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Stefan Andersson wrote: Fri Jul 31, 2020 4:27 pm Recovered and restored at Il Cinema Ritrovato 2020:
https://festival.ilcinemaritrovato.it/e ... rati-2020/
Includes a re-edit of Gomorra, La traversée de Paris, Gaumont chronochromes, Tap Roots (1948), I Cento Cavalieri (Cottafavi, 1964), Tih Minh, The Misfits, Spider´s Stratagem,
4 Mosche di Velluto Grigio, La femme et le pantin (Baroncelli, 1928) and more.

NABOB OF NOWHERE wrote: Fri Jul 31, 2020 5:51 pm

Stefan Andersson wrote: Fri Jul 31, 2020 4:27 pm Recovered and restored at Il Cinema Ritrovato 2020:
https://festival.ilcinemaritrovato.it/e ... rati-2020/
Includes a re-edit of Gomorra, La traversée de Paris, Gaumont chronochromes, Tap Roots (1948), I Cento Cavalieri (Cottafavi, 1964), Tih Minh, The Misfits, Spider´s Stratagem,
4 Mosche di Velluto Grigio, La femme et le pantin (Baroncelli, 1928) and more.

You didn't mention Grémillon's L'étrange Monsieur Victor

Comment peux-tu vivre avec toi-même ?

perkypat wrote:Tenia,
I was wondering how English-friendly is the Lumiere festival? Ive fancied going for a while, but I dont think my French is up to 3 or 4 subtitled films a day.

The three short films presented in this edition of Il Cinema Ritrovato all feature cars and traffic, although they were shot while Kiarostami worked for the Kanoon, the Institute for the intellectual developement of children and young adults, where he was supposed to make educational films. They were made during the years of the Iranian Revolution, when almost no film could be shot. In 1978, the young director escaped from the tensions of the city with only one cameraman, one soundman, a non-actor and a tyre (long before Quentin Dupieux). Together, they shoot Rah-e hall-e yek, an extraordinary silent odyssey, only through the grace of the frames, the light, the editing and the score. In 1981, Be tartib ya bedun-e tartib, based on the either/or principle, a trope frequently explored in his cinema, first appears to be a simple demonstration of the virtue of order, in a school as in the city traffic. But soon, the viewer realises there is a film in the film and taking control over the traffic is just as difficult as trying to master reality in order to make a film. Two years later, in 1983, after witnessing the scene in the streets of Tehran, Kiarostami decides to use some outdated 16 mm negatives to film the procession of countless motorists passing in front of one single man: an officer assigned to block the road, sacrificed to their constant pressure. Hamshahri, among his least well-known films, is a fascinating document of power struggle in post-revolutionary Iran. In these early unique road movies, Abbas Kiarostami proved his ability to make cinema with almost no means, to transform the apparent purpose of the project by adjusting to reality and constantly celebrating movement as the quintessence of life and cinema.

Stefan Andersson wrote: Sun Aug 02, 2020 7:53 pm Lobster Film, with an assist from Argentinian historian Richard Peña, has identified the original version of Keaton´s The Blacksmith. The version that has until now been regarded as an original version, was in fact a preview version, rejected after a disastrous screening, then partially re-shot and shortened. Details: https://festival.ilcinemaritrovato.it/e ... lacksmith/

Roger Ryan wrote: Mon Aug 03, 2020 4:24 pm

Stefan Andersson wrote: Sun Aug 02, 2020 7:53 pm Lobster Film, with an assist from Argentinian historian Richard Peña, has identified the original version of Keaton´s The Blacksmith. The version that has until now been regarded as an original version, was in fact a preview version, rejected after a disastrous screening, then partially re-shot and shortened. Details: https://festival.ilcinemaritrovato.it/e ... lacksmith/

Not that it isn't valuable to have this information available again in this new context, but the situation regarding the two extant versions was resolved five years ago. The key was John Bengtson, master location scout, determining that the unique footage found in the recently discovered version was shot several months after the initial footage was shot due to changes in the background landscape. This strongly suggested the recently discovered version was meant to supplant the version Keaton fans were familiar with.

tenia wrote: Sat Aug 01, 2020 5:38 pm

perkypat wrote:Tenia,
I was wondering how English-friendly is the Lumiere festival? Ive fancied going for a while, but I dont think my French is up to 3 or 4 subtitled films a day.

Whoops, missed that.

It isnt very English friendly. However, the program, once published, states quite accurately the few movies subtitled in English, and there can be several English speaking movies, though you'll have to deal with French subs.

perkypat wrote:

tenia wrote: Sat Aug 01, 2020 5:38 pm

perkypat wrote:Tenia,
I was wondering how English-friendly is the Lumiere festival? Ive fancied going for a while, but I dont think my French is up to 3 or 4 subtitled films a day.

Whoops, missed that.

It isnt very English friendly. However, the program, once published, states quite accurately the few movies subtitled in English, and there can be several English speaking movies, though you'll have to deal with French subs.

Thanks for the information, not surprising.

Ovader wrote: Fri Aug 28, 2020 11:53 pm Not a recent restoration but a forthcoming project by an unnamed major studio for a very very rare Cornell Woolrich film is being restored which Eddie Muller is not allowed to name during a recent ASK EDDIE video segment.