| |
The Greatest 70mm Race
A GIFF 70 Festival Report |
Read more at in70mm.com The 70mm Newsletter
|
Written
and photographed by: Thomas Hauerslev |
Date:
27.05.2021 |
Danish
movie poster for "The Great Race", 1966. Very tastefully displayed at the
Kino. No expense spared to make GIFF 70 an event to please the audience.
Any rumours about the death of 70mm are greatly exaggerated!
The first 70mm festival at the Gentofte Kino
(about 7 km north of central Copenhagen, DK) ended yesterday evening [23. May '21] with a screening of Blake Edwards'
classic
“The Great Race” (1965).
An original 70mm premiere print from the first release in 1966. "The
Great Race" bookended
Gentofte International
70mm Film Festival [GIFF 70],
after 2½ days of 70mm at Gentofte Kino in Denmark. Thanks to the ambitions of Sune
Thomsen the Kino's manager, it is close to a miracle to be able to see 70mm again
in a cinema like the Kino.
GIFF 70 is focuses exclusively on the majestic and legendary 7OMM format,
and
is intended to be an annual festival in January. Because of pandemic
restrictions, the 2021 festival was moved to May 21-23, 2021.
Sune Lind Thomsen, manager of Gentofte Kino
describes GIFF 70 like this.
"Gentofte International 70mm Film Festival [GIFF 70] is the first
time we are going to do this. It is a brand-new concept for Gentofte
Kino. We should have actually released this event or festival back in
January 2021, but due to the Corona pandemic it has been delayed several
times. But it is going to happen now, at the end of May and we are
really looking forward to trying this for a Danish audience. Our
ambitions are high, and in the future our aim is also to have
international guests travelling to Gentofte to see films in the
authentic 70mm format at the Kino".
The festival began Friday evening with Quentin Tarantino's
"The Hateful Eight" (2015). It continued Saturday with
"Dunkirk" (2017)
by Christopher Nolan, then “Out of Africa” (1985) by Sidney Pollack and
"Joker" (2019), Todd Phillips,
and continued Sunday with a morning screening of the popular
"Interstellar" (2014)
also by Christopher Nolan.
The Kino had been "dressed" for 70mm several weeks in advance. Ticket
sales started in late April once the final dates were settled. Facebook was
used to promote the event with weekly updates about posters, prints and
projector. Original Danish posters were on display in the foyer, a four page A4 color flyer
was available in the boxoffice and a full-page advert in the newspapers a
week in advance.
I attended "The
Hateful Eight" and "The Great Race".
•
Go to Sune L Thomsen about GIFF 7O @ the
Gentofte Kino, Denmark
•
Go to gallery
Gentofte Kino, Greater
Copenhagen, Denmark
|
More in 70mm reading:
GIFF 70, Copenhagen,
Denmark
PDF: GIFF 70 Program flyer
Gallery
Gentofte Kino
Sune L Thomsen about GIFF 7O @ the Gentofte
Kino, Denmark
Meet the Chief - Jan Niebuhr
“The
Great Race”: The 70mm Engagements
"Joker" Production Notes
"Interstellar" Goes IMAX 70MM and 5/70 MM
Quentin
Tarantino's "The Hateful Eight" in Ultra Panavision 70
"Dunkirk" filmed in
65mm with IMAX cameras
Ultra Panavision 70 - Adjustment and modifications
Super Technirama
70
Todd-AO
Google maps:
Gentofte Kino location
|
Projectionist
Jan Niebuhr who is properly dressed for the 70mm film festival, is welcoming the
audience.
The GIFF 70 kicked off Friday evening with a 70mm screening of "The
Hateful Eight" in blazing
Ultra
Panavision 70 with almost 90 tickets
being sold. While respecting Covid distance rules, the audience seemed to
enjoy the show. Projectionist Jan
Niebuhr was in the door checking the
tickets. The auditorium was buzzing quietly with anticipation. Fans of 70mm
and audience alike were taking their seats. Young David Brynskov and his dad
Martin drove all the way from Aarhus to see 70mm again. Their previous 70mm
adventures include both Krnov
and Karlsruhe. The manager of the Kino introduced the show
from the stage in front of the screen by welcoming the
audience and telling them anecdotes about the special
anamorphic
projection lens.
Overture began, and slowly the light was dimmed. The bordeaux curtains
majestically opened revealing the screen, and the
CINERAMA logo, the artists
respectful nod to the roadshow era. Morricone's music and the main titles played well,
and on the adventure we went. Occasionally annoying white flashes were
visible at the bottom of the screen. The masking plate is too big it
seems. Around two hours into the show, the Intermission came up. 20 minutes
to refresh yourself with drinks and sweets from the bar (in the cinema) and
box-office in the foyer.
Picture quality of "H8" was sadly a bit of a let-down
compared to previous 70mm screenings which my wife and I attended. I kept my
mouth shut on the way home in the car, but was surprised by the remarks from my own
family. The Ultra Panavision 70 presentation itself had been a bit flawed by projection
optics that didn't quite live up to modern standards it seems. The image was lacking
in contrast and sharpness. It was not the "larger than life" sharpness
you would normally expect from 70mm.
|
|
"The
Great Race" (Titled "Alle Tiders Race" in
Danish), the film originally
opened as a Cinerama presentation at the Kinopalæet 9. June 1966, and played
2½ months.
Another objection were the digitally projected
subtitles. Normally - in the old days - subtitles were engraved in 70mm
prints by Titra in Bruxelles (BE). Very small white letters which made them
easy to read. As the letters
were the same size as 35mm subtitles they looked approximately 20%
smaller in 70mm, thus making the 70mm picture look bigger on a same-size
screen. That process is now obsolete, however, and today subtitles are
projected digitally in synch with the 70mm projector. It makes sense, and it
is probably cheaper.
The digital subtitles used at the Kino are
not my favorite, however. They are very large, feels like a distraction and removes the grandeur of 70mm. They also look
a bit "off",
being yellow.
Besides that, they are
also difficult to read. The width of a simple sentence like "og du
ligger død bag mig, John" fills a third of the screen width! You
have to move your head too much to read. A sentence like this should only
fill about a quarter of the screen width in my opinion.
On top of that, the digital
projector also spills a haze of white light on the screen where the subtitles are, and
thereby washing out the contrast. There must be a better way to do this. It
can be done in Krnov, Karlsruhe and elsewhere, so why not in Gentofte Kino? It's
seems to be a waste of effort to invest in 70mm projection and organize a
70mm festival, and then use a less-than-satisfactory subtitling system which
additionally degrades picture quality. Several issues for the to-do-list
to be solved before the next 70mm presentation.
According the Kino's Facebook page the Saturday went ahead very well,
with "Out of Africa" selling the most tickets of the day. Friends of
the Kino are expressing their gratitude of the service and dedication, and
look forward to next year's event.
The Kino was built before the introduction of wide screen systems like
CinemaScope and Todd-AO. Dating back to 1938 and
designed for the 1,37.1 Academy ratio, the Kino was of course rebuilt later
for CinemaScope. The curved screen is around 12 meters wide, and the throw
is 35 meters. Three times the width of the screen. Some would argue the Kino
is not particularly well suited for 70mm. Converting an older existing cinema
to 70mm is not a new idea. This happened to a lot of Danish cinemas during
the '60s. In fact around half of the approximately 70 Danish 70mm
installations were retrofit installations like the Kino. Suited or not,
simply sit closer to the screen as we did - on the third row. 70mm works
well too from the back of the cinema producing a super sharp picture with
plenty of light. The Kino had premiered their new 70mm installation in August 2020 with
"Tenet" in authentic 70mm. Sune is to be applauded for the
efforts to show 70mm at the Kino, giving the audience a rare opportunity to
see real film in a cinema. Not only that, but 7OMM!
|
|
The
Kino looks great dressed for 70mm from the back row. Note the small and
pleasing "analogue" neutral looking engraved subtitles from a vintage 70mm
print.
Sunday afternoon my daughter Maria and I took our seats on the third row.
Again Jan Niebuhr was in the door to check the tickets. I wanted to go
upstairs and say hello to the projectionists Alan and Orla, but the door was
locked, and Sune did not want visitors 15 min before the show.
David and Martin Brynskov were already seated, as was the former Kino manger Erik Hamre, and Morten
"Mr Dancan"
Jacobsen who has also been a guest in Karlsruhe. Behind us were Per Tofte
Nielsen, projectionist at the Danish Cinematek and director
Simon Wasiolek ("Diamantpigen"). It was a very mature
audience, who probably have seen the film before. Sune introduced the show,
but did not bother to go on stage with a microphone. A little festival
fatigue perhaps?
Titled "Alle Tiders Race" in Denmark, the film originally
opened as a Cinerama presentation at the
Kinopalæet 9. June 1966, and played
until 21. August 1966. Originally, the
Super Technirama 70 short film "Shellarama"
was shown before the main feature. "Race" was re-released a few
times, including an encore one-week 70mm run at the
3 Falke Bio
Todd-AO
theatre from 23. July 1980 until 29. July 1980.
This screening was the first public screening in 40+ years in Copenhagen.
The print played well, and still has some color left, but not much. Of course a 70mm print
being of this vintage, is to be expected to have some color fading, and not
up to current standards. Overall, still a very pleasing Panavision 70 look, and
the missing colors really did not matter. What counted was being present to
experience this. The vertical masking was a bit too open for the first half
of the film. Per mentioned this to the staff during the intermission, and
for the second half the masking was spot on.
"The Great Race" is a very funny film with superb performances by
Jack Lemmon, Natalie Wood, Peter Falk and Tony Curtis, and a marvellous score by Henry
Mancini, with wonderful sets and photography throughout. It was the most
expensive comedy ever made when it came out in 1965. They really do not make them like
this any more. Dedicated to Laurel and Hardy, it is superb entertainment, and
we both laughed at the hysterical dialogue, the pie fight and all the gags. What "Race" lacked in color,
however, was gained as the most fun film of the weekend, and the production which got
the most
laughs from the audience. 2 hours and 40 min of pure slapstick.
It was the least successful of the six films this weekend perhaps (in terms
of the
number of tickets sold), but by far the most rewarding for me, and those of
us who were there. A very sharp image on the screen, very good light and
impressive sound from the old mag tracks. It was truly a rare experience to
see this on the big screen and a testament to Sune's dedication to present
the authentic cinema experience. He is to be applauded for the efforts to bring
back the classic 70mm format, and I hope the local community will support
and appreciate it in the years to come. It is a huge effort to organize a
festival like this. An absolute endless check-list of things to do. Despite the few
issues for the to-do-list, and some beginners bugs mentioned
here, it seems GIFF 70 got off with a good start. The Greatest Show in
Todd-AO!
I hope the GIFF 70 is here
to stay, and we all look forward to the next festival in 2022.
|
|
|
|
|
|
Go: back - top - back issues - news index Updated
28-07-24 |
|
|