appeal to Iran’s Supreme Court. See the Variety story here.

Policeman.