As a cinephile with decades of movie-watching under my belt, I can confidently say that the Locarno Film Festival’s retrospective dedicated to Columbia Pictures is a cinematic treasure trove. The curation by Ehsan Khoshbakht, who also co-directs Bologna’s Cinema Ritrovato Festival, has brought together an eclectic and enlightening collection of films that truly encapsulates the spirit of Columbia in its heyday.
As a film enthusiast who has been attending various international film festivals for over a decade, I must say that the Locarno Film Festival stands out as one of the most intriguing and thought-provoking events in the industry. This year’s edition, which is dedicated to Columbia Pictures in celebration of its centenary, is particularly exciting for me because of my personal connection with this iconic studio.
Ehsan Khoshbakht, a curator, has assembled an “unofficial chronicle” featuring 44 films that span popular classics such as Orson Welles’s “The Lady from Shanghai” (1947) and Fritz Lang’s “The Big Heat” (1953), along with lesser-known treasures like Frank Borzage’s “Man’s Castle” (1933) and Earl McEvoy’s “The Killer that Stalked New York” (1950). This collection provides a glimpse into the studio during its golden age, as it was propelled from struggling studios to Academy recognition under the leadership of the contentious president Harry Cohn.
EbMaster had a conversation with Khoshbakht, who is a co-director of the Bologna’s Cinema Ritrovato Festival, on the topic of the upcoming retrospective.
EbMaster: What role does the retrospective play in Locarno?
More recently, I’ve been engrossed in interviews with the late Michel Ciment, where he spoke highly of Locarno. He mentioned that he served on the jury here alongside Abbas Kiarostami. In the mornings, they would attend screenings of Yasuhiro Ozu’s works as part of a retrospective, and in the afternoons, they would shift to competition films for their duties. This back-and-forth between the two was quite enjoyable.
Audiences grow as the festival progresses.
These films, though produced in the past, carry contemporary relevance as they tackle issues that persist today. For instance, “Gunman’s Walk” (1958) delves deeply into themes such as patriarchy, psychological complexities, racial tension, and the origins of racism, linking them to violence and sexual identity in a way that feels incredibly modern. Watching “Washington Merry-Go-Round” (1932), “The Undercover Man” (1949) and “All the King’s Men” (1949) together can provide a more accurate portrayal of America than any single film, as they were directed by diverse filmmakers – James Cruze, Joseph H Lewis, and Robert Rossen – who range from low-budget to high-budget productions and span the political spectrum. Despite their differences, these films capture America’s essence, making it a remarkable achievement.
How did the collaboration with Locarno come about?
I encountered Giona Nazzaro, the director of Locarno, during my trip to Mexico, and he suggested collaborating on a project. A thought popped into my mind about Columbia Pictures, so I reached out to my contacts at Sony. Grover Crisp is the person with ultimate authority in this matter, and Rita Belda also wields significant influence. Both are instrumental in many digital restorations due to their long-standing roles within the studio. Grover has been a part of Columbia for over four decades, making him the longest-serving member of any major or minor studio’s film heritage department. The consistency in quality is largely attributed to his dedication. He takes immense pride in his work and approaches it with artistic finesse, always considering the history of the studio. Upon reaching out to Grover for the first time, one of my initial requests was for “Gunman’s Walk.” He recognized the film, but he might not have realized its masterpiece status. However, a movie doesn’t become a masterpiece until it’s screened in a theater. That’s the essence of our profession. The magic happens when you play it, and all of a sudden, it transforms into something extraordinary.
Will the retrospective show elsewhere?
After presenting a movie, others were invited to discuss it following the screening’s start, but I declined because I firmly believe that this specific film will not be screened again during my lifetime. This isn’t an exaggeration; consider the film “Brothers” (1930) directed by Walter Lang. One may wonder who would show or why anyone should play this movie. There are no star power or director angles involved. The context is unique, and it’s a well-crafted film. I am almost positive that I won’t have the opportunity to watch this film in 35mm format again. Although other venues may display Digital Cinema Packages (DCP), our goal was to secure as many 35mm prints as we could.
And during one introduction, you thanked the projectionist.
Jean-Michel Gabarra is an exceptional film projectionist. He’s the one who ensures the smooth operation of everything, not just pressing a button: 4K, DCP, and off it goes. He’s top-notch. But what makes this venue truly special is its screen projectors, their quality, and the lighting conditions. It’s perfection. Unfortunately, I doubt any other venue will live up to my expectations, even in Bologna, as we lack the size, quality, and slightly curved screen that works perfectly for Cinemascope.
What could these films teach contemporary filmmakers?
As a lifelong movie enthusiast who has spent countless hours in darkened theaters, I find myself often frustrated with modern blockbusters that seem to drag on for what feels like eternity. Take a look at these recent Columbia Pictures releases – it seems like every other title is stretching beyond the two-hour mark, but most of them could easily be trimmed down and still deliver a compelling story.
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2024-08-13 15:47