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The ASC just put out this press release - they're showing a 17 film retrospective at MoMI, and two screenings stand out: an archival 35mm IB Technicolor print of The Godfather Part II and a screening of Pennies from Heaven restored by the Academy Film Archive. I've heard so many great things about the latter, which wasn't exactly smash success when it was first released, so will probably catch that.

Ugh, damn my current residence, I would kill to see any of those movies on the big screen (especially the Allen movies and The Parallax View).

UGH Godfather Part II, same day as Chimes at Midnight at Film Forum, same day as my birthday. I think I'll hate to switch it up, go to Chimes earlier in the week.

Wow.

Has anyone seen an IB Technicolor print of a Hollywood film circa 1974 before? I've only seen such prints for older films from the '40s and '50s - I'm wondering how later films would look when projected from them?

hearthesilence wrote:Has anyone seen an IB Technicolor print of a Hollywood film circa 1974 before? I've only seen such prints for older films from the '40s and '50s - I'm wondering how later films would look when projected from them?

Yes, actually. I caught an IB Tech of Richard Rush's FREEBIE AND THE BEAN,
a few years ago. It had lost virtually none of its color, although, naturally,
there was still a fair amount of emulsion scratches and dirt.

If you have the chance to catch any IB Tech prints like this, you shouldn't pass it up! Even for films from the 60s and 70s. I saw an IB print of The Wild Bunch shortly after I saw the restoration theatrically, and I swear that the IB print had better balanced and richer color.

Heck, I might even fly to New York to see that Godfather II print.

I know what you mean. When they were doing the Minnelli retrospective at BAM, I went to see The Pirate (excellent, top notch film that deserves a bigger reputation), and it was probably a third full. It was immediately apparent that it was an IB tech print, the colors and image just bloomed. I think it's kind of like the visual equivalent of hearing a vintage recording played back on the original vacuum tube equipment vs. something that's more modern and solid-state. Anyway, it made such a huge difference, they really ought to advertise this stuff more.

Oh man, I would give anything to see Klute and Parallax in 35mm...

Ironically, to all the people lamenting they don't live near NYC for this, I really wish I could easily get to Woodstock, IL for that Orson Welles' festival this summer!