There's a new film opening in January called LEAP YEAR. From the trailer it
looks overly broad and utterly predictable, but it ALSO looks a lot like IKWIG
just in its narrative: Girl who thinks she knows just what she wants travels to
Britain to get married only to have difficulties physically reaching her
destination; along the way, she meets another man and gradually falls for HIM.
Here's the link to the trailer; thought you might enjoy seeing the similarities
and having your love for IKWIG reinforced all the more!

http://www.movie-list.com/trailers.php?id=leapyear

Not too much in the deeper levels of the technicalities, although I like
to understand what's involved to get to those images that I love. I have
bought a few editions in the past, like when they did a piece on TRS in
February 1998, but I don't see it regularly.

This article is mainly an interview with Bob Gitt and his team of
restorers at the UCLA Film Archive and it tells how they were doing a
full restoration from the original Technicolor negatives, not just a
print which has been tidied up a bit for a DVD release. They had 48
reels of three strip Technicolor to work through. It's no wonder that it
took so long and cost so much. Actually, a lot of that was them learning
what could be done and what would give the best results. They tried to
restore it photochemically, but that didn't work out. So they went for
the full digitisation at a very high resolution and then worked through
every frame, cleaning, aligning with the frames on the other colour
strips, and then using the original 1948 Technicolor nitrate print and
some subsequent safety film reissue prints to get the colours balanced
correctly

     Steve


Bruce R. Gillespie wrote:
> Hi, Steve:
>
> How much are you interested in the technicalities of photography? I'm not
much, but I love the stills that are actually used from the current major pics.
>
> I see American Cinematographer only because Dick Jenssen lends them to me
after he has read them. And then I send them on to Lee Harding, or maybe it's
the other way round. (I think Dick now gives them to Lee first. This ritual is
usually good for regular dinners at a good pub.) I'm certainly looking forward
to coverage of the TRS restoration.
>
> AC has cut its monthly column of coverage of restorations on DVD, although it
does say the column is available on the web. I've never looked. It was a very
useful feature of the magazine itself until about a year ago.
>
> Best wishes
> Bruce Gillespie
>
>

Thanks Nick,
I got the electronic edition and will transcribe it as soon as I can

     Steve


Nicholas Waller wrote:
> You can also buy digital editions - same price but no postage:
> http://www.theasc.com/magazine_dynamic/digital_edition.php#buy_dig
>
> Magazine Café seems to sell it in the UK but only "the latest issue"; you
> can specify a back issue.
>
> http://www.magazinecafe.co.uk/mall/productpage.cfm/magazinecafe/_9994875/233
> 377/AMERICAN%20CINEMATOGRAPHER
>
> Steve Crook wrote on 24/11/09 01:41:
>
>> Does anyone subscribe to American Cinematographer?
>> The September 2009 issue apparently has an article on the restoration of
>> TRS and Mr Hulot's Holiday
>> Do they say much about TRS? Is it worth my buying a copy? They do back
>> issues from their web site for $5.95 - but their postage charges are a
>> bit steep
>>
>>   Steve
>>
>
>



[Non-text portions of this message have been removed]

Oops I meant you CAN'T specify a back issue.

Nick
>Magazine Café seems to sell it in the UK but only "the latest issue"; you can
specify a back issue.

>http://www.magazinecafe.co.uk/mall/productpage.cfm/magazinecafe/_9994875/233377
/AMERICAN%20CINEMATOGRAPHER

Steve Crook wrote on 24/11/09 01:41:
>> Does anyone subscribe to American Cinematographer?
> The September 2009 issue apparently has an article on the restoration of
> TRS and Mr Hulot's Holiday
> Do they say much about TRS? Is it worth my buying a copy? They do back
> issues from their web site for $5.95 - but their postage charges are a
> bit steep
>
>   Steve
>

You can also buy digital editions - same price but no postage:
http://www.theasc.com/magazine_dynamic/digital_edition.php#buy_dig

Magazine Café seems to sell it in the UK but only "the latest issue"; you
can specify a back issue.

http://www.magazinecafe.co.uk/mall/productpage.cfm/magazinecafe/_9994875/233
377/AMERICAN%20CINEMATOGRAPHER

Steve Crook wrote on 24/11/09 01:41:
> Does anyone subscribe to American Cinematographer?
> The September 2009 issue apparently has an article on the restoration of
> TRS and Mr Hulot's Holiday
> Do they say much about TRS? Is it worth my buying a copy? They do back
> issues from their web site for $5.95 - but their postage charges are a
> bit steep
>
>   Steve

Hi, Steve:

How much are you interested in the technicalities of photography? I'm not much,
but I love the stills that are actually used from the current major pics.

I see American Cinematographer only because Dick Jenssen lends them to me after
he has read them. And then I send them on to Lee Harding, or maybe it's the
other way round. (I think Dick now gives them to Lee first. This ritual is
usually good for regular dinners at a good pub.) I'm certainly looking forward
to coverage of the TRS restoration.

AC has cut its monthly column of coverage of restorations on DVD, although it
does say the column is available on the web. I've never looked. It was a very
useful feature of the magazine itself until about a year ago.

Best wishes
Bruce Gillespie

[Non-text portions of this message have been removed]

Hi, 
I do remember seeing this a while ago but can't remember the details - in the
BFI Library (though the daily membership plus their photocopying fees might make
it more expensive than having your very own copy flown over..! 

If IM in the BFI next month I'll dig it out and get back to you.. Andy 
--- On Tue, 24/11/09, Steve Crook <steve@...> wrote:

From: Steve Crook <steve@...>
Subject: [PnP] American Cinematographer
To: "PnP" <PnP@YahooGroups.com>
Date: Tuesday, 24 November, 2009, 1:41
















 









       Does anyone subscribe to American Cinematographer?

The September 2009 issue apparently has an article on the restoration of

TRS and Mr Hulot's Holiday

Do they say much about TRS? Is it worth my buying a copy? They do back

issues from their web site for $5.95 - but their postage charges are a

bit steep



Steve






























[Non-text portions of this message have been removed]

Does anyone subscribe to American Cinematographer?
The September 2009 issue apparently has an article on the restoration of
TRS and Mr Hulot's Holiday
Do they say much about TRS? Is it worth my buying a copy? They do back
issues from their web site for $5.95 - but their postage charges are a
bit steep

     Steve

Thanks Barbara, I'll be able to see it lots of times then :)

     Steve


siekba@... wrote:
>  According to the BFI Guide, TRS display on the Mezzanine runs from Thur 26
Nov through Sun 10 Jan 2010.   Sounds wonderful.
>
> Barbara
>
>
>
>
>
> -----Original Message-----
> From: Steve Crook <steve@...>
> To: PnP@yahoogroups.com
> Sent: Mon, Nov 23, 2009 10:45 am
> Subject: Re: [PnP] Re: TRS at the NFT
>
>
>
>
>
> Thanks Paul, it hasn't been mentioned yet. That Grauniad article came up
> on one of my automated searches while I was away. It does look good and
> well worth visiting.
>
> They say that the exhibition will open on 26 November, and that the
> restored version of TRS will run from 11 - 30 December. But they don't
> say when the exhibition will finish so if anyone sees a date for that,
> please let us know
>
> Steve
>
> pngerrard wrote:
>
>> Has the associated BFI exhibition been mentioned yet? If not, here's a
teaser-
>>
>> http://www.guardian.co.uk/uk/2009/nov/20/red-shoes-artwork-bfi-southbank
>>
>> Sounds good. Presumably some of the items that used to be on show at the old
Museum Of the Museum Image, plus contributions from Marty.
>>
>> Paul
>>
>>
>>
>
>
>
>



[Non-text portions of this message have been removed]

According to the BFI Guide, TRS display on the Mezzanine runs from Thur 26 Nov
through Sun 10 Jan 2010.   Sounds wonderful.

Barbara





-----Original Message-----
From: Steve Crook <steve@...>
To: PnP@yahoogroups.com
Sent: Mon, Nov 23, 2009 10:45 am
Subject: Re: [PnP] Re: TRS at the NFT





Thanks Paul, it hasn't been mentioned yet. That Grauniad article came up
on one of my automated searches while I was away. It does look good and
well worth visiting.

They say that the exhibition will open on 26 November, and that the
restored version of TRS will run from 11 - 30 December. But they don't
say when the exhibition will finish so if anyone sees a date for that,
please let us know

Steve

pngerrard wrote:
> Has the associated BFI exhibition been mentioned yet? If not, here's a teaser-
>
> http://www.guardian.co.uk/uk/2009/nov/20/red-shoes-artwork-bfi-southbank
>
> Sounds good. Presumably some of the items that used to be on show at the old
Museum Of the Museum Image, plus contributions from Marty.
>
> Paul
>
>









[Non-text portions of this message have been removed]

How many is a few? Is it more than a couple? :)
I wasn't sure, but I guessed that there were over a hundred people there.

Yes, it is worrying what Thelma said about digital storage. It's not
just the medium itself (DVD, digital audio, Blu-ray or the files on your
computer) but the devices and the way they are connected changes so fast
and so often that unless you regularly transfer it all across to a new
storage device then you probably won't have anything that can still read
it. Do you have any of the old floppy disks (12" or 8", the ones that
really were floppy)? When did you last see a computer that had anywhere
where you could plug them in? And this warning doesn't just come from
people like film people but from the people who actually make the
digital storage equipment like Texas Instruments. So it's a warning that
everyone should pay attention to.

Technicolor film is really just B&W negatives, three of them that were
filmed through colour filters. All the magic is done in the printing
when they are used to control the dyes used on the print. But there
aren't any Technicolor printing systems left anywhere in the world. When
everyone went over to the monopack systems like EastmanColor where they
actually used a colour negative, everyone thought it would be much
better. But the colour negatives faded quite quickly.

BTW has anyone who's seen this new print noticed that when Vicky's going
up the "fairy princess staircase" there is some light flickering and
playing on the steps in front of her? I noticed this in Bath and thought
that it probably was a reflector being used a bit clumsily. One of the
correspondents on the DVD Beaver site review also mentions it.

     Steve


Nicholas Waller wrote:
> Yes, it was a great evening, and thanks for the badge and for introducing me
> to Thelma, who was great value - cheerful, relaxed and chatty on stage and
> of course posessed of an unparalleled wealth of personal and technical
> knowledge of P&P, The Red Shoes in general and this restoration in
> particular.
>
> I had a couple of questions I was going to raise. One it turned out Thelma
> said she hates answering, but luckily someone else asked it before me:
> what's your favourite P&P film? (Blimp was the answer). I was also going to
> ask her about Rank hating The Red Shoes when shown it, but she raised that
> issue herself. You wonder what he was thinking.
>
> It was interesting what Thelma said about digital storage - people are
> storing stuff digitally all over the place, at home as well as the film
> industry, but it turns out it is pretty unstable in some respects
> (presumably not the actual digital info - the numbers - changing value, but
> the stuff it is stored on) and requires frequent regular maintenance (such
> as transfer to a new drive) and so now people are taking to storing
> photochemical backups of movies, ie prints and negatives, which can last 100
> years if stored properly.
>
> It was also interesting to watch the film in the presence of Moira Shearer's
> daughter and granddaughter. It must be odd to see your very young
> mother/grandmother in such detailed closeup moving (in both senses of
> moving, ho-ho) full colour from 1947, when of course most people were
> recorded, if at all, in static black and white. I was at the screening with
> my mother, who was born a few months later the same year as Moira Shearer,
> but pretty much all we have of her from the 1940s are a few small small
> sepia or b&w snapshots.
>
> To nitpick, I see the Little Theatre holds only 192 people - more than I
> thought - and not a few hundred. And a piece of trivia - apparently it is
> one of only three cinemas in the UK to have a full weddings licence!
>
> Nick
>

Thanks Paul, it hasn't been mentioned yet. That Grauniad article came up
on one of my automated searches while I was away. It does look good and
well worth visiting.

They say that the exhibition will open on 26 November, and that the
restored version of TRS will run from 11 - 30 December. But they don't
say when the exhibition will finish so if anyone sees a date for that,
please let us know

     Steve


pngerrard wrote:
> Has the associated BFI exhibition been mentioned yet? If not, here's a teaser-
>
> http://www.guardian.co.uk/uk/2009/nov/20/red-shoes-artwork-bfi-southbank
>
> Sounds good. Presumably some of the items that used to be on show at the old
Museum Of the Museum Image, plus contributions from Marty.
>
> Paul
>
>

Yes, it was a great evening, and thanks for the badge and for introducing me
to Thelma, who was great value - cheerful, relaxed and chatty on stage and
of course posessed of an unparalleled wealth of personal and technical
knowledge of P&P, The Red Shoes in general and this restoration in
particular.

I had a couple of questions I was going to raise. One it turned out Thelma
said she hates answering, but luckily someone else asked it before me:
what's your favourite P&P film? (Blimp was the answer). I was also going to
ask her about Rank hating The Red Shoes when shown it, but she raised that
issue herself. You wonder what he was thinking.

It was interesting what Thelma said about digital storage - people are
storing stuff digitally all over the place, at home as well as the film
industry, but it turns out it is pretty unstable in some respects
(presumably not the actual digital info - the numbers - changing value, but
the stuff it is stored on) and requires frequent regular maintenance (such
as transfer to a new drive) and so now people are taking to storing
photochemical backups of movies, ie prints and negatives, which can last 100
years if stored properly.

It was also interesting to watch the film in the presence of Moira Shearer's
daughter and granddaughter. It must be odd to see your very young
mother/grandmother in such detailed closeup moving (in both senses of
moving, ho-ho) full colour from 1947, when of course most people were
recorded, if at all, in static black and white. I was at the screening with
my mother, who was born a few months later the same year as Moira Shearer,
but pretty much all we have of her from the 1940s are a few small small
sepia or b&w snapshots.

To nitpick, I see the Little Theatre holds only 192 people - more than I
thought - and not a few hundred. And a piece of trivia - apparently it is
one of only three cinemas in the UK to have a full weddings licence!

Nick


Steve Crook wrote on 23/11/09 01:53:
> Bath was great. I got there early in the afternoon on Thursday so that I
> had some time to looks around the city. i've been there before, but not
> for some time. As the time approached when the film was due to start I
> went to the Little Theatre Cinema and saw that the queue had already
> started to form, so I got the tickets I'd booked and joined that queue.
> I was waiting for Charles Doble and his wife Susan. Charles had done
> some work for and with Thelma, but they'd never met, so I thought this
> would be a good chance to get them to meet as well as seeing a great
> film in some very nice company.
>
> While we were waiting in the queue Nick Waller introduced himself to me
> and I gave him a badge so he should have no problems in being recognised
> by PaPAS members from now on :)
>
> We waited in the queue, waiting for Thelma to appear and waiting for
> Charles & Susan.
>
> By the time Thelma turned up the queue had grown quite large. I had
> already been chatting to some other people in the queue so I asked them
> to hold my place and went over to say "What ho" to Thelma. She was
> already surrounded by helpers, her own people and people from the
> cinema, but she gave a lovely squeal of delight when she spotted me. I
> gave her a print of one of the paparazzi photos taken at Cannes. It's
> the one of Thelma and Columba in all of their finery
> http://www.powell-pressburger.org/Trips/Cannes/20090515/Images/01a_Croisette_2
> 009.jpg
> Shame about that bloke in the white jacket lurking in the background,
> but you can't have everything.
>
> I told her that I was still waiting for Charles and Susan and that we'd
> catch up after the event, then I went back to the queue. Charles and
> Susan did turn up - just in time as doors opened and we started to go
> inside. It's a lovely little theatre which holds a few hundred people
> (some up in the balcony), a good sized screen and a large stage for
> events. The seats are very comfortable but it could do with a bit more
> leg room for the taller people amongst us.
>
> Once everyone had settled down Thelma was introduced and she gave a
> brief introduction to what was going to happen that evening and why the
> restoration was necessary. She also introduced Moira's daughter Rachel
> and her daughter Eleanor who were there as well. Before the film itself
> was shown Thelma showed a set of slides and clips that she'd prepared to
> show people the difference. Some of them showed the very poor state of
> the negatives, complete with mould, scratches, hisses and pops on the
> soundtrack, misalignement where the three negatives had shrunk at a
> different rate. It really is very bad. She also showed us the best
> existing print and then did a screen wipe to compare that with the new
> restoration. There were gasps from the audience at that comparison. When
> you see the two side by side the improvement really is made more apparent.
>
> And so onto the film itself. Just as gorgeous as I remembered from
> Cannes. This was a digital version that was being shown. The digital
> restoration produced a digital master which is very high resolution, a
> much higher resolution than is used by any digital process in cinemas
> and way above DVD or Blu-ray. What we saw at Cannes was a print made
> from this digital master so that had the full resolution. But the
> "print" being circulated to film festivals and cinemas like the Film
> Forum in NY is a digital version but at a slightly lower resolution than
> the digital master. There is one problem with any digital projection
> system, they can sometimes freeze! And this one did. But it was quickly
> fixed and the film was very well received.
>
> Thelma took her place on stage for the Q&A. I had a few questions ready
> in case nobody else asked any, but they weren't needed. People asked
> about The Archers method of working, the way the film was regarded in
> 1948 and about the restoration itself. Thelma did confirm that they've
> started working on Blimp and that they have already raised the money for
> the full digital restoration. That one should be faster because a lot of
> the time, and quite a bit of the expense of the TRS restoration was
> spent in trying to do it chemically on film before they realised that
> that just wasn't going to work and that digital was the way to do it.
>
> On the way out I introduced Charles & Susan to Thelma and then
> introduced Nick as well. I'll be seeing Thelma next week in Canterbury
> so I let all of the others chat. But eventually we had to draw the
> proceedings to a close and we all headed off home. I stayed the night
> with Charles & Susan, always a pleasure. My original plan had been that
> I'd go from there to see my brother in north Devon. But I'd had a call
> saying that he and his family were busy with some things and although I
> could still have a roof for the night they couldn't spare me much time
> on the Friday. So I went to see my Mum in west Wales and spent Friday
> night with her. That meant that I could also see my sister and on my way
> to Devon on the Saturday I could also see my other brother who lives
> just over the Severn Bridge. Although that did mean that I went from
> London to Bath to Somerset to west Wales to Devon and then back to
> London - I clocked up about 900 miles and it would happen to be over the
> days when the country was getting a big dose of bad weather. So there
> was some interesting driving involved. But now I'm back home, safe and sound
>
>   Steve
>
>
>
>
>
> ------------------------------------
>
> Yahoo! Groups Links
>
>
>

Thanks very much, Steve, for the trip report. Wish I'd been there.

Best wishes
Bruce Gillespie

[Non-text portions of this message have been removed]

None of the DVDs he's using in the comparisons are the digital restoration.
The French one from the Institut Lumière & Warner Home Vidéo, the
Carlton DVD and the Criterion DVD are all made from older prints. It's
not Gary (DVD Beaver) Tooze himself but someone else who refers to the
Blu-ray as the "restoration". But they do say it's a photochemical
restoration, which is incorrect. They tried a photochemical restoration
but it didn't work, so they did it digitally.

But there is also a DVD that has been made from the digital restoration.
http://www.amazon.co.uk/gp/product/B0029KQNWI/papas-21

Of course a DVD isn't as high a quality as the digital master that the
restoration team made, but neither is a Blu-ray. The best way to see
this film is the way it was made to be seen, projected in a cinema.

     Steve


Simon Turner wrote:
> Hi all,
> I spotted just now on DVDbeaver that of the two blu-ray releases of The Red
Shoes, only the first is named 'The Restoration Edition'. Is only this one from
the new restoration, do you know?
> All the best,Simon
>

Bath was great. I got there early in the afternoon on Thursday so that I
had some time to looks around the city. i've been there before, but not
for some time. As the time approached when the film was due to start I
went to the Little Theatre Cinema and saw that the queue had already
started to form, so I got the tickets I'd booked and joined that queue.
I was waiting for Charles Doble and his wife Susan. Charles had done
some work for and with Thelma, but they'd never met, so I thought this
would be a good chance to get them to meet as well as seeing a great
film in some very nice company.

While we were waiting in the queue Nick Waller introduced himself to me
and I gave him a badge so he should have no problems in being recognised
by PaPAS members from now on :)

We waited in the queue, waiting for Thelma to appear and waiting for
Charles & Susan.

By the time Thelma turned up the queue had grown quite large. I had
already been chatting to some other people in the queue so I asked them
to hold my place and went over to say "What ho" to Thelma. She was
already surrounded by helpers, her own people and people from the
cinema, but she gave a lovely squeal of delight when she spotted me. I
gave her a print of one of the paparazzi photos taken at Cannes. It's
the one of Thelma and Columba in all of their finery
http://www.powell-pressburger.org/Trips/Cannes/20090515/Images/01a_Croisette_200\
9.jpg
Shame about that bloke in the white jacket lurking in the background,
but you can't have everything.

I told her that I was still waiting for Charles and Susan and that we'd
catch up after the event, then I went back to the queue. Charles and
Susan did turn up - just in time as doors opened and we started to go
inside. It's a lovely little theatre which holds a few hundred people
(some up in the balcony), a good sized screen and a large stage for
events. The seats are very comfortable but it could do with a bit more
leg room for the taller people amongst us.

Once everyone had settled down Thelma was introduced and she gave a
brief introduction to what was going to happen that evening and why the
restoration was necessary. She also introduced Moira's daughter Rachel
and her daughter Eleanor who were there as well. Before the film itself
was shown Thelma showed a set of slides and clips that she'd prepared to
show people the difference. Some of them showed the very poor state of
the negatives, complete with mould, scratches, hisses and pops on the
soundtrack, misalignement where the three negatives had shrunk at a
different rate. It really is very bad. She also showed us the best
existing print and then did a screen wipe to compare that with the new
restoration. There were gasps from the audience at that comparison. When
you see the two side by side the improvement really is made more apparent.

And so onto the film itself. Just as gorgeous as I remembered from
Cannes. This was a digital version that was being shown. The digital
restoration produced a digital master which is very high resolution, a
much higher resolution than is used by any digital process in cinemas
and way above DVD or Blu-ray. What we saw at Cannes was a print made
from this digital master so that had the full resolution. But the
"print" being circulated to film festivals and cinemas like the Film
Forum in NY is a digital version but at a slightly lower resolution than
the digital master. There is one problem with any digital projection
system, they can sometimes freeze! And this one did. But it was quickly
fixed and the film was very well received.

Thelma took her place on stage for the Q&A. I had a few questions ready
in case nobody else asked any, but they weren't needed. People asked
about The Archers method of working, the way the film was regarded in
1948 and about the restoration itself. Thelma did confirm that they've
started working on Blimp and that they have already raised the money for
the full digital restoration. That one should be faster because a lot of
the time, and quite a bit of the expense of the TRS restoration was
spent in trying to do it chemically on film before they realised that
that just wasn't going to work and that digital was the way to do it.

On the way out I introduced Charles & Susan to Thelma and then
introduced Nick as well. I'll be seeing Thelma next week in Canterbury
so I let all of the others chat. But eventually we had to draw the
proceedings to a close and we all headed off home. I stayed the night
with Charles & Susan, always a pleasure. My original plan had been that
I'd go from there to see my brother in north Devon. But I'd had a call
saying that he and his family were busy with some things and although I
could still have a roof for the night they couldn't spare me much time
on the Friday. So I went to see my Mum in west Wales and spent Friday
night with her. That meant that I could also see my sister and on my way
to Devon on the Saturday I could also see my other brother who lives
just over the Severn Bridge. Although that did mean that I went from
London to Bath to Somerset to west Wales to Devon and then back to
London - I clocked up about 900 miles and it would happen to be over the
days when the country was getting a big dose of bad weather. So there
was some interesting driving involved. But now I'm back home, safe and sound

     Steve

Has the associated BFI exhibition been mentioned yet? If not, here's a teaser-

http://www.guardian.co.uk/uk/2009/nov/20/red-shoes-artwork-bfi-southbank

Sounds good. Presumably some of the items that used to be on show at the old
Museum Of the Museum Image, plus contributions from Marty.

Paul

Emeric Pressburger's 'Killing a Mouse on Sunday'

UK Freeview/Sky viewers can catch the movie version this afternoon (Saturday)

Behold a Pale Horse
Channel: FIVE USA
3.15 PM
B/W Widescreen
with Gregory Peck, Anthony Quinn

Hi all,
I spotted just now on DVDbeaver that of the two blu-ray releases of The Red
Shoes, only the first is named 'The Restoration Edition'. Is only this one from
the new restoration, do you know?
All the best,Simon

From: PnP@yahoogroups.com
To: PnP@yahoogroups.com
Date: Wed, 18 Nov 2009 22:56:24 +0000
Subject: [PnP] Birthday Reminder







































            Reminder from:

            PnP Yahoo! Group



                           Title:

                Anton Walbrook's birthday



	        Date:

            Thursday November 19, 2009

            Time:

            All Day

	       		        Repeats:

                This event repeats every year.

	       		       Notes:

               Adolf Anton Wilhelm Wohlbrück was born this day in Vienna, Austria
in the year 1896 (although some claimed he was born in 1900, this has now been
disproved)




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[Non-text portions of this message have been removed]

The college's own site at http://thescreensf.com/c_soon2.htm says that
it's on 22 January

     Steve

Steve Crook wrote:
> http://www.prweb.com/releases/2009/11/prweb3215134.htm
>
> College of Santa Fe Opens New Chapter for "The Screen" -- The Horse
> Boy, Rembrandt's J'Accuse Among Films Featured
> ...
> 1/1 – “The Red Shoes”: Based on a Hans Christian Andersen fairy tale
> about a pair of enchanted crimson ballet slippers, ”The Red Shoes”
> follows the story of beautiful Vicky Page (Moira Shearer), a young
> ballerina; the rising composer, Julian Craster (Marius Goring), whom
> she loves; and her dictatorial director, Boris Lermontov (Anton
> Walbrook). This version of the film is Martin Scorsese's immaculate
> 35mm restoration of the classic 1948 Powell and Pressburger musical.
>
> Steve
>
>

http://www.prweb.com/releases/2009/11/prweb3215134.htm

College of Santa Fe Opens New Chapter for "The Screen" -- The Horse Boy,
Rembrandt's J'Accuse Among Films Featured
...
1/1 – “The Red Shoes”: Based on a Hans Christian Andersen fairy tale
about a pair of enchanted crimson ballet slippers, ”The Red Shoes”
follows the story of beautiful Vicky Page (Moira Shearer), a young
ballerina; the rising composer, Julian Craster (Marius Goring), whom she
loves; and her dictatorial director, Boris Lermontov (Anton Walbrook).
This version of the film is Martin Scorsese's immaculate 35mm
restoration of the classic 1948 Powell and Pressburger musical.

Steve

http://www.edgarwrighthere.com/2009/11/edward-woodward-1930-2009/

Wicker Man's Woodward died yesterday.

http://blogs.indiewire.com/iwnow/archives/2009/11/17/red_shoes_scores_at_film_fo\
rum

"Red Shoes" Dances at Box Office
While restorations and re-issues are not included in indieWIRE's weekly
box office chart, the performance of Michael Powell and Emeric
Pressburger's "The Red Shoes" over the weekend deserves some
consideration. The film grossed $17,520 on a single screen at New York's
Film Forum, giving it a first week total of $30,354.

"We are absolutely thrilled with our two-week presentation of the
restored print of 'The Red Shoes,'" Karen Cooper, director of the Film
Forum, told indieWIRE. "Its first week gross was $30, 354 and its second
week looks to be just as strong. The restoration of this glorious ballet
classic is probably the best I've ever seen. Credit for the restoration
goes to UCLA, Martin Scorsese's Film Foundation, MGM and many others.
We were particularly delighted that Maureen Dowd devoted an Op-Ed piece
in The New York Times to the film and that Manohla Dargis, also in The
Times, gave it the glowing critical appreciation it deserves."

MGM, who owns the title, will be expanding 'The Red Shoes' to other
cities over the next few weeks.

Sallis Benney Theatre, University of Brighton
Mon 30 Nov 6.15pm

Film historian and broadcaster Ian Christie explores some of the films
that Michael Powell, David Lean and Terry Gilliam, among others, didn’t
manage to make, and asks how these might have changed our image of these
directors. All film-makers suffer from cherished projects failing to get
made, after many months or years have been spent preparing them. Would
they have been masterpieces – or were some perhaps better not made? And
how much can we know about them? Ian Christie has published many books
on Michael Powell, Gilliam on Gilliam and, most recently, The Art of
Film: John Box and Production Design.

Steve

OH NO! I'll be in Los Angeles in December.  I'm in misery. :-(  Maybe there
will be another screening in LA.

Barbara





-----Original Message-----
From: Steve Crook <steve@...>
To: PnP <PnP@YahooGroups.com>
Sent: Sun, Nov 15, 2009 8:35 am
Subject: [PnP] TRS in Chicago






























Brian Corstange tells us:

> The restored Red Shoes will be playing at the Music Box Theatre in

> Chicago, Illinois from December 11-17. Here is the theatre website.

> www.musicboxtheatre.com

>

> And here is their winter calendar:

> http://www.musicboxtheatre.com/calendars/MusicBoxWinter09-10.pdf



Barbara, rush out and get your tickets now :)



Steve























[Non-text portions of this message have been removed]

Tracey in LA tells us that AMOLAD is on TCM (US) tonight at 1am PST

     Steve

Brian Corstange tells us:
> The restored Red Shoes will be playing at the Music Box Theatre in
> Chicago, Illinois from December 11-17. Here is the theatre website.
> www.musicboxtheatre.com
>
> And here is their winter calendar:
> http://www.musicboxtheatre.com/calendars/MusicBoxWinter09-10.pdf

Barbara, rush out and get your tickets now :)

     Steve