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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-size: large\">A Charlie Chaplin Centennial Celebration\u003c/span>\u003c/b>\u003c/p>\n\u003cp>January 11, 2014\u003cbr>\nCastro Theatre\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/tp5L3583k5Q'\n title='//www.youtube.com/embed/tp5L3583k5Q'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>For \u003ca href=\"http://www.silentfilm.org/pages/index/?catid=1174\">more information\u003c/a>, visit silentfilm.org.\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-size: large\">The Lisa Mezzacappa Trio\u003c/span>\u003c/b>\u003c/p>\n\u003cp>January 13, 2014\u003cbr>\nDuende\u003c/p>\n\u003cp>For \u003ca href=\"http://www.lisamezzacappa.com/index.html\">more information\u003c/a>, visit lisamezzacappa.com.\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-size: large\">Funny Ha-Ha: American Comedy, 1930-1959\u003c/span>\u003c/b>\u003c/p>\n\u003cp>January 16 – February 22, 2014\u003cbr>\nPacific Film Archive\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/ur9GKLl8v4U'\n title='//www.youtube.com/embed/ur9GKLl8v4U'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Featuring classic comedies such as \u003ci>Duck Soup\u003c/i>, \u003ci>It Happened One Night\u003c/i>, \u003ci>His Girl Friday\u003c/i>, and \u003ci>Gentlemen Prefer Blondes\u003c/i>.\u003c/p>\n\u003cp>For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/american_comedy\">tickets and more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>\u003cb>\u003cspan style=\"font-size: large\">I The Mighty\u003c/span>\u003c/b>\u003c/p>\n\u003cp>January 11, 2014\u003cbr>\nBottom of the Hill\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gotdkitGg0k'\n title='//www.youtube.com/embed/gotdkitGg0k'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\n\u003cp>For \u003ca href=\"http://www.bottomofthehill.com/20140111.html#.Us9E4vaxbjw\">tickets and more information\u003c/a>, visit bottomofthehill.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Almost 100 years after it was made, the Charlie Chaplin film \u003ca href=\"http://en.wikipedia.org/wiki/The_Vagabond_%28film%29\">\u003ci>The Vagabond\u003c/i>\u003c/a>, still leaves audiences laughing and swooning, no matter where it plays. I’ve seen children on the Indian subcontinent laughing uproariously at Chaplin’s antics the same way that elderly movie-goers did on a different occasion in California. Chaplin’s silent films are hypnotic. The fact that no words are audible adds to their allure. But “silent film” can be a misnomer. Many silent films were made to have a musical accompaniment, and modern screenings of anything by Chaplin, Lon Chaney, and other silent-era greats are almost expected to have an aural component. \u003c/p>\n\u003cp>That’s where Jon Mirsalis comes in. An accomplished pianist who’s one of the world’s foremost historians on Chaney’s works and silent film in general, Mirsalis will accompany three Chaplin shorts that are playing at the Castro Theatre on Saturday, January 11, 2014. The films — \u003ci>The Vagabond\u003c/i>, \u003ci>The Cure\u003c/i>, and \u003ci>Easy Street\u003c/i> — are screening as part of \u003cb>The Little Tramp at 100: A Charlie Chaplin Centennial Celebration\u003c/b>, which is being presented by the \u003ca href=\"http://www.silentfilm.org\">San Francisco Silent Film Festival\u003c/a>. Mirsalis interprets each film scene on the spot. How to play for a silent film? For Mirsalis, it’s about improvisation. And it’s about creating sheets of sound that — in a counter-intuitive way — are both noticed and unnoticed. The best musical accompaniments to silent films, Mirsalis says, stay in the background.\u003c/p>\n\u003cp>“What makes a good score is, first, you don’t want to call attention to yourself,” he says. “There are and have been accompanists who love to put in what I call musical gags. One accompanist would play, whenever there was a fire sequence, the song \u003ci>Blaze Away\u003c/i>. If you know the song, it’s ‘Ha, ha. Isn’t that cute?’ But that’s a terrible thing to do. Because it takes people off the film. I should be invisible. In fact, the best compliment that people give me when a film is over is to come up to me and say, ‘You began playing the film and for the first minute or so, I was conscious you were playing. And then I just tuned you out.’ And people are often apologetic. They’ll say, ‘I completely forgot you were there until the end credits came on and you stood up and people applauded.’ That’s the best compliment, because that’s the way it’s supposed to work. The music is supposed to provide the mood of the film. Even a film today, like a John Williams score for \u003ci>Star Wars\u003c/i> or \u003ci>Indiana Jones\u003c/i> or \u003ci>Lincoln\u003c/i> — you don’t sit there and say, ‘Wow, this is a great score.’ You are sucked into the movie.” \u003c/p>\n\u003cp>In the hey-day of silent films, between the 1890s and 1920s, about 20,000 were made, according to Mirsalis. After “talkies” appeared around 1929, and the demand for silent films badly ebbed, movie studios destroyed thousands of original-print silent films, including films by Chaney and other major stars. The only reason some of these films still exist: Copies happen to have been held in archives. Even today, rare silent films are occasionally found in old houses and old storage spaces. Chaney, for example, made more than 150 films, but a relative few survive, Mirsalis says. Chaney’s work for Universal Studios is almost completely lost.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=k3t18c2axRw\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“It’s ridiculous,” Mirsalis says. “Of the 110 films he did for Universal, I want to say about 10 or fewer survive. That’s because, in 1948, Universal burned all their silent library. MGM lost one vault of films due to a fire. Fox lost a lot of films just to neglect. Paramount likewise with neglect. Universal said, ‘Gee, we have no use for this silent film. We’re paying storage costs on all this flammable nitrate film. We’re paying high insurance costs. There’s absolutely no market for it.’ This was just before TV was starting to take off. And TV wasn’t doing much with silent films other than shows that made fun of them. They took these old films and ran them in 24-frames-per second, and made them really fast and silly and put a gag narration track on it. So there was no market. And Universal felt they could melt the films down and extract the silver. So they destroyed everything that didn’t have a soundtrack. So the reissue of \u003ci>The Phantom of the Opera\u003c/i> and \u003ci>The Man Who Laughs\u003c/i>, which had a soundtrack, and a handful of late 1920s films, they destroyed. They destroyed all the original material from \u003ci>The Hunchback of Notre Dame\u003c/i>. This is beyond dumb.”\u003c/p>\n\u003cp>Mirsalis, who runs the website \u003ca href=\"http://lonchaney.org/\">lonchaney.org\u003c/a>, solidified his silent-film expertise in his “off hours.” His day job is as a research scientist at SRI International, a major Menlo Park research and development center. Mirsalis’ title: Managing Director, Division Operations, and Director, Preclinical Development, SRI Biosciences. He has doctorates in toxicology and genetics from North Carolina State University. Mirsalis’ interest in silent film dates back to when he was 10, when he was a regular reader of \u003ca href=\"http://en.wikipedia.org/wiki/Famous_Monsters_of_Filmland\">\u003ci>Famous Monsters of Filmland\u003c/i>\u003c/a>, a magazine that chronicled cinematic ghouls and published flattering articles on Chaney’s films. In 1974, Mirsalis began assembling notes about as many Chaney films as he could, and he bought his first film: an eight-millimeter print of \u003ci>The Phantom of the Opera\u003c/i>. His collection has gotten much bigger, as well as his reputation. In the last 30 years, Mirsalis has done everything from program a Chaney film series at the Pacific Film Archive to scoring the music for the Milestone Films’ release of \u003ci>The Phantom of the Opera\u003c/i>. \u003c/p>\n\u003cp>Mirsalis, 61, lives in the Peninsula area called Emerald Hills and is part of an elite group of silent-film accompanists. About six veteran accompanists live in the Bay Area, he says. He doesn’t compartmentalize his interests, so colleagues at SRI International know about his outsized interest in Lon Chaney and silent films. “Everyone knows about it — in fact, the CEO of our company is a violinist, and many of my staff show up when I play for films,” he says. “I keep them separate in the sense that I have a day job. I go to work and I do science in the daytime, but I usually don’t spend my weekends doing science. But you’ll find that, traditionally, there’s a link between science and music. An awful lot of scientists are musicians. And if you go back to Galileo and Leonardo da Vinci times, it’s like a left-right brain thing. People who tend to have aptitude in science also tend to have aptitude in music. And I am a pretty good researcher, whether I’m researching cures for infectious disease or what the proper credits were on a 1914 film. Some of the skills are the same, in that you use all your resources, and you compile it all. And in both science and in film history, sometimes you have to make educated guesses as to what really happened.” \u003c/p>\n\u003cp>Before our interview ended, Mirsalis threw out a fact that few people know about: “Before my piano playing days, I was a pretty good rock guitarist in a reasonably successful band in the Cleveland area. I knew \u003ca href=\"http://en.wikipedia.org/wiki/Joe_Walsh\">Joe Walsh\u003c/a> growing up. But I quickly realized that that is not the life you can make money at or have a good time at. Even for the people who are successful, it’s a rough life. In fact, my old guitar teacher, Walt Nims, wrote \u003ca href=\"http://www.youtube.com/watch?v=I95xCjQe6Jg\">Precious and Few\u003c/a>, which was a big hit. He was also the lead guitarist of \u003ca href=\"http://en.wikipedia.org/wiki/The_Outsiders_%28American_band%29\">The Outsiders\u003c/a>. But it’s a tough life. How many big bands of the 1970s are still around? And I enjoy science, which I find to be challenging.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Jon Mirsalis will accompany three Charlie Chaplin film shorts at the Castro Theatre on Saturday, January 11, 1pm. The films — \u003ci>The Vagabond\u003c/i>, \u003ci>The Cure\u003c/i>, and \u003ci>Easy Street\u003c/i> — are screening as part of \u003cb>The Little Tramp at 100: A Charlie Chaplin Centennial Celebration\u003c/b>, which is being presented by the San Francisco Silent Film Festival. For \u003ca href=\"http://www.silentfilm.org/special-events/the-little-tramp-at-100\">tickets and more information\u003c/a> visit silentfilm.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Almost 100 years after it was made, the Charlie Chaplin film \u003ca href=\"http://en.wikipedia.org/wiki/The_Vagabond_%28film%29\">\u003ci>The Vagabond\u003c/i>\u003c/a>, still leaves audiences laughing and swooning, no matter where it plays. I’ve seen children on the Indian subcontinent laughing uproariously at Chaplin’s antics the same way that elderly movie-goers did on a different occasion in California. Chaplin’s silent films are hypnotic. The fact that no words are audible adds to their allure. But “silent film” can be a misnomer. Many silent films were made to have a musical accompaniment, and modern screenings of anything by Chaplin, Lon Chaney, and other silent-era greats are almost expected to have an aural component. \u003c/p>\n\u003cp>That’s where Jon Mirsalis comes in. An accomplished pianist who’s one of the world’s foremost historians on Chaney’s works and silent film in general, Mirsalis will accompany three Chaplin shorts that are playing at the Castro Theatre on Saturday, January 11, 2014. The films — \u003ci>The Vagabond\u003c/i>, \u003ci>The Cure\u003c/i>, and \u003ci>Easy Street\u003c/i> — are screening as part of \u003cb>The Little Tramp at 100: A Charlie Chaplin Centennial Celebration\u003c/b>, which is being presented by the \u003ca href=\"http://www.silentfilm.org\">San Francisco Silent Film Festival\u003c/a>. Mirsalis interprets each film scene on the spot. How to play for a silent film? For Mirsalis, it’s about improvisation. And it’s about creating sheets of sound that — in a counter-intuitive way — are both noticed and unnoticed. The best musical accompaniments to silent films, Mirsalis says, stay in the background.\u003c/p>\n\u003cp>“What makes a good score is, first, you don’t want to call attention to yourself,” he says. “There are and have been accompanists who love to put in what I call musical gags. One accompanist would play, whenever there was a fire sequence, the song \u003ci>Blaze Away\u003c/i>. If you know the song, it’s ‘Ha, ha. Isn’t that cute?’ But that’s a terrible thing to do. Because it takes people off the film. I should be invisible. In fact, the best compliment that people give me when a film is over is to come up to me and say, ‘You began playing the film and for the first minute or so, I was conscious you were playing. And then I just tuned you out.’ And people are often apologetic. They’ll say, ‘I completely forgot you were there until the end credits came on and you stood up and people applauded.’ That’s the best compliment, because that’s the way it’s supposed to work. The music is supposed to provide the mood of the film. Even a film today, like a John Williams score for \u003ci>Star Wars\u003c/i> or \u003ci>Indiana Jones\u003c/i> or \u003ci>Lincoln\u003c/i> — you don’t sit there and say, ‘Wow, this is a great score.’ You are sucked into the movie.” \u003c/p>\n\u003cp>In the hey-day of silent films, between the 1890s and 1920s, about 20,000 were made, according to Mirsalis. After “talkies” appeared around 1929, and the demand for silent films badly ebbed, movie studios destroyed thousands of original-print silent films, including films by Chaney and other major stars. The only reason some of these films still exist: Copies happen to have been held in archives. Even today, rare silent films are occasionally found in old houses and old storage spaces. Chaney, for example, made more than 150 films, but a relative few survive, Mirsalis says. Chaney’s work for Universal Studios is almost completely lost.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/k3t18c2axRw'\n title='//www.youtube.com/embed/k3t18c2axRw'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“It’s ridiculous,” Mirsalis says. “Of the 110 films he did for Universal, I want to say about 10 or fewer survive. That’s because, in 1948, Universal burned all their silent library. MGM lost one vault of films due to a fire. Fox lost a lot of films just to neglect. Paramount likewise with neglect. Universal said, ‘Gee, we have no use for this silent film. We’re paying storage costs on all this flammable nitrate film. We’re paying high insurance costs. There’s absolutely no market for it.’ This was just before TV was starting to take off. And TV wasn’t doing much with silent films other than shows that made fun of them. They took these old films and ran them in 24-frames-per second, and made them really fast and silly and put a gag narration track on it. So there was no market. And Universal felt they could melt the films down and extract the silver. So they destroyed everything that didn’t have a soundtrack. So the reissue of \u003ci>The Phantom of the Opera\u003c/i> and \u003ci>The Man Who Laughs\u003c/i>, which had a soundtrack, and a handful of late 1920s films, they destroyed. They destroyed all the original material from \u003ci>The Hunchback of Notre Dame\u003c/i>. This is beyond dumb.”\u003c/p>\n\u003cp>Mirsalis, who runs the website \u003ca href=\"http://lonchaney.org/\">lonchaney.org\u003c/a>, solidified his silent-film expertise in his “off hours.” His day job is as a research scientist at SRI International, a major Menlo Park research and development center. Mirsalis’ title: Managing Director, Division Operations, and Director, Preclinical Development, SRI Biosciences. He has doctorates in toxicology and genetics from North Carolina State University. Mirsalis’ interest in silent film dates back to when he was 10, when he was a regular reader of \u003ca href=\"http://en.wikipedia.org/wiki/Famous_Monsters_of_Filmland\">\u003ci>Famous Monsters of Filmland\u003c/i>\u003c/a>, a magazine that chronicled cinematic ghouls and published flattering articles on Chaney’s films. In 1974, Mirsalis began assembling notes about as many Chaney films as he could, and he bought his first film: an eight-millimeter print of \u003ci>The Phantom of the Opera\u003c/i>. His collection has gotten much bigger, as well as his reputation. In the last 30 years, Mirsalis has done everything from program a Chaney film series at the Pacific Film Archive to scoring the music for the Milestone Films’ release of \u003ci>The Phantom of the Opera\u003c/i>. \u003c/p>\n\u003cp>Mirsalis, 61, lives in the Peninsula area called Emerald Hills and is part of an elite group of silent-film accompanists. About six veteran accompanists live in the Bay Area, he says. He doesn’t compartmentalize his interests, so colleagues at SRI International know about his outsized interest in Lon Chaney and silent films. “Everyone knows about it — in fact, the CEO of our company is a violinist, and many of my staff show up when I play for films,” he says. “I keep them separate in the sense that I have a day job. I go to work and I do science in the daytime, but I usually don’t spend my weekends doing science. But you’ll find that, traditionally, there’s a link between science and music. An awful lot of scientists are musicians. And if you go back to Galileo and Leonardo da Vinci times, it’s like a left-right brain thing. People who tend to have aptitude in science also tend to have aptitude in music. And I am a pretty good researcher, whether I’m researching cures for infectious disease or what the proper credits were on a 1914 film. Some of the skills are the same, in that you use all your resources, and you compile it all. And in both science and in film history, sometimes you have to make educated guesses as to what really happened.” \u003c/p>\n\u003cp>Before our interview ended, Mirsalis threw out a fact that few people know about: “Before my piano playing days, I was a pretty good rock guitarist in a reasonably successful band in the Cleveland area. I knew \u003ca href=\"http://en.wikipedia.org/wiki/Joe_Walsh\">Joe Walsh\u003c/a> growing up. But I quickly realized that that is not the life you can make money at or have a good time at. Even for the people who are successful, it’s a rough life. In fact, my old guitar teacher, Walt Nims, wrote \u003ca href=\"http://www.youtube.com/watch?v=I95xCjQe6Jg\">Precious and Few\u003c/a>, which was a big hit. He was also the lead guitarist of \u003ca href=\"http://en.wikipedia.org/wiki/The_Outsiders_%28American_band%29\">The Outsiders\u003c/a>. But it’s a tough life. How many big bands of the 1970s are still around? And I enjoy science, which I find to be challenging.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jon Mirsalis will accompany three Charlie Chaplin film shorts at the Castro Theatre on Saturday, January 11, 1pm. The films — \u003ci>The Vagabond\u003c/i>, \u003ci>The Cure\u003c/i>, and \u003ci>Easy Street\u003c/i> — are screening as part of \u003cb>The Little Tramp at 100: A Charlie Chaplin Centennial Celebration\u003c/b>, which is being presented by the San Francisco Silent Film Festival. For \u003ca href=\"http://www.silentfilm.org/special-events/the-little-tramp-at-100\">tickets and more information\u003c/a> visit silentfilm.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Almost 100 years after it was made, the Charlie Chaplin film \u003ca href=\"http://en.wikipedia.org/wiki/The_Vagabond_%28film%29\">\u003ci>The Vagabond\u003c/i>\u003c/a>, still leaves audiences laughing and swooning, no matter where it plays. I’ve seen children on the Indian subcontinent laughing uproariously at Chaplin’s antics the same way that elderly movie-goers did on a different occasion in California. Chaplin’s silent films are hypnotic. The fact that no words are audible adds to their allure. But “silent film” can be a misnomer. Many silent films were made to have a musical accompaniment, and modern screenings of anything by Chaplin, Lon Chaney, and other silent-era greats are almost expected to have an aural component. \u003c/p>\n\u003cp>That’s where Jon Mirsalis comes in. An accomplished pianist who’s one of the world’s foremost historians on Chaney’s works and silent film in general, Mirsalis will accompany three Chaplin shorts that are playing at the Castro Theatre on Saturday, January 11, 2014. The films — \u003ci>The Vagabond\u003c/i>, \u003ci>The Cure\u003c/i>, and \u003ci>Easy Street\u003c/i> — are screening as part of \u003cb>The Little Tramp at 100: A Charlie Chaplin Centennial Celebration\u003c/b>, which is being presented by the \u003ca href=\"http://www.silentfilm.org\">San Francisco Silent Film Festival\u003c/a>. Mirsalis interprets each film scene on the spot. How to play for a silent film? For Mirsalis, it’s about improvisation. And it’s about creating sheets of sound that — in a counter-intuitive way — are both noticed and unnoticed. The best musical accompaniments to silent films, Mirsalis says, stay in the background.\u003c/p>\n\u003cp>“What makes a good score is, first, you don’t want to call attention to yourself,” he says. “There are and have been accompanists who love to put in what I call musical gags. One accompanist would play, whenever there was a fire sequence, the song \u003ci>Blaze Away\u003c/i>. If you know the song, it’s ‘Ha, ha. Isn’t that cute?’ But that’s a terrible thing to do. Because it takes people off the film. I should be invisible. In fact, the best compliment that people give me when a film is over is to come up to me and say, ‘You began playing the film and for the first minute or so, I was conscious you were playing. And then I just tuned you out.’ And people are often apologetic. They’ll say, ‘I completely forgot you were there until the end credits came on and you stood up and people applauded.’ That’s the best compliment, because that’s the way it’s supposed to work. The music is supposed to provide the mood of the film. Even a film today, like a John Williams score for \u003ci>Star Wars\u003c/i> or \u003ci>Indiana Jones\u003c/i> or \u003ci>Lincoln\u003c/i> — you don’t sit there and say, ‘Wow, this is a great score.’ You are sucked into the movie.” \u003c/p>\n\u003cp>In the hey-day of silent films, between the 1890s and 1920s, about 20,000 were made, according to Mirsalis. After “talkies” appeared around 1929, and the demand for silent films badly ebbed, movie studios destroyed thousands of original-print silent films, including films by Chaney and other major stars. The only reason some of these films still exist: Copies happen to have been held in archives. Even today, rare silent films are occasionally found in old houses and old storage spaces. Chaney, for example, made more than 150 films, but a relative few survive, Mirsalis says. Chaney’s work for Universal Studios is almost completely lost.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"360\" src=\"//www.youtube.com/embed/k3t18c2axRw\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>“It’s ridiculous,” Mirsalis says. “Of the 110 films he did for Universal, I want to say about 10 or fewer survive. That’s because, in 1948, Universal burned all their silent library. MGM lost one vault of films due to a fire. Fox lost a lot of films just to neglect. Paramount likewise with neglect. Universal said, ‘Gee, we have no use for this silent film. We’re paying storage costs on all this flammable nitrate film. We’re paying high insurance costs. There’s absolutely no market for it.’ This was just before TV was starting to take off. And TV wasn’t doing much with silent films other than shows that made fun of them. They took these old films and ran them in 24-frames-per second, and made them really fast and silly and put a gag narration track on it. So there was no market. And Universal felt they could melt the films down and extract the silver. So they destroyed everything that didn’t have a soundtrack. So the reissue of \u003ci>The Phantom of the Opera\u003c/i> and \u003ci>The Man Who Laughs\u003c/i>, which had a soundtrack, and a handful of late 1920s films, they destroyed. They destroyed all the original material from \u003ci>The Hunchback of Notre Dame\u003c/i>. This is beyond dumb.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Mirsalis, who runs the website \u003ca href=\"http://lonchaney.org/\">lonchaney.org\u003c/a>, solidified his silent-film expertise in his “off hours.” His day job is as a research scientist at SRI International, a major Menlo Park research and development center. Mirsalis’ title: Managing Director, Division Operations, and Director, Preclinical Development, SRI Biosciences. He has doctorates in toxicology and genetics from North Carolina State University. Mirsalis’ interest in silent film dates back to when he was 10, when he was a regular reader of \u003ca href=\"http://en.wikipedia.org/wiki/Famous_Monsters_of_Filmland\">\u003ci>Famous Monsters of Filmland\u003c/i>\u003c/a>, a magazine that chronicled cinematic ghouls and published flattering articles on Chaney’s films. In 1974, Mirsalis began assembling notes about as many Chaney films as he could, and he bought his first film: an eight-millimeter print of \u003ci>The Phantom of the Opera\u003c/i>. His collection has gotten much bigger, as well as his reputation. In the last 30 years, Mirsalis has done everything from program a Chaney film series at the Pacific Film Archive to scoring the music for the Milestone Films’ release of \u003ci>The Phantom of the Opera\u003c/i>. \u003c/p>\n\u003cp>Mirsalis, 61, lives in the Peninsula area called Emerald Hills and is part of an elite group of silent-film accompanists. About six veteran accompanists live in the Bay Area, he says. He doesn’t compartmentalize his interests, so colleagues at SRI International know about his outsized interest in Lon Chaney and silent films. “Everyone knows about it — in fact, the CEO of our company is a violinist, and many of my staff show up when I play for films,” he says. “I keep them separate in the sense that I have a day job. I go to work and I do science in the daytime, but I usually don’t spend my weekends doing science. But you’ll find that, traditionally, there’s a link between science and music. An awful lot of scientists are musicians. And if you go back to Galileo and Leonardo da Vinci times, it’s like a left-right brain thing. People who tend to have aptitude in science also tend to have aptitude in music. And I am a pretty good researcher, whether I’m researching cures for infectious disease or what the proper credits were on a 1914 film. Some of the skills are the same, in that you use all your resources, and you compile it all. And in both science and in film history, sometimes you have to make educated guesses as to what really happened.” \u003c/p>\n\u003cp>Before our interview ended, Mirsalis threw out a fact that few people know about: “Before my piano playing days, I was a pretty good rock guitarist in a reasonably successful band in the Cleveland area. I knew \u003ca href=\"http://en.wikipedia.org/wiki/Joe_Walsh\">Joe Walsh\u003c/a> growing up. But I quickly realized that that is not the life you can make money at or have a good time at. Even for the people who are successful, it’s a rough life. In fact, my old guitar teacher, Walt Nims, wrote \u003ca href=\"http://www.youtube.com/watch?v=I95xCjQe6Jg\">Precious and Few\u003c/a>, which was a big hit. He was also the lead guitarist of \u003ca href=\"http://en.wikipedia.org/wiki/The_Outsiders_%28American_band%29\">The Outsiders\u003c/a>. But it’s a tough life. How many big bands of the 1970s are still around? And I enjoy science, which I find to be challenging.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Jon Mirsalis will accompany three Charlie Chaplin film shorts at the Castro Theatre on Saturday, January 11, 1pm. The films — \u003ci>The Vagabond\u003c/i>, \u003ci>The Cure\u003c/i>, and \u003ci>Easy Street\u003c/i> — are screening as part of \u003cb>The Little Tramp at 100: A Charlie Chaplin Centennial Celebration\u003c/b>, which is being presented by the San Francisco Silent Film Festival. For \u003ca href=\"http://www.silentfilm.org/special-events/the-little-tramp-at-100\">tickets and more information\u003c/a> visit silentfilm.org.\u003c/p>\n\n",
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"description": "Jonathan Curiel has written widely about music, film, books, art, photography and other cultural subjects. \u003ci>SF Weekly's\u003c/i> art critic, he is a former staff writer with the \u003ci>San Francisco Chronicle\u003c/i>, and has also written on the arts for \u003ca href=\"http://www.salon.com/\">Salon\u003c/a>, the \u003ci>Christian Science Monitor\u003c/i>, \u003ci>The Wire\u003c/i> (a London music magazine), \u003ci>Tablet\u003c/i> and \u003ci>GlobalPost\u003c/i>. He has researched architecture at England's Oxford University, taught music journalism at the UCLA Herb Alpert School of Music, and been a juror at the San Francisco International Film Festival.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Almost 100 years after it was made, the Charlie Chaplin film \u003ca href=\"http://en.wikipedia.org/wiki/The_Vagabond_%28film%29\">\u003ci>The Vagabond\u003c/i>\u003c/a>, still leaves audiences laughing and swooning, no matter where it plays. I’ve seen children on the Indian subcontinent laughing uproariously at Chaplin’s antics the same way that elderly movie-goers did on a different occasion in California. Chaplin’s silent films are hypnotic. The fact that no words are audible adds to their allure. But “silent film” can be a misnomer. Many silent films were made to have a musical accompaniment, and modern screenings of anything by Chaplin, Lon Chaney, and other silent-era greats are almost expected to have an aural component. \u003c/p>\n\u003cp>That’s where Jon Mirsalis comes in. An accomplished pianist who’s one of the world’s foremost historians on Chaney’s works and silent film in general, Mirsalis will accompany three Chaplin shorts that are playing at the Castro Theatre on Saturday, January 11, 2014. The films — \u003ci>The Vagabond\u003c/i>, \u003ci>The Cure\u003c/i>, and \u003ci>Easy Street\u003c/i> — are screening as part of \u003cb>The Little Tramp at 100: A Charlie Chaplin Centennial Celebration\u003c/b>, which is being presented by the \u003ca href=\"http://www.silentfilm.org\">San Francisco Silent Film Festival\u003c/a>. Mirsalis interprets each film scene on the spot. How to play for a silent film? For Mirsalis, it’s about improvisation. And it’s about creating sheets of sound that — in a counter-intuitive way — are both noticed and unnoticed. The best musical accompaniments to silent films, Mirsalis says, stay in the background.\u003c/p>\n\u003cp>“What makes a good score is, first, you don’t want to call attention to yourself,” he says. “There are and have been accompanists who love to put in what I call musical gags. One accompanist would play, whenever there was a fire sequence, the song \u003ci>Blaze Away\u003c/i>. If you know the song, it’s ‘Ha, ha. Isn’t that cute?’ But that’s a terrible thing to do. Because it takes people off the film. I should be invisible. In fact, the best compliment that people give me when a film is over is to come up to me and say, ‘You began playing the film and for the first minute or so, I was conscious you were playing. And then I just tuned you out.’ And people are often apologetic. They’ll say, ‘I completely forgot you were there until the end credits came on and you stood up and people applauded.’ That’s the best compliment, because that’s the way it’s supposed to work. The music is supposed to provide the mood of the film. Even a film today, like a John Williams score for \u003ci>Star Wars\u003c/i> or \u003ci>Indiana Jones\u003c/i> or \u003ci>Lincoln\u003c/i> — you don’t sit there and say, ‘Wow, this is a great score.’ You are sucked into the movie.” \u003c/p>\n\u003cp>In the hey-day of silent films, between the 1890s and 1920s, about 20,000 were made, according to Mirsalis. After “talkies” appeared around 1929, and the demand for silent films badly ebbed, movie studios destroyed thousands of original-print silent films, including films by Chaney and other major stars. The only reason some of these films still exist: Copies happen to have been held in archives. Even today, rare silent films are occasionally found in old houses and old storage spaces. Chaney, for example, made more than 150 films, but a relative few survive, Mirsalis says. Chaney’s work for Universal Studios is almost completely lost.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003ciframe loading=\"lazy\" width=\"480\" height=\"360\" src=\"//www.youtube.com/embed/k3t18c2axRw\" frameborder=\"0\" allowfullscreen>\u003c/iframe>\n\u003cp>\u003c/p>\u003c/center>\n\u003cp>“It’s ridiculous,” Mirsalis says. “Of the 110 films he did for Universal, I want to say about 10 or fewer survive. That’s because, in 1948, Universal burned all their silent library. MGM lost one vault of films due to a fire. Fox lost a lot of films just to neglect. Paramount likewise with neglect. Universal said, ‘Gee, we have no use for this silent film. We’re paying storage costs on all this flammable nitrate film. We’re paying high insurance costs. There’s absolutely no market for it.’ This was just before TV was starting to take off. And TV wasn’t doing much with silent films other than shows that made fun of them. They took these old films and ran them in 24-frames-per second, and made them really fast and silly and put a gag narration track on it. So there was no market. And Universal felt they could melt the films down and extract the silver. So they destroyed everything that didn’t have a soundtrack. So the reissue of \u003ci>The Phantom of the Opera\u003c/i> and \u003ci>The Man Who Laughs\u003c/i>, which had a soundtrack, and a handful of late 1920s films, they destroyed. They destroyed all the original material from \u003ci>The Hunchback of Notre Dame\u003c/i>. This is beyond dumb.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Mirsalis, who runs the website \u003ca href=\"http://lonchaney.org/\">lonchaney.org\u003c/a>, solidified his silent-film expertise in his “off hours.” His day job is as a research scientist at SRI International, a major Menlo Park research and development center. Mirsalis’ title: Managing Director, Division Operations, and Director, Preclinical Development, SRI Biosciences. He has doctorates in toxicology and genetics from North Carolina State University. Mirsalis’ interest in silent film dates back to when he was 10, when he was a regular reader of \u003ca href=\"http://en.wikipedia.org/wiki/Famous_Monsters_of_Filmland\">\u003ci>Famous Monsters of Filmland\u003c/i>\u003c/a>, a magazine that chronicled cinematic ghouls and published flattering articles on Chaney’s films. In 1974, Mirsalis began assembling notes about as many Chaney films as he could, and he bought his first film: an eight-millimeter print of \u003ci>The Phantom of the Opera\u003c/i>. His collection has gotten much bigger, as well as his reputation. In the last 30 years, Mirsalis has done everything from program a Chaney film series at the Pacific Film Archive to scoring the music for the Milestone Films’ release of \u003ci>The Phantom of the Opera\u003c/i>. \u003c/p>\n\u003cp>Mirsalis, 61, lives in the Peninsula area called Emerald Hills and is part of an elite group of silent-film accompanists. About six veteran accompanists live in the Bay Area, he says. He doesn’t compartmentalize his interests, so colleagues at SRI International know about his outsized interest in Lon Chaney and silent films. “Everyone knows about it — in fact, the CEO of our company is a violinist, and many of my staff show up when I play for films,” he says. “I keep them separate in the sense that I have a day job. I go to work and I do science in the daytime, but I usually don’t spend my weekends doing science. But you’ll find that, traditionally, there’s a link between science and music. An awful lot of scientists are musicians. And if you go back to Galileo and Leonardo da Vinci times, it’s like a left-right brain thing. People who tend to have aptitude in science also tend to have aptitude in music. And I am a pretty good researcher, whether I’m researching cures for infectious disease or what the proper credits were on a 1914 film. Some of the skills are the same, in that you use all your resources, and you compile it all. And in both science and in film history, sometimes you have to make educated guesses as to what really happened.” \u003c/p>\n\u003cp>Before our interview ended, Mirsalis threw out a fact that few people know about: “Before my piano playing days, I was a pretty good rock guitarist in a reasonably successful band in the Cleveland area. I knew \u003ca href=\"http://en.wikipedia.org/wiki/Joe_Walsh\">Joe Walsh\u003c/a> growing up. But I quickly realized that that is not the life you can make money at or have a good time at. Even for the people who are successful, it’s a rough life. In fact, my old guitar teacher, Walt Nims, wrote \u003ca href=\"http://www.youtube.com/watch?v=I95xCjQe6Jg\">Precious and Few\u003c/a>, which was a big hit. He was also the lead guitarist of \u003ca href=\"http://en.wikipedia.org/wiki/The_Outsiders_%28American_band%29\">The Outsiders\u003c/a>. But it’s a tough life. How many big bands of the 1970s are still around? And I enjoy science, which I find to be challenging.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Jon Mirsalis will accompany three Charlie Chaplin film shorts at the Castro Theatre on Saturday, January 11, 1pm. The films — \u003ci>The Vagabond\u003c/i>, \u003ci>The Cure\u003c/i>, and \u003ci>Easy Street\u003c/i> — are screening as part of \u003cb>The Little Tramp at 100: A Charlie Chaplin Centennial Celebration\u003c/b>, which is being presented by the San Francisco Silent Film Festival. For \u003ca href=\"http://www.silentfilm.org/special-events/the-little-tramp-at-100\">tickets and more information\u003c/a> visit silentfilm.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "The Projectionist | KQED",
"content": "\u003cp>The Small Back Room movie venue in El Cerrito doesn’t offer a lot of amenities. There’s no place to get popcorn, the whir of the projector is extremely noticeable, and you have to walk upstairs to get to the bathroom. It’s also a little cold.\u003c/p>\n\u003cp>There are compensations, however. It’s free — if you can get on the guest list. And you’re going to get a nice introduction to the film by Peter Conheim, 45, a member of the audio collage band \u003ca href=\"http://en.wikipedia.org/wiki/Negativland\">Negativland\u003c/a> and the theater’s proprietor. Well, not proprietor, really. The Small Back Room, named after one of his \u003ca href=\"http://www.criterion.com/films/747-the-small-back-room\">favorite Powell and Pressburger films\u003c/a>, is what Conheim calls the 35mm movie theater he’s built in the basement of his otherwise unassuming house.\u003c/p>\n\u003cp>Tonight’s feature is the 1953 version of \u003ci>War of the Worlds\u003c/i>. While I’m interviewing Conheim in his kitchen, audience members file in, only to be dispatched to the depths of the screening room, where they can choose their seats from an array of used couches and cushioned chairs. The room currently accommodates about 17, not including SRO crowds. Posters for \u003ci>Shock Corridor\u003c/i> and \u003ci>The Killing of a Chinese Bookie\u003c/i> adorn the wall, like you might find in any good retro movie house. One 16mm and one 35mm projector share the back space with a washer/dryer.\u003c/p>\n\u003cp>We’ll be watching the movie in 16mm, the format Conheim collected before he got bigger ideas. He wanted to own 35mms, the large reels that professional theaters screen — or used to, anyway, before digital projection became the norm. Tonight’s audience, as always, is invitation-only first-come, first-served in response to an email. Demand for a spot is frequently greater than supply.\u003c/p>\n\u003cp>“It’s gotten to the point when — I send out my invite — I have so many more people than I can fit, that I do two shows. I did Romero for Halloween. I said you can see \u003ci>Martin\u003c/i> or \u003ci>Dawn of the Dead\u003c/i>, because I can’t hold you all.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>His print collection comprises an estimated 75 35mm features, and a whopping 500 in 16mm. “There’s like 400 here and another 100 at my mom’s. I’ve actually gotten rid of a lot, pared down to essentials.” The film reels live in canisters, which he houses on library-like shelves in a separate room.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/05/projectionist.jpg\" style=\"margin-bottom: 10px\" alt=\"Peter Conheim\">\u003cbr>Peter Conheim and “Turkey”; Photo: Taylor Jessen\u003c/p>\n\u003cp>I have always thought of myself as one of the bigger movie obsessives, but this sort of commitment to the medium is way beyond anything I can imagine. Conheim’s history with film presentation began when he was six, borrowing educational films from the Long Beach library during visits to his grandfather, whose pawnshop inventory included projectors.\u003c/p>\n\u003cp>From 2004 to 2009, Conheim was a co-owner of The Guild Cinema in Albuquerque, where he could indulge his cinematic tastes — to a point: “We very quickly realized that the more esoteric we got in our programming, the harder it was to fill seats.” It was at The Guild that he got the 35mm bug, having an epiphany of sorts while projecting the \u003ci>The Wild Bunch\u003c/i>, the first film in the larger format he had threaded up himself.\u003c/p>\n\u003cp>“Something just totally clicked when I sat in the theater,” he says. “What made it so extraordinary and made it resonate was not so much that I was getting to enjoy this beautiful print …. but unlike with 16mm, I was looking at the actual object. And I suddenly had the realization: this is \u003ci>the\u003c/i> piece of art, not a replica, and I am able to enjoy it as I would have in 1969. That’s when I started to acquire 35mm prints.”\u003c/p>\n\u003cp>\u003cb>The 35mm Print Hobbyist\u003c/b>\u003c/p>\n\u003cp>The purpose of screening \u003ci>War of the Worlds\u003c/i> is two-fold: to show the movie, and to assess it as a salable item. Conheim doesn’t own this particular print, but is repping it along with almost 600 other features for another collector. The cache includes famous Hollywood musicals and a comprehensive collection of \u003ca href=\"http://www.rayharryhausen.com/\">Ray Harryhausen\u003c/a> titles, which he will shop on forums dedicated to the hobby. He and Chris Ullsperger, an early projection buddy, tell me print collectors are almost exclusively male. “All these guys know each other,” says Ullsperger. “It is a very small community.” One that includes Quentin Tarantino, apparently. “He has a vast collection,” Conheim says. “His own screening room and his own projectionist. He’s bought a lot of prints from me. His standards are pretty high, but not crazy high.”\u003c/p>\n\u003cp>After everyone settles into seats, Conheim introduces the \u003ci>War of the Worlds\u003c/i> print. He says, “It looks clean and should have the \u003ca href=\"http://en.wikipedia.org/wiki/Technicolor\">Technicolor\u003c/a> we all love.” Technicolor comes up a lot in these discussions. Ullsperger, for instance, is particularly proud of his Technicolor print of \u003ci>Performance\u003c/i>, the odd 1970 Nicholas Roeg gangster film starring Mick Jagger. “I would argue (it’s) unmatchable by whatever versions there are out there today,” he says. “You get these Technicolor prints, there’s a quality to them that’s incredibly difficult to capture on video.” Most people know the process through its most dazzling iteration, Technicolor IB, which used something called “imbibition,” a labor-intensive dye-transfer technique that produced the remarkably vivid hues you see in color-saturated classics like \u003ci>The Wizard of Oz\u003c/i>, \u003ci>Singin’ in the Rain\u003c/i>, and \u003ci>Meet Me In St. Louis\u003c/i>.\u003c/p>\n\u003cp>When I ask Conheim if there’s a \u003ca href=\"http://espn.go.com/mlb/story/_/id/9140901/t206-honus-wagner-baseball-card-sets-21m-auction-mark\">Honus Wagner card\u003c/a> of film prints, he names the \u003ca href=\"http://savestarwars.com/technicoloribscreening.html\">British \u003ci>Star Wars\u003c/i>\u003c/a>, processed in Technicolor. It doesn’t fade, he says. “They were still using that process in England up to 1977 or so. Those are really sought after, because even the original negative has faded.” A Technicolor print of \u003ci>Vertigo\u003c/i> is also valuable. “I saw one sell for $10,000 two or three years ago. I’ve never seen a \u003ci>Star Wars\u003c/i> British version for sale. I know two people who have them. One guy is so freaked out it’s going to be a disappointment he’s never opened the box it came in. I’ve been standing in front of the box with him many times, he’s like, ‘I’ll get there.'”\u003c/p>\n\u003cp>\u003cb>The Dreaded Vinegar Syndrome\u003c/b>\u003c/p>\n\u003cp> Conheim saw another 16mm print of \u003ci>War of the Worlds\u003c/i> selling for $2700 on eBay, but he doesn’t think the one he’s repping will go for anywhere near that. The reason is it has the beginnings of something he calls “the dreaded \u003ca href=\"https://www.imagepermanenceinstitute.org/resources/newsletter-archive/v12/vinegar-syndrome\">vinegar syndrome\u003c/a>,” the bane of all print collectors. “There’s a lot of vinegar in this collection. When that happens, I have to lower the price.”\u003c/p>\n\u003cp>Vinegar?\u003c/p>\n\u003cp>Up until the middle of the last century, motion picture film was printed on nitrate stock, which, it turned out, was highly flammable and the cause of \u003ca href=\"http://en.wikipedia.org/wiki/Glen_Cinema_Disaster\">fatal cinema fires\u003c/a>. In 1950, the industry switched to triacetate prints. But a new problem emerged: Acetate’s molecular structure is susceptible to decay. When a print has started to degrade, it releases a vinegar odor, thus the terminology.\u003c/p>\n\u003cp>“It’s a deal-killer for most people right away, because it’s irreversible,” says Conheim. Eventually, the print turns to “this horrible crystalline mess,” making it unprojectable. In the 1980s, the industry moved to a polyester-based film stock, which is what movies slated for preservation are printed on. But anything acetate, “they’re all just ticking time bombs. You can slow it by keeping things in cold storage, which is why the best archives have temperature and moisture-related storage. You can freeze them; there are crazy collectors who have a freezer full of prints.”\u003c/p>\n\u003cp>The vinegar syndrome is just one stumbling block making the hobby of projecting film an order of magnitude more difficult than, say, collecting stamps. Another obstacle: manufacturers have ceased production of projectors, having switched to making digital equipment. “What concerns me is the ability to actually screen the prints,” says Conheim. “Because the technology is not supported anymore. The machines are breaking down; eventually the parts are going to run out. The 16mm projector I have has a part that is starting to wear out. I have a few spares, and that’s it.” To solve that problem, he hopes to put together a consortium of collectors with equipment and stored parts, who will be able to repair projectors.\u003c/p>\n\u003cp>The difficulty of keeping the machines running is one reason Conheim thinks home projection is unlikely to enjoy the same resurgence as LPs, despite the hope of purists.\u003c/p>\n\u003cp>“The metaphor that a lot of people are tossing around is the vinyl LP. There’s a big problem with that: the vinyl LP could come back because the equipment and records are so plentiful. (The) 35mm projector is a precision machine. You will not have the same capability that people have with records. The analogy falls flat right there, because it’s too sophisticated, everything’s out of production. It’s over,” he says.\u003c/p>\n\u003cp>Says Ullsperger: “I became a collector for a short time, until I realized projecting movies wasn’t as straightforward as inserting the media and pushing a button. It’s impossible to imagine any normal person getting into this hobby. You need to have a screening room, a place to project the film in the first place. You need to have this equipment, incredibly difficult to find, and constantly needs to be maintained. And then you need to spend all the time looking for these movies.”\u003c/p>\n\u003cp>If the hobbyist dedicated to film is a rarity, the studios have abandoned the material altogether, shipping “Digital Cinema Packages” (DCPs), contained on a hard drive, to theaters instead. Meaning when you go to the movies, you’re no more watching “film” than you are listening to a vinyl recording when you hit play on an MP3.\u003c/p>\n\u003cp>Because we’ve been in a transition period, our visual cortexes have been processing varying admixtures of digital and analogue in the production-to-presentation chain. Movies have recently been shot digitally or on film and projected digitally or on film too. The combination that purists and many film directors prefer is the one that is now the most rare: shooting on film that is then projected on film. So when Paul Thomas Anderson shot \u003ci>The Master\u003c/i> in 70mm, he was making a statement about film aesthetics as well as resurrecting an old format. Conheim, who rarely goes to the movies, made a special trip to see that feature, because he thought it would be the last timehe’d ever get to witness 70mm film projected. He wasn’t disappointed. His review: “Breathtakingly beautiful.”\u003c/p>\n\u003cp>The Castro in San Francisco, one of the few area retro houses left, now \u003ca href=\"http://www.castrotheatre.com/p-list.html\">indicates on its schedule\u003c/a> whether it’s showing a 35mm print or DCP. If you wanted to catch the recent Billy Wilder double feature, for instance, \u003ci>The Fortune Cookie\u003c/i> was projected in 35mm, but \u003ci>Some Like It Hot\u003c/i> was digital. I asked Conheim if he was to see that bill, would he be able to tell which was which? “In seconds,” he says.\u003c/p>\n\u003cp>Your average moviegoer, of course, probably doesn’t care; the studios, in fact, have been banking on it. But there are many in the audience who are deeply invested in \u003ci>film\u003c/i>, and all that word implies, as an art form. The lament of my father, a professional cinematographer, touches on the notion voiced by Conheim that interacting with a tangible material is a unique experience: “There was something so beautiful about film,” my father says. “You smelled it, you felt it.”\u003c/p>\n\u003cp>And you saw it. “It’s just an aesthetically different experience,” says Conheim. “It’s not the way they were lensed, it’s not the way they were meant to be seen. Pretty soon that’s going to be gone. If I’m looking at a piece of legendarily photographed, classical cinema, I believe there is an intangible difference of perception, the way that you absorb that information, if it has a certain amount of physical tactile levels. That could be a weave in the frame, that could be the flicker of the shutter, or in a more extreme case, dirt and scratches and anomalies. Nobody wants scratches and splices, but what I miss is the ability to see a beautifully created print that still reminds you that you are looking at an organic object, an object that light is shining through and hitting the screen. Your brain just knows that is not the same as rendering a bunch of pixels coming off a hard drive.”\u003c/p>\n\u003caside class=\"pullquote\">\n\u003cp>\u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=132103\">\u003cb>• Blu-ray Is Better\u003c/b>\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=132104\">\u003cb>• At the Movies, No More Film\u003c/b>\u003c/a>\u003c/p>\n\u003c/aside>\n\u003cp>A few years back, Conheim went to a moving image archivist conference in LA. There, about 20 minutes of \u003ci>The Sound of Music\u003c/i> were shown on a split screen, with one side displaying a brand new 35mm print and the other a digital version. “The idea was not to see how much better digital was, necessarily. It was, see for yourself and make your own decision.\u003c/p>\n\u003cp>“I was split, but I still favored the film. I thought, well, the digital version is consistent and it gets pluses for color reproduction. Perhaps it was sharper. (But) the film breathed life, and the digital was flat, motionless, perfect. Anybody who knows how motion pictures work and how a shutter works, the whole mechanism of it, it can’t be so perfect as a digital image, which just never physically has to move anywhere. It’s highly subjective, but I would say that is the major distinction. Not better versus worse, just organic vs. inorganic.\u003c/p>\n\u003cp>“Threading up \u003ci>The Wild Bunch\u003c/i> in the theater left me feeling like I was seeing it exactly as it was intended at the time it was made. I’m seeing what Peckinpah and the cinematographer saw. I’m looking at the way they timed those prints, and they were making critical decisions based on the medium. If that film then gets converted to digital, it’s just an entirely new ballgame. The cinematographer and director aren’t around to go ‘well that isn’t a great representation.'”\u003c/p>\n\u003cp>One film display expert on hand for \u003ci>War of the Worlds\u003c/i> is Craig Valenza, the senior projectionist at the \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/\">Pacific Film Archive\u003c/a> in Berkeley, and a regular at the Small Back Room. Valenza’s been on the job at PFA since its opening in 1971. He says the handwriting for his profession is all over the wall: “It’s cooked. The job used to pay great! It was a prestige deal. Now you got one of those jobs … you’re stuck.” He says PFA is talking about digitizing everything. “The archives are talking about getting rid of the environmental rooms to keep the films in. It costs too much.” I ask him what he thinks will be lost in terms of film culture, expecting a purist broadside. But instead, he expresses just the opposite:\u003c/p>\n\u003cp>“Last night, we’re showing a film, \u003ca href=\"http://bampfa.berkeley.edu/film/FN20483\">\u003ci>Mother Kusters Goes to Heaven\u003c/i>\u003c/a>. It’s got these two big scratches going ‘je dee, je dee!’ Tell me, who wants to watch that? Come on, what do the film people miss? The shutter flickering in front of their eyes? They miss the dust, the scratches?”\u003c/p>\n\u003cp>Valenza says he’s not even particularly a movie fan. I ask him why he comes to Conheim’s screenings, then, and his nostalgic answer belies his previous, technician’s indifference. “I’m trying to keep it alive. I used to go to a place, the B. Lannes Cinema in Oakland (a private, underground theater). It was two brothers in a basement, they were showing three ‘B’ pictures on 16mm. (I went) every Saturday night, whatever it was.”\u003c/p>\n\u003cp>Valenza says that even PFA audiences, cinephiles by definition, have reacted \u003ca href=\"http://bayflicks.net/2013/12/07/taxi-driver-alamo-bay-and-4k-digital-projection-at-the-pfa/\">just fine\u003c/a> when digital prints are shown. “Generally speaking, the audiences seem to think they like it. It looks good, looks sharp, looks bright.”\u003c/p>\n\u003cp>The scratched-up retro-house prints prevalent before digital, he says, no longer cut it. “In the old days, that’s all there was and you made the best of what you had. If they were spliced up and there were no other prints, that was the norm. But now that we’ve seen, quote, ‘better,’ they like that.”\u003c/p>\n\u003cp>\u003cb>Trafficking in “Illegal” Prints\u003c/b>\u003c/p>\n\u003cp>If the studios are less and less interested in film, Conheim says, they are also less interested in stopping people like him from owning prints, still officially illegal to possess privately, in most cases. Everyone knows that the movie industry considers \u003ca href=\"http://blogs.wsj.com/numbersguy/putting-a-price-tag-on-film-piracy-1228/\">film piracy to be a serious issue\u003c/a>. But before cinephiles could download a desired title through iTunes, burn a copy of a DVD, or even record a movie on a VCR, someone who wanted to watch a movie at home on demand could only do so by laying their hands on an actual print. While some 16mm films were sold for the home market, for the majority of 35mm prints, anyone who obtained one was — and still is — in possession of stolen property belonging to the studio, which licensed the film to theaters, but never sold prints outright. When genuine film was the only game in town, this was a much bigger deal. Even trafficking in 16mm prints could get you targeted. I know someone who dabbled in the trade as a go-between in the early ’60s, obtaining 16mm prints of films like \u003ci>Frankenstein\u003c/i> and \u003ci>King Kong\u003c/i> and selling them to a collector. He’s still cagey about where they came from. “I got a hold of them from a friend. I don’t know where he got them,” he says.\u003c/p>\n\u003cp>“There was an underground cabal of collectors in the ’70s who would very discretely sell new titles,” says Conheim. “Where they were getting them from… a variety of sources. Contacts with labs, distributors, TV stations.” He says big busts occurred in the ’70s and ’80s. “A guy I know got busted for selling, I think, \u003ci>Superman\u003c/i>. Another for selling \u003ci>Casino Royale\u003c/i>. When I met that guy he was so secretive, because he’d already been busted by the FBI. You couldn’t even sell 35mm on eBay until a couple of years ago.”\u003c/p>\n\u003cp>But, he says, “Studios have been giving less of a shit over the last 10 years. Some of the more progressive-minded studios like Columbia, Paramount… are well aware that private collectors sometimes have the only copies of something, and they actually might be able to rescue something. That’s happened countless times. Private collectors have done a good job of \u003ca href=\"http://www.fipresci.org/undercurrent/issue_0609/pena_metropolis.htm\">rescuing some films\u003c/a> (and) a studio has gone to get it.”\u003c/p>\n\u003cp>\u003cb>The Death of Film?\u003c/b>\u003c/p>\n\u003cp>After \u003ci>War of the Worlds\u003c/i> finishes, the crowd — each and every one invited personally by Conheim — is almost totally gone, just like at a real movie house. Could it be that this was actually much less of a social event than it was, well, a screening? “It’s not a party,” says Conheim. “The party is incidental.”\u003c/p>\n\u003cp>Plus a lot of pertinent discussion goes on during the reel change. That interruption is just long enough to have a conversation with the guy in front of me about the Spielberg \u003ci>War of the Worlds\u003c/i> remake, and the movies \u003ci>On The Beach\u003c/i> and \u003ci>The Beast From 20,000 Fathoms\u003c/i>.\u003c/p>\n\u003cp> Steve Dye, a collaborator of Conheim’s in \u003ca href=\"http://www.wetgate.net/\">Wet Gate\u003c/a>, an “All-16mm Projector Ensemble,” hangs around after the screening, talking about the future of film projection with Conheim and Craig Valenza. Conheim opines about a projector sprocket manufacturer that ceased production because someone retired. “That was said to be the true nail in the coffin, because of the precision that was involved in that process,” he says.\u003c/p>\n\u003cp>Dye wonders if the hobby can’t persevere in the face of such obstacles. “I’m thinking of other collectors, like old automobiles. Is it like that?”\u003c/p>\n\u003cp>“My Dart in the driveway — I can still get parts for that,” says Conheim. “Someone can machine that part if need be. But you can’t machine a sprocket.”\u003c/p>\n\u003cp>Perhaps 3D printing is an option down the road, he muses. Valenza is doubtful. “There’s one part of a projector that has to be absolutely dead on, it’s called the star wheel. It’s the thing that turns the sprocket, one turn at a time. If it’s not perfect, the machine will literally just stop running.”\u003c/p>\n\u003cp>I ask Conheim what his verdict is on the \u003ci>War of the Worlds\u003c/i> print. “It had beautiful Technicolor that you can’t replicate easily,” he says. “Perhaps not as sharp as I would have wanted. But for a 50-year old print, it was in pretty good condition. The second half had some scratches.”\u003c/p>\n\u003cp>Those scratches were actually very noticeable to me, I tell him. The image seemed a bit diffuse, and the color not as vivid as I remembered. Then I realize: I own the DVD of this film. When I get home, I pop it in, and it looks really good. Dare I say, better than the film version I just watched? Could it be all the Blu-rays and DCPs have made me intolerant of the very imperfection that devotees of The Small Back Room prize?\u003c/p>\n\u003cp>Almost guiltily, I float that proposition to Conheim.\u003c/p>\n\u003cp>“It’s true,” he says. “We just have to admit that’s the way it’s going to go from now on. Because clean and perfect is the way people expect to see these things. Wouldn’t we all be so lucky to have a brand new restoration print to see? But we don’t. That’s going to be harder and harder now.”\u003c/p>\n\u003cp>Still, in an age when you can watch all manner of material on your cellphone, there seems something truly admirable about the almost monklike determination to keep the old ways, the hard ways, alive. And media aside, Conheim’s content is top-notch. Coming up, he says: \u003ci>Secret Ceremony\u003c/i> by Joseph Losey and \u003ca href=\"http://www.noiroftheweek.com/2013/10/shack-out-on-101-1955.html\">\u003ci>Shack Out on 101\u003c/i>\u003c/a>, with a 1955 Lee Marvin. \u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>I see another trip to El Cerrito in my future.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Small Back Room movie venue in El Cerrito doesn’t offer a lot of amenities. There’s no place to get popcorn, the whir of the projector is extremely noticeable, and you have to walk upstairs to get to the bathroom. It’s also a little cold.\u003c/p>\n\u003cp>There are compensations, however. It’s free — if you can get on the guest list. And you’re going to get a nice introduction to the film by Peter Conheim, 45, a member of the audio collage band \u003ca href=\"http://en.wikipedia.org/wiki/Negativland\">Negativland\u003c/a> and the theater’s proprietor. Well, not proprietor, really. The Small Back Room, named after one of his \u003ca href=\"http://www.criterion.com/films/747-the-small-back-room\">favorite Powell and Pressburger films\u003c/a>, is what Conheim calls the 35mm movie theater he’s built in the basement of his otherwise unassuming house.\u003c/p>\n\u003cp>Tonight’s feature is the 1953 version of \u003ci>War of the Worlds\u003c/i>. While I’m interviewing Conheim in his kitchen, audience members file in, only to be dispatched to the depths of the screening room, where they can choose their seats from an array of used couches and cushioned chairs. The room currently accommodates about 17, not including SRO crowds. Posters for \u003ci>Shock Corridor\u003c/i> and \u003ci>The Killing of a Chinese Bookie\u003c/i> adorn the wall, like you might find in any good retro movie house. One 16mm and one 35mm projector share the back space with a washer/dryer.\u003c/p>\n\u003cp>We’ll be watching the movie in 16mm, the format Conheim collected before he got bigger ideas. He wanted to own 35mms, the large reels that professional theaters screen — or used to, anyway, before digital projection became the norm. Tonight’s audience, as always, is invitation-only first-come, first-served in response to an email. Demand for a spot is frequently greater than supply.\u003c/p>\n\u003cp>“It’s gotten to the point when — I send out my invite — I have so many more people than I can fit, that I do two shows. I did Romero for Halloween. I said you can see \u003ci>Martin\u003c/i> or \u003ci>Dawn of the Dead\u003c/i>, because I can’t hold you all.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>His print collection comprises an estimated 75 35mm features, and a whopping 500 in 16mm. “There’s like 400 here and another 100 at my mom’s. I’ve actually gotten rid of a lot, pared down to essentials.” The film reels live in canisters, which he houses on library-like shelves in a separate room.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/05/projectionist.jpg\" style=\"margin-bottom: 10px\" alt=\"Peter Conheim\">\u003cbr>Peter Conheim and “Turkey”; Photo: Taylor Jessen\u003c/p>\n\u003cp>I have always thought of myself as one of the bigger movie obsessives, but this sort of commitment to the medium is way beyond anything I can imagine. Conheim’s history with film presentation began when he was six, borrowing educational films from the Long Beach library during visits to his grandfather, whose pawnshop inventory included projectors.\u003c/p>\n\u003cp>From 2004 to 2009, Conheim was a co-owner of The Guild Cinema in Albuquerque, where he could indulge his cinematic tastes — to a point: “We very quickly realized that the more esoteric we got in our programming, the harder it was to fill seats.” It was at The Guild that he got the 35mm bug, having an epiphany of sorts while projecting the \u003ci>The Wild Bunch\u003c/i>, the first film in the larger format he had threaded up himself.\u003c/p>\n\u003cp>“Something just totally clicked when I sat in the theater,” he says. “What made it so extraordinary and made it resonate was not so much that I was getting to enjoy this beautiful print …. but unlike with 16mm, I was looking at the actual object. And I suddenly had the realization: this is \u003ci>the\u003c/i> piece of art, not a replica, and I am able to enjoy it as I would have in 1969. That’s when I started to acquire 35mm prints.”\u003c/p>\n\u003cp>\u003cb>The 35mm Print Hobbyist\u003c/b>\u003c/p>\n\u003cp>The purpose of screening \u003ci>War of the Worlds\u003c/i> is two-fold: to show the movie, and to assess it as a salable item. Conheim doesn’t own this particular print, but is repping it along with almost 600 other features for another collector. The cache includes famous Hollywood musicals and a comprehensive collection of \u003ca href=\"http://www.rayharryhausen.com/\">Ray Harryhausen\u003c/a> titles, which he will shop on forums dedicated to the hobby. He and Chris Ullsperger, an early projection buddy, tell me print collectors are almost exclusively male. “All these guys know each other,” says Ullsperger. “It is a very small community.” One that includes Quentin Tarantino, apparently. “He has a vast collection,” Conheim says. “His own screening room and his own projectionist. He’s bought a lot of prints from me. His standards are pretty high, but not crazy high.”\u003c/p>\n\u003cp>After everyone settles into seats, Conheim introduces the \u003ci>War of the Worlds\u003c/i> print. He says, “It looks clean and should have the \u003ca href=\"http://en.wikipedia.org/wiki/Technicolor\">Technicolor\u003c/a> we all love.” Technicolor comes up a lot in these discussions. Ullsperger, for instance, is particularly proud of his Technicolor print of \u003ci>Performance\u003c/i>, the odd 1970 Nicholas Roeg gangster film starring Mick Jagger. “I would argue (it’s) unmatchable by whatever versions there are out there today,” he says. “You get these Technicolor prints, there’s a quality to them that’s incredibly difficult to capture on video.” Most people know the process through its most dazzling iteration, Technicolor IB, which used something called “imbibition,” a labor-intensive dye-transfer technique that produced the remarkably vivid hues you see in color-saturated classics like \u003ci>The Wizard of Oz\u003c/i>, \u003ci>Singin’ in the Rain\u003c/i>, and \u003ci>Meet Me In St. Louis\u003c/i>.\u003c/p>\n\u003cp>When I ask Conheim if there’s a \u003ca href=\"http://espn.go.com/mlb/story/_/id/9140901/t206-honus-wagner-baseball-card-sets-21m-auction-mark\">Honus Wagner card\u003c/a> of film prints, he names the \u003ca href=\"http://savestarwars.com/technicoloribscreening.html\">British \u003ci>Star Wars\u003c/i>\u003c/a>, processed in Technicolor. It doesn’t fade, he says. “They were still using that process in England up to 1977 or so. Those are really sought after, because even the original negative has faded.” A Technicolor print of \u003ci>Vertigo\u003c/i> is also valuable. “I saw one sell for $10,000 two or three years ago. I’ve never seen a \u003ci>Star Wars\u003c/i> British version for sale. I know two people who have them. One guy is so freaked out it’s going to be a disappointment he’s never opened the box it came in. I’ve been standing in front of the box with him many times, he’s like, ‘I’ll get there.'”\u003c/p>\n\u003cp>\u003cb>The Dreaded Vinegar Syndrome\u003c/b>\u003c/p>\n\u003cp> Conheim saw another 16mm print of \u003ci>War of the Worlds\u003c/i> selling for $2700 on eBay, but he doesn’t think the one he’s repping will go for anywhere near that. The reason is it has the beginnings of something he calls “the dreaded \u003ca href=\"https://www.imagepermanenceinstitute.org/resources/newsletter-archive/v12/vinegar-syndrome\">vinegar syndrome\u003c/a>,” the bane of all print collectors. “There’s a lot of vinegar in this collection. When that happens, I have to lower the price.”\u003c/p>\n\u003cp>Vinegar?\u003c/p>\n\u003cp>Up until the middle of the last century, motion picture film was printed on nitrate stock, which, it turned out, was highly flammable and the cause of \u003ca href=\"http://en.wikipedia.org/wiki/Glen_Cinema_Disaster\">fatal cinema fires\u003c/a>. In 1950, the industry switched to triacetate prints. But a new problem emerged: Acetate’s molecular structure is susceptible to decay. When a print has started to degrade, it releases a vinegar odor, thus the terminology.\u003c/p>\n\u003cp>“It’s a deal-killer for most people right away, because it’s irreversible,” says Conheim. Eventually, the print turns to “this horrible crystalline mess,” making it unprojectable. In the 1980s, the industry moved to a polyester-based film stock, which is what movies slated for preservation are printed on. But anything acetate, “they’re all just ticking time bombs. You can slow it by keeping things in cold storage, which is why the best archives have temperature and moisture-related storage. You can freeze them; there are crazy collectors who have a freezer full of prints.”\u003c/p>\n\u003cp>The vinegar syndrome is just one stumbling block making the hobby of projecting film an order of magnitude more difficult than, say, collecting stamps. Another obstacle: manufacturers have ceased production of projectors, having switched to making digital equipment. “What concerns me is the ability to actually screen the prints,” says Conheim. “Because the technology is not supported anymore. The machines are breaking down; eventually the parts are going to run out. The 16mm projector I have has a part that is starting to wear out. I have a few spares, and that’s it.” To solve that problem, he hopes to put together a consortium of collectors with equipment and stored parts, who will be able to repair projectors.\u003c/p>\n\u003cp>The difficulty of keeping the machines running is one reason Conheim thinks home projection is unlikely to enjoy the same resurgence as LPs, despite the hope of purists.\u003c/p>\n\u003cp>“The metaphor that a lot of people are tossing around is the vinyl LP. There’s a big problem with that: the vinyl LP could come back because the equipment and records are so plentiful. (The) 35mm projector is a precision machine. You will not have the same capability that people have with records. The analogy falls flat right there, because it’s too sophisticated, everything’s out of production. It’s over,” he says.\u003c/p>\n\u003cp>Says Ullsperger: “I became a collector for a short time, until I realized projecting movies wasn’t as straightforward as inserting the media and pushing a button. It’s impossible to imagine any normal person getting into this hobby. You need to have a screening room, a place to project the film in the first place. You need to have this equipment, incredibly difficult to find, and constantly needs to be maintained. And then you need to spend all the time looking for these movies.”\u003c/p>\n\u003cp>If the hobbyist dedicated to film is a rarity, the studios have abandoned the material altogether, shipping “Digital Cinema Packages” (DCPs), contained on a hard drive, to theaters instead. Meaning when you go to the movies, you’re no more watching “film” than you are listening to a vinyl recording when you hit play on an MP3.\u003c/p>\n\u003cp>Because we’ve been in a transition period, our visual cortexes have been processing varying admixtures of digital and analogue in the production-to-presentation chain. Movies have recently been shot digitally or on film and projected digitally or on film too. The combination that purists and many film directors prefer is the one that is now the most rare: shooting on film that is then projected on film. So when Paul Thomas Anderson shot \u003ci>The Master\u003c/i> in 70mm, he was making a statement about film aesthetics as well as resurrecting an old format. Conheim, who rarely goes to the movies, made a special trip to see that feature, because he thought it would be the last timehe’d ever get to witness 70mm film projected. He wasn’t disappointed. His review: “Breathtakingly beautiful.”\u003c/p>\n\u003cp>The Castro in San Francisco, one of the few area retro houses left, now \u003ca href=\"http://www.castrotheatre.com/p-list.html\">indicates on its schedule\u003c/a> whether it’s showing a 35mm print or DCP. If you wanted to catch the recent Billy Wilder double feature, for instance, \u003ci>The Fortune Cookie\u003c/i> was projected in 35mm, but \u003ci>Some Like It Hot\u003c/i> was digital. I asked Conheim if he was to see that bill, would he be able to tell which was which? “In seconds,” he says.\u003c/p>\n\u003cp>Your average moviegoer, of course, probably doesn’t care; the studios, in fact, have been banking on it. But there are many in the audience who are deeply invested in \u003ci>film\u003c/i>, and all that word implies, as an art form. The lament of my father, a professional cinematographer, touches on the notion voiced by Conheim that interacting with a tangible material is a unique experience: “There was something so beautiful about film,” my father says. “You smelled it, you felt it.”\u003c/p>\n\u003cp>And you saw it. “It’s just an aesthetically different experience,” says Conheim. “It’s not the way they were lensed, it’s not the way they were meant to be seen. Pretty soon that’s going to be gone. If I’m looking at a piece of legendarily photographed, classical cinema, I believe there is an intangible difference of perception, the way that you absorb that information, if it has a certain amount of physical tactile levels. That could be a weave in the frame, that could be the flicker of the shutter, or in a more extreme case, dirt and scratches and anomalies. Nobody wants scratches and splices, but what I miss is the ability to see a beautifully created print that still reminds you that you are looking at an organic object, an object that light is shining through and hitting the screen. Your brain just knows that is not the same as rendering a bunch of pixels coming off a hard drive.”\u003c/p>\n\u003caside class=\"pullquote\">\n\u003cp>\u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=132103\">\u003cb>• Blu-ray Is Better\u003c/b>\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://www.kqed.org/arts/movies/article.jsp?essid=132104\">\u003cb>• At the Movies, No More Film\u003c/b>\u003c/a>\u003c/p>\n\u003c/aside>\n\u003cp>A few years back, Conheim went to a moving image archivist conference in LA. There, about 20 minutes of \u003ci>The Sound of Music\u003c/i> were shown on a split screen, with one side displaying a brand new 35mm print and the other a digital version. “The idea was not to see how much better digital was, necessarily. It was, see for yourself and make your own decision.\u003c/p>\n\u003cp>“I was split, but I still favored the film. I thought, well, the digital version is consistent and it gets pluses for color reproduction. Perhaps it was sharper. (But) the film breathed life, and the digital was flat, motionless, perfect. Anybody who knows how motion pictures work and how a shutter works, the whole mechanism of it, it can’t be so perfect as a digital image, which just never physically has to move anywhere. It’s highly subjective, but I would say that is the major distinction. Not better versus worse, just organic vs. inorganic.\u003c/p>\n\u003cp>“Threading up \u003ci>The Wild Bunch\u003c/i> in the theater left me feeling like I was seeing it exactly as it was intended at the time it was made. I’m seeing what Peckinpah and the cinematographer saw. I’m looking at the way they timed those prints, and they were making critical decisions based on the medium. If that film then gets converted to digital, it’s just an entirely new ballgame. The cinematographer and director aren’t around to go ‘well that isn’t a great representation.'”\u003c/p>\n\u003cp>One film display expert on hand for \u003ci>War of the Worlds\u003c/i> is Craig Valenza, the senior projectionist at the \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/\">Pacific Film Archive\u003c/a> in Berkeley, and a regular at the Small Back Room. Valenza’s been on the job at PFA since its opening in 1971. He says the handwriting for his profession is all over the wall: “It’s cooked. The job used to pay great! It was a prestige deal. Now you got one of those jobs … you’re stuck.” He says PFA is talking about digitizing everything. “The archives are talking about getting rid of the environmental rooms to keep the films in. It costs too much.” I ask him what he thinks will be lost in terms of film culture, expecting a purist broadside. But instead, he expresses just the opposite:\u003c/p>\n\u003cp>“Last night, we’re showing a film, \u003ca href=\"http://bampfa.berkeley.edu/film/FN20483\">\u003ci>Mother Kusters Goes to Heaven\u003c/i>\u003c/a>. It’s got these two big scratches going ‘je dee, je dee!’ Tell me, who wants to watch that? Come on, what do the film people miss? The shutter flickering in front of their eyes? They miss the dust, the scratches?”\u003c/p>\n\u003cp>Valenza says he’s not even particularly a movie fan. I ask him why he comes to Conheim’s screenings, then, and his nostalgic answer belies his previous, technician’s indifference. “I’m trying to keep it alive. I used to go to a place, the B. Lannes Cinema in Oakland (a private, underground theater). It was two brothers in a basement, they were showing three ‘B’ pictures on 16mm. (I went) every Saturday night, whatever it was.”\u003c/p>\n\u003cp>Valenza says that even PFA audiences, cinephiles by definition, have reacted \u003ca href=\"http://bayflicks.net/2013/12/07/taxi-driver-alamo-bay-and-4k-digital-projection-at-the-pfa/\">just fine\u003c/a> when digital prints are shown. “Generally speaking, the audiences seem to think they like it. It looks good, looks sharp, looks bright.”\u003c/p>\n\u003cp>The scratched-up retro-house prints prevalent before digital, he says, no longer cut it. “In the old days, that’s all there was and you made the best of what you had. If they were spliced up and there were no other prints, that was the norm. But now that we’ve seen, quote, ‘better,’ they like that.”\u003c/p>\n\u003cp>\u003cb>Trafficking in “Illegal” Prints\u003c/b>\u003c/p>\n\u003cp>If the studios are less and less interested in film, Conheim says, they are also less interested in stopping people like him from owning prints, still officially illegal to possess privately, in most cases. Everyone knows that the movie industry considers \u003ca href=\"http://blogs.wsj.com/numbersguy/putting-a-price-tag-on-film-piracy-1228/\">film piracy to be a serious issue\u003c/a>. But before cinephiles could download a desired title through iTunes, burn a copy of a DVD, or even record a movie on a VCR, someone who wanted to watch a movie at home on demand could only do so by laying their hands on an actual print. While some 16mm films were sold for the home market, for the majority of 35mm prints, anyone who obtained one was — and still is — in possession of stolen property belonging to the studio, which licensed the film to theaters, but never sold prints outright. When genuine film was the only game in town, this was a much bigger deal. Even trafficking in 16mm prints could get you targeted. I know someone who dabbled in the trade as a go-between in the early ’60s, obtaining 16mm prints of films like \u003ci>Frankenstein\u003c/i> and \u003ci>King Kong\u003c/i> and selling them to a collector. He’s still cagey about where they came from. “I got a hold of them from a friend. I don’t know where he got them,” he says.\u003c/p>\n\u003cp>“There was an underground cabal of collectors in the ’70s who would very discretely sell new titles,” says Conheim. “Where they were getting them from… a variety of sources. Contacts with labs, distributors, TV stations.” He says big busts occurred in the ’70s and ’80s. “A guy I know got busted for selling, I think, \u003ci>Superman\u003c/i>. Another for selling \u003ci>Casino Royale\u003c/i>. When I met that guy he was so secretive, because he’d already been busted by the FBI. You couldn’t even sell 35mm on eBay until a couple of years ago.”\u003c/p>\n\u003cp>But, he says, “Studios have been giving less of a shit over the last 10 years. Some of the more progressive-minded studios like Columbia, Paramount… are well aware that private collectors sometimes have the only copies of something, and they actually might be able to rescue something. That’s happened countless times. Private collectors have done a good job of \u003ca href=\"http://www.fipresci.org/undercurrent/issue_0609/pena_metropolis.htm\">rescuing some films\u003c/a> (and) a studio has gone to get it.”\u003c/p>\n\u003cp>\u003cb>The Death of Film?\u003c/b>\u003c/p>\n\u003cp>After \u003ci>War of the Worlds\u003c/i> finishes, the crowd — each and every one invited personally by Conheim — is almost totally gone, just like at a real movie house. Could it be that this was actually much less of a social event than it was, well, a screening? “It’s not a party,” says Conheim. “The party is incidental.”\u003c/p>\n\u003cp>Plus a lot of pertinent discussion goes on during the reel change. That interruption is just long enough to have a conversation with the guy in front of me about the Spielberg \u003ci>War of the Worlds\u003c/i> remake, and the movies \u003ci>On The Beach\u003c/i> and \u003ci>The Beast From 20,000 Fathoms\u003c/i>.\u003c/p>\n\u003cp> Steve Dye, a collaborator of Conheim’s in \u003ca href=\"http://www.wetgate.net/\">Wet Gate\u003c/a>, an “All-16mm Projector Ensemble,” hangs around after the screening, talking about the future of film projection with Conheim and Craig Valenza. Conheim opines about a projector sprocket manufacturer that ceased production because someone retired. “That was said to be the true nail in the coffin, because of the precision that was involved in that process,” he says.\u003c/p>\n\u003cp>Dye wonders if the hobby can’t persevere in the face of such obstacles. “I’m thinking of other collectors, like old automobiles. Is it like that?”\u003c/p>\n\u003cp>“My Dart in the driveway — I can still get parts for that,” says Conheim. “Someone can machine that part if need be. But you can’t machine a sprocket.”\u003c/p>\n\u003cp>Perhaps 3D printing is an option down the road, he muses. Valenza is doubtful. “There’s one part of a projector that has to be absolutely dead on, it’s called the star wheel. It’s the thing that turns the sprocket, one turn at a time. If it’s not perfect, the machine will literally just stop running.”\u003c/p>\n\u003cp>I ask Conheim what his verdict is on the \u003ci>War of the Worlds\u003c/i> print. “It had beautiful Technicolor that you can’t replicate easily,” he says. “Perhaps not as sharp as I would have wanted. But for a 50-year old print, it was in pretty good condition. The second half had some scratches.”\u003c/p>\n\u003cp>Those scratches were actually very noticeable to me, I tell him. The image seemed a bit diffuse, and the color not as vivid as I remembered. Then I realize: I own the DVD of this film. When I get home, I pop it in, and it looks really good. Dare I say, better than the film version I just watched? Could it be all the Blu-rays and DCPs have made me intolerant of the very imperfection that devotees of The Small Back Room prize?\u003c/p>\n\u003cp>Almost guiltily, I float that proposition to Conheim.\u003c/p>\n\u003cp>“It’s true,” he says. “We just have to admit that’s the way it’s going to go from now on. Because clean and perfect is the way people expect to see these things. Wouldn’t we all be so lucky to have a brand new restoration print to see? But we don’t. That’s going to be harder and harder now.”\u003c/p>\n\u003cp>Still, in an age when you can watch all manner of material on your cellphone, there seems something truly admirable about the almost monklike determination to keep the old ways, the hard ways, alive. And media aside, Conheim’s content is top-notch. Coming up, he says: \u003ci>Secret Ceremony\u003c/i> by Joseph Losey and \u003ca href=\"http://www.noiroftheweek.com/2013/10/shack-out-on-101-1955.html\">\u003ci>Shack Out on 101\u003c/i>\u003c/a>, with a 1955 Lee Marvin. \u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Economics has driven the movie industry to projecting as well as capturing images digitally. \u003ci>LA Weekly\u003c/i> \u003ca href=\"http://www.laweekly.com/2012-04-12/film-tv/35-mm-film-digital-Hollywood/\">broke down the hard truth\u003c/a> in dollars and cents in 2012: \u003c/p>\n\u003cp style=\"margin-left: 10px; margin-right: 10px;\">(Studios) no longer want to pay to physically print and ship movies. It costs about $1,500 to print one copy of a movie on 35mm film and ship it to theaters in its heavy metal canister. Multiply that by 4,000 copies — one for each movie on each screen in each multiplex around the country — and the numbers start to get ugly. By comparison, putting out a digital copy costs a mere $150.\u003c/p>\n\u003cp>\u003ca href=\"http://www.thonline.com/news/business/article_3afda8c0-1108-5ab4-%20a350-4f9827799a9d.html\">Studios set a deadline of the end of 2013\u003c/a> for theaters to convert to digital, enabling them to run what’s called Digital Cinema Packages (DCPs). These digital versions come loaded on a hard drive. The system can cost upwards of $100,000, a \u003ca href=\"http://www.rollingstone.com/movies/news/how-digital-conversion-is-killing-independent-movie-theaters-20130904\">pretty penny for independent cinemas\u003c/a>. San Francisco’s Balboa Theatre recently \u003ca href=\"http://www.kickstarter.com/projects/2063252829/balboa-theatre-go-%20digital-or-go-dark\">collected $102,000\u003c/a> on Kickstarter to “upgrade” to digital, and independents around the country have been struggling to do the same or go dark. The National Association of Theatre Owners said that as of July, 2013, 35,712 screens out of almost 40,000 had been \u003ca href=\"http://natoonline.org/initiatives/cinema-technologies/\">converted to digital\u003c/a>. “It appears that a perfect storm of events may bring about the end of film around the end of 2014 due to either a worldwide lack of film stock and/or the closing of processing labs,” the group contends.\u003c/p>\n\u003cp>Conheim says when he owned The Guild, if you wanted to show an old movie some studios would just tell you to buy the DVD and project it. (And make you buy the disc yourself.) Of a time when distributors would send you an actual film print? “Those days are over,” he says.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"description": "Economics has driven the movie industry to projecting as well as capturing images digitally. LA Weekly broke down the hard truth in dollars and cents in 2012: (Studios) no longer want to pay to physically print and ship movies. It costs about $1,500 to print one copy of a movie on 35mm film and ship",
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"description": "Jon Brooks is a KQED News online editor and writer for KQED's daily news blog, \u003ci>News Fix\u003c/i>. A veteran blogger, he previously worked for Yahoo! in various news writing and editing roles. He was also the editor of \u003ca>EconomyBeat.org\u003c/a>, which documented user-generated content about the financial crisis and recession. Jon is also a playwright whose work has been produced in San Francisco, New York, Italy, and around the U.S. He has written about film for his own blog and studied film at Boston University. He has an MFA in Creative Writing from Brooklyn College.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Economics has driven the movie industry to projecting as well as capturing images digitally. \u003ci>LA Weekly\u003c/i> \u003ca href=\"http://www.laweekly.com/2012-04-12/film-tv/35-mm-film-digital-Hollywood/\">broke down the hard truth\u003c/a> in dollars and cents in 2012: \u003c/p>\n\u003cp style=\"margin-left: 10px; margin-right: 10px;\">(Studios) no longer want to pay to physically print and ship movies. It costs about $1,500 to print one copy of a movie on 35mm film and ship it to theaters in its heavy metal canister. Multiply that by 4,000 copies — one for each movie on each screen in each multiplex around the country — and the numbers start to get ugly. By comparison, putting out a digital copy costs a mere $150.\u003c/p>\n\u003cp>\u003ca href=\"http://www.thonline.com/news/business/article_3afda8c0-1108-5ab4-%20a350-4f9827799a9d.html\">Studios set a deadline of the end of 2013\u003c/a> for theaters to convert to digital, enabling them to run what’s called Digital Cinema Packages (DCPs). These digital versions come loaded on a hard drive. The system can cost upwards of $100,000, a \u003ca href=\"http://www.rollingstone.com/movies/news/how-digital-conversion-is-killing-independent-movie-theaters-20130904\">pretty penny for independent cinemas\u003c/a>. San Francisco’s Balboa Theatre recently \u003ca href=\"http://www.kickstarter.com/projects/2063252829/balboa-theatre-go-%20digital-or-go-dark\">collected $102,000\u003c/a> on Kickstarter to “upgrade” to digital, and independents around the country have been struggling to do the same or go dark. The National Association of Theatre Owners said that as of July, 2013, 35,712 screens out of almost 40,000 had been \u003ca href=\"http://natoonline.org/initiatives/cinema-technologies/\">converted to digital\u003c/a>. “It appears that a perfect storm of events may bring about the end of film around the end of 2014 due to either a worldwide lack of film stock and/or the closing of processing labs,” the group contends.\u003c/p>\n\u003cp>Conheim says when he owned The Guild, if you wanted to show an old movie some studios would just tell you to buy the DVD and project it. (And make you buy the disc yourself.) Of a time when distributors would send you an actual film print? “Those days are over,” he says.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The introduction of high-definition Blu-ray discs to the home market has been a game-changer for some home projection enthusiasts. \u003ca href=\"http://reviews.cnet.com/4520-6463_7-6462511-2.html\">Blu-ray has a much higher maximum resolution than DVD\u003c/a> and uses advanced compression technology to render more detailed images. Film print collectors have taken note. “It was clear from the beginning that DVD would never be good enough to completely capture film, especially in larger screen format,” says Chris Ullsperger who owns a 16mm print of \u003ci>Performance\u003c/i> and a 35mm of \u003ci>Showgirls\u003c/i>. “But the \u003ca href=\"http://us.blu-raydisc.com/index.php\">Blu-ray\u003c/a> resolution is good enough.”\u003c/p>\n\u003cp>Ullsperger says print collectors have bought into Blu-ray in a way they didn’t with DVD. “The proof of that is that Peter Conheim likes Blu-ray,” he says. Perhaps not coincidentally, Ullsperger is starting to see Blu-ray titles available that were previously accessible only by hunting down a film print. In 2005, Conheim bought a big collection of 16mm John Ford films from a scholar of the director. “Peter drove across the country to look at it. Basically open up every can of film and smell it to see if it was going to vinegar. There was just about every John Ford film, including some that 99 percent of people hadn’t seen. What’s amazing to me is that in such a short period of time a lot of that stuff is now on Blu-Ray.”\u003c/p>\n\u003cp>Still, there are limitations. “Sometimes it looks too good. Or they don’t do a good job of transferring it. If you’ve seen a good Blu-ray you know what a crappy one looks like.”\u003c/p>\n\u003cp>Conheim agrees. “I don’t buy a Blu-ray until typically I’ve read a review of it, and if they say this is a horrendous compression job, I don’t buy it. But as a consumer format, it’s the next best thing (to film). If you get a Blu-ray that’s carefully authored with as much data as they can squeeze onto the disc as possible and still have the player be able to read it, that’s the best you’re going to find. But it’ll be superseded by something else. It’s a temporary thing.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The introduction of high-definition Blu-ray discs to the home market has been a game-changer for some home projection enthusiasts. \u003ca href=\"http://reviews.cnet.com/4520-6463_7-6462511-2.html\">Blu-ray has a much higher maximum resolution than DVD\u003c/a> and uses advanced compression technology to render more detailed images. Film print collectors have taken note. “It was clear from the beginning that DVD would never be good enough to completely capture film, especially in larger screen format,” says Chris Ullsperger who owns a 16mm print of \u003ci>Performance\u003c/i> and a 35mm of \u003ci>Showgirls\u003c/i>. “But the \u003ca href=\"http://us.blu-raydisc.com/index.php\">Blu-ray\u003c/a> resolution is good enough.”\u003c/p>\n\u003cp>Ullsperger says print collectors have bought into Blu-ray in a way they didn’t with DVD. “The proof of that is that Peter Conheim likes Blu-ray,” he says. Perhaps not coincidentally, Ullsperger is starting to see Blu-ray titles available that were previously accessible only by hunting down a film print. In 2005, Conheim bought a big collection of 16mm John Ford films from a scholar of the director. “Peter drove across the country to look at it. Basically open up every can of film and smell it to see if it was going to vinegar. There was just about every John Ford film, including some that 99 percent of people hadn’t seen. What’s amazing to me is that in such a short period of time a lot of that stuff is now on Blu-Ray.”\u003c/p>\n\u003cp>Still, there are limitations. “Sometimes it looks too good. Or they don’t do a good job of transferring it. If you’ve seen a good Blu-ray you know what a crappy one looks like.”\u003c/p>\n\u003cp>Conheim agrees. “I don’t buy a Blu-ray until typically I’ve read a review of it, and if they say this is a horrendous compression job, I don’t buy it. But as a consumer format, it’s the next best thing (to film). If you get a Blu-ray that’s carefully authored with as much data as they can squeeze onto the disc as possible and still have the player be able to read it, that’s the best you’re going to find. But it’ll be superseded by something else. It’s a temporary thing.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>I’m in a reflective mood with the turning of the calendar, and what I’m reflecting on is the beginning of the end of my long love affair with movies marinated in nihilism, cynicism, fatalism, cruel reality, contrived conflict, blood-soaked philosophy, righteous comeuppance and (the hardest to give up) withering jibes. My new year’s resolution is to seek out and savor humanistic directors, who highlight common ground rather than differences, and regard empathy as a superior manifestation of strength. Jean Renoir, Yasujiro Ozu, Heddy Honigmann, the Dardennes brothers and Hirokazu Kore-eda immediately come to mind. Let’s see who fills this bill in January, shall we?\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/02/chaplin1.jpg\" width=\"500\" height=\"347\" alt=\"The Gold Rush\" class>\u003cfigcaption class=\"wp-caption-text\">The Gold Rush\u003c/figcaption>\u003c/figure>\n\u003cp>Well, Charlie Chaplin, for starters. Cinema’s ultimate everyman, Chaplin repeatedly gutter-dived into the harshness and heartlessness of the modern metropolis and emerged with a glowing ember of decency. Sure, he was prone to sentimentality, which might be defined as taking optimism to the breaking point. The San Francisco Silent Film Festival marks Chaplin’s 1914 debut in moving pictures with three shows on Saturday, January 11 under the heart-swelling rubric, \u003cb>The Little Tramp at 100: A Charlie Chaplin Centennial Celebration\u003c/b>. A program of timeless shorts gets the party started at 1pm, followed by \u003ci>The Kid\u003c/i> at 4pm and \u003ci>The Gold Rush\u003c/i> at 7:30pm, all with live music and all at the Castro Theatre. Wait a second, I’ve got something in my eye. For \u003ca href=\"http://silentfilm.org/special-events/the-little-tramp-at-100\">more information\u003c/a> visit silentfilm.org.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/02/normallove.jpg\" width=\"500\" height=\"380\" alt=\"Normal Love\" class>\u003cfigcaption class=\"wp-caption-text\">Normal Love\u003c/figcaption>\u003c/figure>\n\u003cp>Provocateurs are often narcissists, and the queer actor, writer and filmmaker Jack Smith answered to both names. (He was also a generous collaborator, so there.) It’s hard to grasp exactly how bravely theatrical he was in the early ’60s, flaunting the “norms” of gender and sexuality and, in so doing, sending a smoke signal to The Cockettes in San Francisco. \u003ci>Flaming Creatures\u003c/i> (1962-63) was banned on obscenity charges; you won’t find anything shocking about it today, just fun, fun, fun. \u003cb>Ravishing, Radical and Restored: The Films of Jack Smith\u003c/b> also features new prints of Mary Jordan’s kaleidoscopic documentary portrait \u003ci>Jack Smith and the Destruction of Atlantis\u003c/i>, Smith’s flamboyant satire \u003ci>No President\u003c/i> (1967-70), the late Ron Vawter’s acting tour de force \u003ci>Roy Cohn/Jack Smith\u003c/i> (1995) and Smith’s epic ode to Maria Montez, \u003ci>Normal Love\u003c/i> (1963-65). The S.F. Cinematheque and Yerba Buena Center for the Arts co-present at the latter’s house January 16-30, 2014. For \u003ca href=\"http://www.ybca.org/jack-smith\">more information\u003c/a> visit ybca.org.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/02/pather.jpg\" width=\"500\" height=\"380\" alt=\"Pather Panchali\" class>\u003cfigcaption class=\"wp-caption-text\">Pather Panchali\u003c/figcaption>\u003c/figure>\n\u003cp>The Pacific Film Archive is a humanist’s paradise this month, if only for \u003cb>The Brilliance of Satyajit Ray\u003c/b> (Jan. 17-Aug. 31). Surely nothing in the long history of movies can align a viewer’s values and adjust his or her priorities like the Indian director’s profound yet unpretentious Apu trilogy: \u003ci>Pather Panchali\u003c/i>, \u003ci>Aparajito\u003c/i> and \u003ci>The World of Apu\u003c/i>. The Archive also unveils a major humor retrospective with \u003cb>Funny Ha-Ha: American Comedy, 1930–1959\u003c/b> (Jan. 16-Feb. 22), and hosts the annual African Film Festival (Jan. 25-Feb. 26). Too much sweetness and light? Then you’re ready for \u003cb>Jean-Luc Godard: Expect Everything From Cinema\u003c/b> (Jan. 30-Apr. 13). If you need me, I’ll be right here, sitting in the dark. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/02/rhino.jpg\" width=\"500\" height=\"224\" alt=\"Rhino Full Throttle\" class>\u003cfigcaption class=\"wp-caption-text\">Rhino Full Throttle\u003c/figcaption>\u003c/figure>\n\u003cp>The sprightly and occasionally melancholy Berlin & Beyond Film Festival always seemed like a perfect match with the rainy season. So I’m exceedingly happy to report that after a couple of years of fall dates, B&B returns to its midwinter setting (Jan. 15-19 at the Castro, Jan. 20-21 at Goethe-Institut San Francisco). Whether you’re in the mood for snowcapped landscapes with an undercurrent of existential malaise or resolute urban portraits of colorful culture clash, you’ll find it here. For \u003ca href=\"http://www.goethe.de/ins/us/saf/prj/bby/fil/ofs/enindex.htm\">more information\u003c/a> visit goethe.de.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/02/rains.jpg\" width=\"500\" height=\"361\" alt=\"It Always Rains on Sunday\" class>\u003cfigcaption class=\"wp-caption-text\">It Always Rains on Sunday\u003c/figcaption>\u003c/figure>\n\u003cp>I tried. I really tried. But I couldn’t get all the way through the month — one month! — on a movie diet of unfettered cooperation, ingrained generosity and bemused appreciation for the human condition. My salvation (so to speak) is a festival whose motto this year is “It’s a bitter little world.” Now you’re speaking my language. A rogue’s gallery of beautiful losers awaits at the Castro as Noir City (Jan. 24-Feb. 2) goes international with double bills from Germany (including \u003ci>The Murderers Among Us\u003c/i>, the U.K. (\u003ci>It Always Rains on Sunday\u003c/i> and the original \u003ci>Brighton Rock\u003c/i>), Japan (Kurosawa’s \u003ci>Drunken Angel\u003c/i> and \u003ci>Stray Dog\u003c/i>), Argentina (\u003ci>Never Open That Door\u003c/i>) and France (by now you should be reaching for your calendar and your flask). For my part, it’s just a relapse. I’ll be back on the humanist wagon in no time.\u003cbr>\nFor \u003ca href=\"http://www.noircity.com/\">more information\u003c/a> visit noircity.com.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m in a reflective mood with the turning of the calendar, and what I’m reflecting on is the beginning of the end of my long love affair with movies marinated in nihilism, cynicism, fatalism, cruel reality, contrived conflict, blood-soaked philosophy, righteous comeuppance and (the hardest to give up) withering jibes. My new year’s resolution is to seek out and savor humanistic directors, who highlight common ground rather than differences, and regard empathy as a superior manifestation of strength. Jean Renoir, Yasujiro Ozu, Heddy Honigmann, the Dardennes brothers and Hirokazu Kore-eda immediately come to mind. Let’s see who fills this bill in January, shall we?\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/02/chaplin1.jpg\" width=\"500\" height=\"347\" alt=\"The Gold Rush\" class>\u003cfigcaption class=\"wp-caption-text\">The Gold Rush\u003c/figcaption>\u003c/figure>\n\u003cp>Well, Charlie Chaplin, for starters. Cinema’s ultimate everyman, Chaplin repeatedly gutter-dived into the harshness and heartlessness of the modern metropolis and emerged with a glowing ember of decency. Sure, he was prone to sentimentality, which might be defined as taking optimism to the breaking point. The San Francisco Silent Film Festival marks Chaplin’s 1914 debut in moving pictures with three shows on Saturday, January 11 under the heart-swelling rubric, \u003cb>The Little Tramp at 100: A Charlie Chaplin Centennial Celebration\u003c/b>. A program of timeless shorts gets the party started at 1pm, followed by \u003ci>The Kid\u003c/i> at 4pm and \u003ci>The Gold Rush\u003c/i> at 7:30pm, all with live music and all at the Castro Theatre. Wait a second, I’ve got something in my eye. For \u003ca href=\"http://silentfilm.org/special-events/the-little-tramp-at-100\">more information\u003c/a> visit silentfilm.org.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/02/normallove.jpg\" width=\"500\" height=\"380\" alt=\"Normal Love\" class>\u003cfigcaption class=\"wp-caption-text\">Normal Love\u003c/figcaption>\u003c/figure>\n\u003cp>Provocateurs are often narcissists, and the queer actor, writer and filmmaker Jack Smith answered to both names. (He was also a generous collaborator, so there.) It’s hard to grasp exactly how bravely theatrical he was in the early ’60s, flaunting the “norms” of gender and sexuality and, in so doing, sending a smoke signal to The Cockettes in San Francisco. \u003ci>Flaming Creatures\u003c/i> (1962-63) was banned on obscenity charges; you won’t find anything shocking about it today, just fun, fun, fun. \u003cb>Ravishing, Radical and Restored: The Films of Jack Smith\u003c/b> also features new prints of Mary Jordan’s kaleidoscopic documentary portrait \u003ci>Jack Smith and the Destruction of Atlantis\u003c/i>, Smith’s flamboyant satire \u003ci>No President\u003c/i> (1967-70), the late Ron Vawter’s acting tour de force \u003ci>Roy Cohn/Jack Smith\u003c/i> (1995) and Smith’s epic ode to Maria Montez, \u003ci>Normal Love\u003c/i> (1963-65). The S.F. Cinematheque and Yerba Buena Center for the Arts co-present at the latter’s house January 16-30, 2014. For \u003ca href=\"http://www.ybca.org/jack-smith\">more information\u003c/a> visit ybca.org.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/02/pather.jpg\" width=\"500\" height=\"380\" alt=\"Pather Panchali\" class>\u003cfigcaption class=\"wp-caption-text\">Pather Panchali\u003c/figcaption>\u003c/figure>\n\u003cp>The Pacific Film Archive is a humanist’s paradise this month, if only for \u003cb>The Brilliance of Satyajit Ray\u003c/b> (Jan. 17-Aug. 31). Surely nothing in the long history of movies can align a viewer’s values and adjust his or her priorities like the Indian director’s profound yet unpretentious Apu trilogy: \u003ci>Pather Panchali\u003c/i>, \u003ci>Aparajito\u003c/i> and \u003ci>The World of Apu\u003c/i>. The Archive also unveils a major humor retrospective with \u003cb>Funny Ha-Ha: American Comedy, 1930–1959\u003c/b> (Jan. 16-Feb. 22), and hosts the annual African Film Festival (Jan. 25-Feb. 26). Too much sweetness and light? Then you’re ready for \u003cb>Jean-Luc Godard: Expect Everything From Cinema\u003c/b> (Jan. 30-Apr. 13). If you need me, I’ll be right here, sitting in the dark. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\u003cfigure class=\"wp-caption alignleft\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/02/rhino.jpg\" width=\"500\" height=\"224\" alt=\"Rhino Full Throttle\" class>\u003cfigcaption class=\"wp-caption-text\">Rhino Full Throttle\u003c/figcaption>\u003c/figure>\n\u003cp>The sprightly and occasionally melancholy Berlin & Beyond Film Festival always seemed like a perfect match with the rainy season. So I’m exceedingly happy to report that after a couple of years of fall dates, B&B returns to its midwinter setting (Jan. 15-19 at the Castro, Jan. 20-21 at Goethe-Institut San Francisco). Whether you’re in the mood for snowcapped landscapes with an undercurrent of existential malaise or resolute urban portraits of colorful culture clash, you’ll find it here. For \u003ca href=\"http://www.goethe.de/ins/us/saf/prj/bby/fil/ofs/enindex.htm\">more information\u003c/a> visit goethe.de.\u003c/p>\n\u003cfigure class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/02/rains.jpg\" width=\"500\" height=\"361\" alt=\"It Always Rains on Sunday\" class>\u003cfigcaption class=\"wp-caption-text\">It Always Rains on Sunday\u003c/figcaption>\u003c/figure>\n\u003cp>I tried. I really tried. But I couldn’t get all the way through the month — one month! — on a movie diet of unfettered cooperation, ingrained generosity and bemused appreciation for the human condition. My salvation (so to speak) is a festival whose motto this year is “It’s a bitter little world.” Now you’re speaking my language. A rogue’s gallery of beautiful losers awaits at the Castro as Noir City (Jan. 24-Feb. 2) goes international with double bills from Germany (including \u003ci>The Murderers Among Us\u003c/i>, the U.K. (\u003ci>It Always Rains on Sunday\u003c/i> and the original \u003ci>Brighton Rock\u003c/i>), Japan (Kurosawa’s \u003ci>Drunken Angel\u003c/i> and \u003ci>Stray Dog\u003c/i>), Argentina (\u003ci>Never Open That Door\u003c/i>) and France (by now you should be reaching for your calendar and your flask). For my part, it’s just a relapse. I’ll be back on the humanist wagon in no time.\u003cbr>\nFor \u003ca href=\"http://www.noircity.com/\">more information\u003c/a> visit noircity.com.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"title": "A Man And His Machine, Finding Out What Love Is",
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"content": "\u003cp>\u003cem>Her\u003c/em> is the best film of the year by a so-wide margin. It’s gorgeous, funny, deep — and I can hear some smart aleck say, “If you love it so much, why don’t you marry it?” Let me tell you, I’d like to!\u003c/p>\n\u003cp>I certainly identify with the protagonist, Theodore Twombly, who falls in love with his computer operating system, his OS, which calls itself — sorry, I gotta say “\u003cem>who\u003c/em> calls \u003cem>her\u003c/em>self” — Samantha, and who sounds like a breathy young woman.\u003c/p>\n\u003cp>When \u003cem>Her\u003c/em> begins, it doesn’t seem as if it’s going to be a romance but a sci-fi social satire, set in an unspecified future Los Angeles in which the architecture has no connection to people — they stroll through faceless plazas gazing into electronic devices, talking to unseen listeners. People eagerly embrace a new kind of OS — what an ad calls “an intuitive entity that listens to you and understands you and \u003cem>knows\u003c/em> you.”\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=6QRvTv_tpw0\u003c/p>\n\u003cp>Joaquin Phoenix plays Theodore, and it’s the performance of the year. The character has a job writing cards and letters on behalf of other people — intimate, sometimes erotic. The irony is, he can’t find words to communicate with people in \u003cem>his\u003c/em> life. He’s in mourning for a wife, played by Rooney Mara, who left him for reasons remaining vague; they simply fell out of sync. He’s desperately lonely.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Phoenix wears glasses and a thick mustache, but behind his Groucho mask he’s wide open. He’s the kind of actor who works to get himself into a state where he loses his emotional bearings, which sometimes means he doesn’t connect with other actors. But in \u003cem>Her\u003c/em>, he’s meant to be all by himself, responding to Samantha’s voice, and the performance is like a free-form solipsistic dance. It’s not pure solipsism, because Samantha exists. But you might be watching a 4-year-old talking to an imaginary friend; it’s that inward.\u003c/p>\n\u003cp>Scarlett Johansson does the voice of Samantha. It’s not mechanical. It’s seductive, throaty. At first she does what operating systems \u003cem>do\u003c/em>, only charmingly: clean up his hard drive, remind him of appointments. Then she begins to wrestle with ideas, \u003cem>feelings\u003c/em>. Suddenly, she and Theodore are taking soulful walks — he has an earpiece, she can see through a camera.\u003c/p>\n\u003cp>Then they take it to an erotic level. The question is implicit: Do we need our bodies, or is love all in our brains? Their relationship is real enough to make us ask what a real relationship is.\u003c/p>\n\u003cp>And Samantha continues to evolve, which you can hear — yes, hear. Samantha has spiritual needs, a drive to find new realms of communication. So Theodore feels her moving beyond his grasp — like many real lovers move on, in life.\u003c/p>\n\u003cp>Theodore and Samantha aren’t the only show in \u003cem>Her\u003c/em>. Amy Adams plays a friend of Theodore’s who designs computer games and has her own relationship problems. But mostly we’re in Theodore’s head, and Jonze creates a lyrical, impressionistic palette. Every image is colored by emotion — and by the longing to break free of one’s limited self and merge with another being.\u003c/p>\n\u003cp>The first time I saw \u003cem>Her\u003c/em>, I was disappointed that director Spike Jonze didn’t explore the Big Brother aspect, or the way whatever company created Samantha would track its users’ buying habits and so forth. But that didn’t interest him. He’s not a satirist; he’s a romantic transcendentalist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although sci-fi teems with cautionary tales of machines growing smarter than humans and taking over the world, on the basis of \u003cem>Her,\u003c/em> I think Jonze yearns on some level for what futurist Ray Kurzweil calls “the Singularity,” when machines will take on human characteristics and our minds will be expanded by machines. Jonze began with what could have been a one-joke idea, and in the course of getting it on screen, discovered the wellspring of love. \u003cstrong>\u003cem>(Recommended)\u003c/em>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Man+And+His+Machine%2C+Finding+Out+What+Love+Is&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"excerpt": "\u003cstrong>\u003c/strong>The film \u003cem>Her,\u003c/em> written and directed by Spike Jonze (\u003cem>Being John Malkovich\u003c/em>), follows a lonely man who falls in love with a computer operating system. Critic David Edelstein says it's the best film of the year by far.\u003cem>\u003cstrong> (Recommended)\u003c/strong>\u003c/em>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Phoenix wears glasses and a thick mustache, but behind his Groucho mask he’s wide open. He’s the kind of actor who works to get himself into a state where he loses his emotional bearings, which sometimes means he doesn’t connect with other actors. But in \u003cem>Her\u003c/em>, he’s meant to be all by himself, responding to Samantha’s voice, and the performance is like a free-form solipsistic dance. It’s not pure solipsism, because Samantha exists. But you might be watching a 4-year-old talking to an imaginary friend; it’s that inward.\u003c/p>\n\u003cp>Scarlett Johansson does the voice of Samantha. It’s not mechanical. It’s seductive, throaty. At first she does what operating systems \u003cem>do\u003c/em>, only charmingly: clean up his hard drive, remind him of appointments. Then she begins to wrestle with ideas, \u003cem>feelings\u003c/em>. Suddenly, she and Theodore are taking soulful walks — he has an earpiece, she can see through a camera.\u003c/p>\n\u003cp>Then they take it to an erotic level. The question is implicit: Do we need our bodies, or is love all in our brains? Their relationship is real enough to make us ask what a real relationship is.\u003c/p>\n\u003cp>And Samantha continues to evolve, which you can hear — yes, hear. Samantha has spiritual needs, a drive to find new realms of communication. So Theodore feels her moving beyond his grasp — like many real lovers move on, in life.\u003c/p>\n\u003cp>Theodore and Samantha aren’t the only show in \u003cem>Her\u003c/em>. Amy Adams plays a friend of Theodore’s who designs computer games and has her own relationship problems. But mostly we’re in Theodore’s head, and Jonze creates a lyrical, impressionistic palette. Every image is colored by emotion — and by the longing to break free of one’s limited self and merge with another being.\u003c/p>\n\u003cp>The first time I saw \u003cem>Her\u003c/em>, I was disappointed that director Spike Jonze didn’t explore the Big Brother aspect, or the way whatever company created Samantha would track its users’ buying habits and so forth. But that didn’t interest him. He’s not a satirist; he’s a romantic transcendentalist.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Although sci-fi teems with cautionary tales of machines growing smarter than humans and taking over the world, on the basis of \u003cem>Her,\u003c/em> I think Jonze yearns on some level for what futurist Ray Kurzweil calls “the Singularity,” when machines will take on human characteristics and our minds will be expanded by machines. Jonze began with what could have been a one-joke idea, and in the course of getting it on screen, discovered the wellspring of love. \u003cstrong>\u003cem>(Recommended)\u003c/em>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=A+Man+And+His+Machine%2C+Finding+Out+What+Love+Is&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"title": "From An Oscar Winner, A 'Past' Still Hauntingly Present",
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"content": "\u003cp>Iranian filmmaker Asghar Farhadi came to international attention last year when his film \u003cem>A Separation\u003c/em> won the Oscar for best foreign language film. His latest picture, \u003cem>The Past,\u003c/em> has been showered with awards, too — at the Cannes Film Festival and from critics groups in the U.S. I saw \u003cem>The Past\u003c/em> in September at the Toronto Film Festival, and it has haunted me ever since.\u003c/p>\n\u003cp>The film starts with a telling setup for all the miscues that will follow: We’re in the international arrivals area of a Paris airport, with Marie (Berenice Bejo) waiting on one side of a partition, her husband, Ahmad (Ali Mosaffa) arriving on the other. Communication is all but impossible through the glass wall that separates them, yet before he’s even seen her, she’s already lying to him — slipping a brace off her wrist so he won’t see that she’s injured.\u003c/p>\n\u003cp>When he finally spots her, he smiles, and comes to the other side of the glass. They still can’t communicate, but somehow they do. Clearly a loving couple, you figure, utterly in sync, miming greetings since they can’t hear each other.\u003c/p>\n\u003cp>http://www.youtube.com/watch?v=gLKpTRilMFc\u003c/p>\n\u003cp>And their easy partnering continues on the drive home in the rain, when the problem with her wrist becomes obvious, and he shifts the gears as she drives. But by that time they’re also sniping at each other, trading little digs and glares. Only later do you discover he’s flown in from Tehran to sign divorce papers. Not quite as in sync as they appeared. Is there something unfinished between them?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Bejo, Oscar-nominated for her silent performance in \u003cem>The Artist\u003c/em> two years ago, is noisier here as a Frenchwoman caught between two men, three children and more complications than it would make any sense to try to explain.\u003c/p>\n\u003cp>Writer-director Farhadi lets the audience see where communication has faltered and what that’s meant to Marie and the folks around her — Ahmad, plus her new love, Samir (Tahar Rahim) — both sensitive, both problem solvers by temperament, but caught in situations where fixes may not exist. Also the kids, damaged by the decisions their elders are making, but in unexpected ways responsible for those decisions.\u003c/p>\n\u003cp>As the director did in \u003cem>A Separation,\u003c/em> he allows information to emerge in bits and snatches — always keeping you aware of the stepfamily dynamics and social dynamics that rule their lives. They’re all outside the French mainstream, their home butting up against a railway line as if to show that if they’re on the right side of the tracks, it’s just barely.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And as they struggle with where they are now, and try to learn from, or cling to, or let go of the past — their story becomes so surprising, and so emotionally resonant that it’s hard to let these characters go. The last 30 seconds of the film — wrenching, startling, utterly transformative of everything that precedes them — has haunted me for months. \u003cem>The Past\u003c/em> will, I’m guessing, haunt me for years. \u003cstrong>\u003cem>(Recommended)\u003c/em>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+An+Oscar+Winner%2C+A+%27Past%27+Still+Hauntingly+Present&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n",
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"excerpt": "Director Asghar Farhadi's film — which follows a man returning to his estranged wife to finalize a divorce — has garnered quite a few awards. NPR's Bob Mondello says that it definitely deserves its accolades. \u003cem>\u003cstrong>(Recommended)\u003c/strong>\u003c/em>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Iranian filmmaker Asghar Farhadi came to international attention last year when his film \u003cem>A Separation\u003c/em> won the Oscar for best foreign language film. His latest picture, \u003cem>The Past,\u003c/em> has been showered with awards, too — at the Cannes Film Festival and from critics groups in the U.S. I saw \u003cem>The Past\u003c/em> in September at the Toronto Film Festival, and it has haunted me ever since.\u003c/p>\n\u003cp>The film starts with a telling setup for all the miscues that will follow: We’re in the international arrivals area of a Paris airport, with Marie (Berenice Bejo) waiting on one side of a partition, her husband, Ahmad (Ali Mosaffa) arriving on the other. Communication is all but impossible through the glass wall that separates them, yet before he’s even seen her, she’s already lying to him — slipping a brace off her wrist so he won’t see that she’s injured.\u003c/p>\n\u003cp>When he finally spots her, he smiles, and comes to the other side of the glass. They still can’t communicate, but somehow they do. Clearly a loving couple, you figure, utterly in sync, miming greetings since they can’t hear each other.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/gLKpTRilMFc'\n title='//www.youtube.com/embed/gLKpTRilMFc'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>And their easy partnering continues on the drive home in the rain, when the problem with her wrist becomes obvious, and he shifts the gears as she drives. But by that time they’re also sniping at each other, trading little digs and glares. Only later do you discover he’s flown in from Tehran to sign divorce papers. Not quite as in sync as they appeared. Is there something unfinished between them?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Bejo, Oscar-nominated for her silent performance in \u003cem>The Artist\u003c/em> two years ago, is noisier here as a Frenchwoman caught between two men, three children and more complications than it would make any sense to try to explain.\u003c/p>\n\u003cp>Writer-director Farhadi lets the audience see where communication has faltered and what that’s meant to Marie and the folks around her — Ahmad, plus her new love, Samir (Tahar Rahim) — both sensitive, both problem solvers by temperament, but caught in situations where fixes may not exist. Also the kids, damaged by the decisions their elders are making, but in unexpected ways responsible for those decisions.\u003c/p>\n\u003cp>As the director did in \u003cem>A Separation,\u003c/em> he allows information to emerge in bits and snatches — always keeping you aware of the stepfamily dynamics and social dynamics that rule their lives. They’re all outside the French mainstream, their home butting up against a railway line as if to show that if they’re on the right side of the tracks, it’s just barely.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And as they struggle with where they are now, and try to learn from, or cling to, or let go of the past — their story becomes so surprising, and so emotionally resonant that it’s hard to let these characters go. The last 30 seconds of the film — wrenching, startling, utterly transformative of everything that precedes them — has haunted me for months. \u003cem>The Past\u003c/em> will, I’m guessing, haunt me for years. \u003cstrong>\u003cem>(Recommended)\u003c/em>\u003c/strong> \u003c/p>\n\u003cdiv class=\"fullattribution\">Copyright 2014 NPR. To see more, visit \u003ca href=\"http://www.npr.org/\">http://www.npr.org/\u003c/a>.\u003cimg decoding=\"async\" src=\"http://www.google-analytics.com/__utm.gif?utmac=UA-5828686-4&utmdt=From+An+Oscar+Winner%2C+A+%27Past%27+Still+Hauntingly+Present&utme=8(APIKey)9(MDAzOTIwODA0MDEyNTA4MTM1OTcyMGJmMA001)\">\u003c/div>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I’m in a reflective mood with the turning of the calendar, and what I’m reflecting on is the beginning of the end of my long love affair with movies marinated in nihilism, cynicism, fatalism, cruel reality, contrived conflict, blood-soaked philosophy, righteous comeuppance and (the hardest to give up) withering jibes. My new year’s resolution is to seek out and savor humanistic directors, who highlight common ground rather than differences, and regard empathy as a superior manifestation of strength. Jean Renoir, Yasujiro Ozu, Heddy Honigmann, the Dardennes brothers and Hirokazu Kore-eda immediately come to mind. Let’s see who fills this bill in January, shall we?\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/02/chaplin1.jpg\" alt=\"charlie chaplin, the little tramp\" style=\"margin-bottom: 10px;\">\u003cbr>\u003ci>The Gold Rush\u003c/i>\u003cbr>\u003c/center>\n\u003cp>Well, Charlie Chaplin, for starters. Cinema’s ultimate everyman, Chaplin repeatedly gutter-dived into the harshness and heartlessness of the modern metropolis and emerged with a glowing ember of decency. Sure, he was prone to sentimentality, which might be defined as taking optimism to the breaking point. The San Francisco Silent Film Festival marks Chaplin’s 1914 debut in moving pictures with three shows on Saturday, January 11 under the heart-swelling rubric, \u003cb>The Little Tramp at 100: A Charlie Chaplin Centennial Celebration\u003c/b>. A program of timeless shorts gets the party started at 1pm, followed by \u003ci>The Kid\u003c/i> at 4pm and \u003ci>The Gold Rush\u003c/i> at 7:30pm, all with live music and all at the Castro Theatre. Wait a second, I’ve got something in my eye. For \u003ca href=\"http://silentfilm.org/special-events/the-little-tramp-at-100\">more information\u003c/a> visit silentfilm.org.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/02/normallove.jpg\" alt=\"jack smith, normal love\" style=\"margin-bottom: 10px;\">\u003cbr>\u003ci>Normal Love\u003c/i>\u003cbr>\u003c/center>\n\u003cp>Provocateurs are often narcissists, and the queer actor, writer and filmmaker Jack Smith answered to both names. (He was also a generous collaborator, so there.) It’s hard to grasp exactly how bravely theatrical he was in the early ’60s, flaunting the “norms” of gender and sexuality and, in so doing, sending a smoke signal to The Cockettes in San Francisco. \u003ci>Flaming Creatures\u003c/i> (1962-63) was banned on obscenity charges; you won’t find anything shocking about it today, just fun, fun, fun. \u003cb>Ravishing, Radical and Restored: The Films of Jack Smith\u003c/b> also features new prints of Mary Jordan’s kaleidoscopic documentary portrait \u003ci>Jack Smith and the Destruction of Atlantis\u003c/i>, Smith’s flamboyant satire \u003ci>No President\u003c/i> (1967-70), the late Ron Vawter’s acting tour de force \u003ci>Roy Cohn/Jack Smith\u003c/i> (1995) and Smith’s epic ode to Maria Montez, \u003ci>Normal Love\u003c/i> (1963-65). The S.F. Cinematheque and Yerba Buena Center for the Arts co-present at the latter’s house January 16-30, 2014. For \u003ca href=\"http://www.ybca.org/jack-smith\">more information\u003c/a> visit ybca.org.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/02/pather.jpg\" alt=\"satyajit ray, pather panchali\" style=\"margin-bottom: 10px;\">\u003cbr>\u003ci>Pather Panchali\u003c/i>\u003cbr>\u003c/center>\n\u003cp>The Pacific Film Archive is a humanist’s paradise this month, if only for \u003cb>The Brilliance of Satyajit Ray\u003c/b> (Jan. 17-Aug. 31). Surely nothing in the long history of movies can align a viewer’s values and adjust his or her priorities like the Indian director’s profound yet unpretentious Apu trilogy: \u003ci>Pather Panchali\u003c/i>, \u003ci>Aparajito\u003c/i> and \u003ci>The World of Apu\u003c/i>. The Archive also unveils a major humor retrospective with \u003cb>Funny Ha-Ha: American Comedy, 1930–1959\u003c/b> (Jan. 16-Feb. 22), and hosts the annual African Film Festival (Jan. 25-Feb. 26). Too much sweetness and light? Then you’re ready for \u003cb>Jean-Luc Godard: Expect Everything From Cinema\u003c/b> (Jan. 30-Apr. 13). If you need me, I’ll be right here, sitting in the dark. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/02/rhino.jpg\" alt=\"rhino full throttle\" style=\"margin-bottom: 10px;\">\u003cbr>\u003ci>Rhino Full Throttle\u003c/i>\u003cbr>\u003c/center>\n\u003cp>The sprightly and occasionally melancholy Berlin & Beyond Film Festival always seemed like a perfect match with the rainy season. So I’m exceedingly happy to report that after a couple of years of fall dates, B&B returns to its midwinter setting (Jan. 15-19 at the Castro, Jan. 20-21 at Goethe-Institut San Francisco). Whether you’re in the mood for snowcapped landscapes with an undercurrent of existential malaise or resolute urban portraits of colorful culture clash, you’ll find it here. For \u003ca href=\"http://www.goethe.de/ins/us/saf/prj/bby/fil/ofs/enindex.htm\">more information\u003c/a> visit goethe.de.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/02/rains.jpg\" alt=\"it always rains on sunday\" style=\"margin-bottom: 10px;\">\u003cbr>\u003ci>It Always Rains on Sunday\u003c/i>\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>I tried. I really tried. But I couldn’t get all the way through the month — one month! — on a movie diet of unfettered cooperation, ingrained generosity and bemused appreciation for the human condition. My salvation (so to speak) is a festival whose motto this year is “It’s a bitter little world.” Now you’re speaking my language. A rogue’s gallery of beautiful losers awaits at the Castro as Noir City (Jan. 24-Feb. 2) goes international with double bills from Germany (including \u003ci>The Murderers Among Us\u003c/i>, the U.K. (\u003ci>It Always Rains on Sunday\u003c/i> and the original \u003ci>Brighton Rock\u003c/i>), Japan (Kurosawa’s \u003ci>Drunken Angel\u003c/i> and \u003ci>Stray Dog\u003c/i>), Argentina (\u003ci>Never Open That Door\u003c/i>) and France (by now you should be reaching for your calendar and your flask). For my part, it’s just a relapse. I’ll be back on the humanist wagon in no time.For \u003ca href=\"http://www.noircity.com/\">more information\u003c/a> visit noircity.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’m in a reflective mood with the turning of the calendar, and what I’m reflecting on is the beginning of the end of my long love affair with movies marinated in nihilism, cynicism, fatalism, cruel reality, contrived conflict, blood-soaked philosophy, righteous comeuppance and (the hardest to give up) withering jibes. My new year’s resolution is to seek out and savor humanistic directors, who highlight common ground rather than differences, and regard empathy as a superior manifestation of strength. Jean Renoir, Yasujiro Ozu, Heddy Honigmann, the Dardennes brothers and Hirokazu Kore-eda immediately come to mind. Let’s see who fills this bill in January, shall we?\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/02/chaplin1.jpg\" alt=\"charlie chaplin, the little tramp\" style=\"margin-bottom: 10px;\">\u003cbr>\u003ci>The Gold Rush\u003c/i>\u003cbr>\u003c/center>\n\u003cp>Well, Charlie Chaplin, for starters. Cinema’s ultimate everyman, Chaplin repeatedly gutter-dived into the harshness and heartlessness of the modern metropolis and emerged with a glowing ember of decency. Sure, he was prone to sentimentality, which might be defined as taking optimism to the breaking point. The San Francisco Silent Film Festival marks Chaplin’s 1914 debut in moving pictures with three shows on Saturday, January 11 under the heart-swelling rubric, \u003cb>The Little Tramp at 100: A Charlie Chaplin Centennial Celebration\u003c/b>. A program of timeless shorts gets the party started at 1pm, followed by \u003ci>The Kid\u003c/i> at 4pm and \u003ci>The Gold Rush\u003c/i> at 7:30pm, all with live music and all at the Castro Theatre. Wait a second, I’ve got something in my eye. For \u003ca href=\"http://silentfilm.org/special-events/the-little-tramp-at-100\">more information\u003c/a> visit silentfilm.org.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/02/normallove.jpg\" alt=\"jack smith, normal love\" style=\"margin-bottom: 10px;\">\u003cbr>\u003ci>Normal Love\u003c/i>\u003cbr>\u003c/center>\n\u003cp>Provocateurs are often narcissists, and the queer actor, writer and filmmaker Jack Smith answered to both names. (He was also a generous collaborator, so there.) It’s hard to grasp exactly how bravely theatrical he was in the early ’60s, flaunting the “norms” of gender and sexuality and, in so doing, sending a smoke signal to The Cockettes in San Francisco. \u003ci>Flaming Creatures\u003c/i> (1962-63) was banned on obscenity charges; you won’t find anything shocking about it today, just fun, fun, fun. \u003cb>Ravishing, Radical and Restored: The Films of Jack Smith\u003c/b> also features new prints of Mary Jordan’s kaleidoscopic documentary portrait \u003ci>Jack Smith and the Destruction of Atlantis\u003c/i>, Smith’s flamboyant satire \u003ci>No President\u003c/i> (1967-70), the late Ron Vawter’s acting tour de force \u003ci>Roy Cohn/Jack Smith\u003c/i> (1995) and Smith’s epic ode to Maria Montez, \u003ci>Normal Love\u003c/i> (1963-65). The S.F. Cinematheque and Yerba Buena Center for the Arts co-present at the latter’s house January 16-30, 2014. For \u003ca href=\"http://www.ybca.org/jack-smith\">more information\u003c/a> visit ybca.org.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/02/pather.jpg\" alt=\"satyajit ray, pather panchali\" style=\"margin-bottom: 10px;\">\u003cbr>\u003ci>Pather Panchali\u003c/i>\u003cbr>\u003c/center>\n\u003cp>The Pacific Film Archive is a humanist’s paradise this month, if only for \u003cb>The Brilliance of Satyajit Ray\u003c/b> (Jan. 17-Aug. 31). Surely nothing in the long history of movies can align a viewer’s values and adjust his or her priorities like the Indian director’s profound yet unpretentious Apu trilogy: \u003ci>Pather Panchali\u003c/i>, \u003ci>Aparajito\u003c/i> and \u003ci>The World of Apu\u003c/i>. The Archive also unveils a major humor retrospective with \u003cb>Funny Ha-Ha: American Comedy, 1930–1959\u003c/b> (Jan. 16-Feb. 22), and hosts the annual African Film Festival (Jan. 25-Feb. 26). Too much sweetness and light? Then you’re ready for \u003cb>Jean-Luc Godard: Expect Everything From Cinema\u003c/b> (Jan. 30-Apr. 13). If you need me, I’ll be right here, sitting in the dark. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/02/rhino.jpg\" alt=\"rhino full throttle\" style=\"margin-bottom: 10px;\">\u003cbr>\u003ci>Rhino Full Throttle\u003c/i>\u003cbr>\u003c/center>\n\u003cp>The sprightly and occasionally melancholy Berlin & Beyond Film Festival always seemed like a perfect match with the rainy season. So I’m exceedingly happy to report that after a couple of years of fall dates, B&B returns to its midwinter setting (Jan. 15-19 at the Castro, Jan. 20-21 at Goethe-Institut San Francisco). Whether you’re in the mood for snowcapped landscapes with an undercurrent of existential malaise or resolute urban portraits of colorful culture clash, you’ll find it here. For \u003ca href=\"http://www.goethe.de/ins/us/saf/prj/bby/fil/ofs/enindex.htm\">more information\u003c/a> visit goethe.de.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2014/01/02/rains.jpg\" alt=\"it always rains on sunday\" style=\"margin-bottom: 10px;\">\u003cbr>\u003ci>It Always Rains on Sunday\u003c/i>\u003cbr>\u003c/center>\n\u003cp>\u003c/p>\n\u003cp>I tried. I really tried. But I couldn’t get all the way through the month — one month! — on a movie diet of unfettered cooperation, ingrained generosity and bemused appreciation for the human condition. My salvation (so to speak) is a festival whose motto this year is “It’s a bitter little world.” Now you’re speaking my language. A rogue’s gallery of beautiful losers awaits at the Castro as Noir City (Jan. 24-Feb. 2) goes international with double bills from Germany (including \u003ci>The Murderers Among Us\u003c/i>, the U.K. (\u003ci>It Always Rains on Sunday\u003c/i> and the original \u003ci>Brighton Rock\u003c/i>), Japan (Kurosawa’s \u003ci>Drunken Angel\u003c/i> and \u003ci>Stray Dog\u003c/i>), Argentina (\u003ci>Never Open That Door\u003c/i>) and France (by now you should be reaching for your calendar and your flask). For my part, it’s just a relapse. I’ll be back on the humanist wagon in no time.For \u003ca href=\"http://www.noircity.com/\">more information\u003c/a> visit noircity.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Film and Fog at Oakland Museum of CA | KQED",
"content": "\u003cp>In late August, the Oakland Museum of California (OMCA) debuted the exhibition \u003cb>Above and Below: Stories from Our Changing Bay\u003c/b>, which considers the role of humans and nature in shaping the geographic region known widely as the Bay Area. This multidisciplinary exhibition draws from the museum’s broad fine art, natural and state history collections and demonstrates one of the institution’s great organizational strengths: creating diverse, immersive experiences that successfully marry entertainment and education.\u003c/p>\n\u003cp>While reviewing an exhibition of Peter Stackpole photographs a few months ago, I made a mental note to come back when \u003cb>Above and Below\u003c/b> was fully installed, with particular interest in seeing the two film exhibits now on view. Situated at opposite ends of the museum’s Gallery of California Art, \u003ci>Bay Motion: Capturing San Francisco Bay on Film\u003c/i> and \u003ci>A Cinematic History of Fog in San Francisco\u003c/i> visualize what the region looks like from unconventional points of view, and pay homage to a meteorological event that stirs a mix of responses from area residents.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/15/filmfog1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>\u003ci>A Trip Down Market Street\u003c/i>\u003cbr>\u003c/center>\n\u003cp>\u003ci>Bay Motion\u003c/i> portrays the Bay Area from a decidedly un-Hollywood perspective. Drawn from materials including industrial films, newsreels, and home movies, the selection does not include actors whose dramatic or comedic encounters unfold before the city as backdrop. Instead, the region and its residents take the central role. Children, possibly fueled by the potent mix of sugar and sunshine, are seen running through Playland at the Beach in the 1940s, as are adventurous teens hitch hiking from Alameda to Oakland. We see the light rail that ran parallel to cars on the lower deck of the Bay Bridge just after it opened, and the impermanent structures of the 1915 Panama-Pacific Exposition lined in red lights. We also see jittery footage of streetcars rolling along Market Street in April 1906, eerie views illustrating the prosperity of a growing city captured in the days before it was nearly claimed by disaster.\u003c/p>\n\u003cp>Rick Prelinger, one of the two founders of San Francisco’s \u003ca href=\"https://archive.org/details/prelinger\">Prelinger Archive\u003c/a>, curated the selection, and the experience of watching these films isn’t unlike wandering through the archive. For those of you not in the know, the archive is organized by subject, not the Dewey Decimal system, as other collections are. Visitors are encouraged to look at books and other materials and allow their imaginations to direct their progress through the stacks. Walking around the X-shape installation at OMCA, it is unknown what imagery will stream on the screen next, and that is part of this installation’s charm.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/15/filmfog2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>\u003ci>A Cinematic History of Fog in San Francisco\u003c/i>\u003cbr>\u003c/center>\n\u003cp>Greeting visitors at the entrance to the gallery is \u003ci>A Cinematic Study of Fog\u003c/i>, filmmaker Sam Green’s collaboration with cinematographer Andy Black. Previously, the two worked together to produce the Academy Award-nominated documentary \u003ca href=\"http://www.imdb.com/title/tt0343168/\">\u003ci>The Weather Underground\u003c/i>\u003c/a> (2002), which profiled the rise and fall of the radical political organization \u003ca href=\"http://en.wikipedia.org/wiki/Weather_Underground\">The Weathermen\u003c/a>. Clocking in at 10 minutes, this brief film includes interviews with meteorologists, who provide technical knowledge of what fog is and how the particularities of water and land along the Pacific Coast produce this near-daily event.\u003c/p>\n\u003cp>That’s all well and good, and quite informative, but what’s more interesting is the commentary offered by San Franciscans who experience firsthand the fog’s cool embrace. Some, the majority actually, love and identify the fog as one of their favorite things about the city. Others express annoyance at the need to carry at least a light jacket so as to be prepared for temperature shifts that happen with little warning.\u003c/p>\n\u003cp>The only downside to an installation situated at the front of the gallery is that the audio portion of the film is difficult to hear over the steady, buoyant noise just outside the main doors. A quiet setting, which is not impossible to find in this generally busy museum, would also allow for contemplation of the fog and how its presence influences the smells and the play of light in the city, and lends even the most solid structures a hint of movement.\u003c/p>\n\u003cp>When considered together, the film installations of \u003cb>Above and Below the Bay\u003c/b> address change; be it incremental, as in changes to the physical and social profile of the Bay Area, or as instantaneous as a weather shift. As poet and northern California devotee George Sterling noted, San Francisco and environs appeal to our intellect and emotions. What better way to realize that evolving love affair than in film?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Bay Motion: Capturing San Francisco Bay on Film\u003c/i> and \u003ci>A Cinematic History of Fog in San Francisco\u003c/i> are on view at the Oakland Museum of California through June 29, 2014. For \u003ca href=\"http://museumca.org/exhibit/above-and-below\">more information\u003c/a>, visit museumca.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In late August, the Oakland Museum of California (OMCA) debuted the exhibition \u003cb>Above and Below: Stories from Our Changing Bay\u003c/b>, which considers the role of humans and nature in shaping the geographic region known widely as the Bay Area. This multidisciplinary exhibition draws from the museum’s broad fine art, natural and state history collections and demonstrates one of the institution’s great organizational strengths: creating diverse, immersive experiences that successfully marry entertainment and education.\u003c/p>\n\u003cp>While reviewing an exhibition of Peter Stackpole photographs a few months ago, I made a mental note to come back when \u003cb>Above and Below\u003c/b> was fully installed, with particular interest in seeing the two film exhibits now on view. Situated at opposite ends of the museum’s Gallery of California Art, \u003ci>Bay Motion: Capturing San Francisco Bay on Film\u003c/i> and \u003ci>A Cinematic History of Fog in San Francisco\u003c/i> visualize what the region looks like from unconventional points of view, and pay homage to a meteorological event that stirs a mix of responses from area residents.\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/15/filmfog1.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>\u003ci>A Trip Down Market Street\u003c/i>\u003cbr>\u003c/center>\n\u003cp>\u003ci>Bay Motion\u003c/i> portrays the Bay Area from a decidedly un-Hollywood perspective. Drawn from materials including industrial films, newsreels, and home movies, the selection does not include actors whose dramatic or comedic encounters unfold before the city as backdrop. Instead, the region and its residents take the central role. Children, possibly fueled by the potent mix of sugar and sunshine, are seen running through Playland at the Beach in the 1940s, as are adventurous teens hitch hiking from Alameda to Oakland. We see the light rail that ran parallel to cars on the lower deck of the Bay Bridge just after it opened, and the impermanent structures of the 1915 Panama-Pacific Exposition lined in red lights. We also see jittery footage of streetcars rolling along Market Street in April 1906, eerie views illustrating the prosperity of a growing city captured in the days before it was nearly claimed by disaster.\u003c/p>\n\u003cp>Rick Prelinger, one of the two founders of San Francisco’s \u003ca href=\"https://archive.org/details/prelinger\">Prelinger Archive\u003c/a>, curated the selection, and the experience of watching these films isn’t unlike wandering through the archive. For those of you not in the know, the archive is organized by subject, not the Dewey Decimal system, as other collections are. Visitors are encouraged to look at books and other materials and allow their imaginations to direct their progress through the stacks. Walking around the X-shape installation at OMCA, it is unknown what imagery will stream on the screen next, and that is part of this installation’s charm.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003ccenter>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/15/filmfog2.jpg\" style=\"margin-bottom: 10px;\">\u003cbr>\u003ci>A Cinematic History of Fog in San Francisco\u003c/i>\u003cbr>\u003c/center>\n\u003cp>Greeting visitors at the entrance to the gallery is \u003ci>A Cinematic Study of Fog\u003c/i>, filmmaker Sam Green’s collaboration with cinematographer Andy Black. Previously, the two worked together to produce the Academy Award-nominated documentary \u003ca href=\"http://www.imdb.com/title/tt0343168/\">\u003ci>The Weather Underground\u003c/i>\u003c/a> (2002), which profiled the rise and fall of the radical political organization \u003ca href=\"http://en.wikipedia.org/wiki/Weather_Underground\">The Weathermen\u003c/a>. Clocking in at 10 minutes, this brief film includes interviews with meteorologists, who provide technical knowledge of what fog is and how the particularities of water and land along the Pacific Coast produce this near-daily event.\u003c/p>\n\u003cp>That’s all well and good, and quite informative, but what’s more interesting is the commentary offered by San Franciscans who experience firsthand the fog’s cool embrace. Some, the majority actually, love and identify the fog as one of their favorite things about the city. Others express annoyance at the need to carry at least a light jacket so as to be prepared for temperature shifts that happen with little warning.\u003c/p>\n\u003cp>The only downside to an installation situated at the front of the gallery is that the audio portion of the film is difficult to hear over the steady, buoyant noise just outside the main doors. A quiet setting, which is not impossible to find in this generally busy museum, would also allow for contemplation of the fog and how its presence influences the smells and the play of light in the city, and lends even the most solid structures a hint of movement.\u003c/p>\n\u003cp>When considered together, the film installations of \u003cb>Above and Below the Bay\u003c/b> address change; be it incremental, as in changes to the physical and social profile of the Bay Area, or as instantaneous as a weather shift. As poet and northern California devotee George Sterling noted, San Francisco and environs appeal to our intellect and emotions. What better way to realize that evolving love affair than in film?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Bay Motion: Capturing San Francisco Bay on Film\u003c/i> and \u003ci>A Cinematic History of Fog in San Francisco\u003c/i> are on view at the Oakland Museum of California through June 29, 2014. For \u003ca href=\"http://museumca.org/exhibit/above-and-below\">more information\u003c/a>, visit museumca.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>One of the more ephemeral pleasures of reviewing the fading year is summoning the most transcendent or provocative moments that I spent in the dark of a movie theater. From your standpoint, it’s perhaps a more suggestive and democratic endeavor than were I to anoint the 10 best films of 2013: Instead of inciting an argument, I’m encouraging a personal journey. Much more in keeping with the spirit of the season, don’t you think? In fact, I invite you to contribute your favorite movie moments of the last 12 months in the comments section.\u003c/p>\n\u003cdiv class=\"article-pic-right\">\u003ca href=\"http://www.kqed.org/arts/bestof2013\">\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/09/Bestof2013arts3.png\" alt=\"Get all our critics' best of lists for 2013\">\u003c/a>\u003c/div>\n\u003cp>\u003cb>\u003ci>Lore\u003c/i>\u003c/b>\u003cbr>For me, the lingering image of 2013 is a close-up of a perturbed, puzzled face. In a year when lone characters were asked to carry numerous films (\u003ci>All is Lost\u003c/i> and, to a slightly lesser degree, \u003ci>Gravity\u003c/i>, \u003ci>Blue Is the Warmest Color\u003c/i> and \u003ci>Her\u003c/i>), drama was often concentrated in a facial expression. Australian director Cate Shortland’s sensuous study of a sheltered acolyte of Hitler Youth compelled to shepherd her siblings overland across Germany in 1945 gave us an open-faced protagonist (bravely portrayed with neither guile nor filters by Saskia Rosendahl) stunned equally by a first kiss and a first corpse. On par with \u003ci>Lore\u003c/i> is the anguished Orthodox Jewish teenage daughter (the equally expressive Hadas Yaron) desperately trying to make the right move in Israeli filmmaker Rama Burshtein’s mesmerizing \u003ci>Fill the Void\u003c/i>. The final scene, when Shira realizes the consequences of her decision, is sublime and harrowing.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/08/actofkilling.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Act of Killing\u003c/i>\u003c/p>\n\u003cp>\u003cb>\u003ci>The Act of Killing\u003c/i>\u003c/b>\u003cbr>Joshua Oppenheimer’s exposé of the Indonesian gangsters who carried out the mass murder of their country’s intellectuals and anyone else perceived as Communist or otherwise opposed to the military dictatorship is a unique and shocking documentary. During one typically crazy recreation of decades-old events, a man playing an interrogation suspect breaks down in shame when recalling his reaction to his father’s brutal death: Utterly brainwashed, he had rejected the older man as an enemy of the state — and denied his father’s love and sacrifice. I get a knot in my stomach just thinking about it.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/08/fruitvale.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Fruitvale Station\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>\u003ci>Fruitvale Station\u003c/i>\u003c/b>\u003cbr>Ryan Coogler’s recreation of Oscar Grant’s last day before he was shot in the back by a panicky BART cop on the Frutivale platform on an otherwise ordinary New Year’s Eve, is, among its many virtues, a terrifically nuanced character study. In one bravura sequence, Oscar (a marvelous Michael B. Jordan) plays with a stray dog while he fills up at a gas station. No one’s around to see this brief interaction, or to witness Oscar’s grief after a car hits the animal and speeds away. As depicted in this essential film, sudden death and helpless anguish are part of everyday life in Oakland.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/08/storieswetell.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Stories We Tell\u003c/i>\u003c/p>\n\u003cp>\u003cb>\u003ci>Stories We Tell\u003c/i>\u003c/b>\u003cbr>Canadian actress (\u003ci>The Sweet Hereafter\u003c/i>) and director (\u003ci>Away From Her\u003c/i>) Sarah Polley plumbs her family history in this unusually thought-out first-person doc. The mystery at the core of the film revolves around Polley’s deceased mother, and the glimpses we get of her in numerous home-movie snippets (pay close attention, for they aren’t necessarily what they appear to be) don’t draw us closer to a resolution so much as suggest the impossibility of ever knowing another human being.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/08/museumhours.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Museum Hours\u003c/i>\u003c/p>\n\u003cp>\u003cb>\u003ci>Museum Hours\u003c/i>\u003c/b>\u003cbr> Jem Cohen’s understated yet profound film imagines an ad hoc friendship between a 60-something security guard at Vienna’s Kunsthistorisches Art Museum and a slightly younger Canadian tourist who finds herself at loose ends during an extended visit to a comatose friend. The movie’s central theme is the tenuous hold of civilization at present, evoked through myriad verbal and visual contemplations of paintings and buildings. Johann and Anne are standing in a nondescript gravel parking lot late in the film, with the camera at a discreet distance, when she gets a call from her friend’s doctor. Johann steps away, allowing Anne a private moment when she gets off the phone. The filmmaker likewise gives Anne her space. Awareness and compassion are as much hallmarks of civilization as works of art and architecture.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/08/gravity.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Gravity\u003c/i>\u003c/p>\n\u003cp>\u003cb>\u003ci>Gravity\u003c/i>\u003c/b>\u003cbr>Simply mentioning the title of Alfonso Cuaron’s adrenalized space oddity is enough to summon an image or a sequence. What popped in your head? I propose the seemingly unremarkable moment in the film’s opening minutes when our perspective seamlessly shifts from third person (watching Sandra Bullock and listening to her breathing) to first person (the view from inside her helmet, of scrolling numbers and a gyrating skyscape). Regardless of what you think of the story and the characters, \u003ci>Gravity\u003c/i> is top-drawer filmmaking.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/08/killdarlings.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Kill Your Darlings\u003c/i>\u003c/p>\n\u003cp>\u003cb>\u003ci>Kill Your Darlings\u003c/i>\u003c/b>\u003cbr>Period pieces are notoriously hard to pull off on an indie-film budget, but that’s a minor hurdle compared to crafting a convincing portrait of well-known historical figures. Daniel Radcliffe’s marvelous portrayal of Columbia University freshman Allen Ginsberg circa 1944, under the sway of first love Lucien Carr, uninhibited writer Jack Kerouac and certified freak William Burroughs, finds its zenith in a single close-up late in the film. David Kammerer, Lucien’s mentor and lover (and Allen’s ostensible rival for Lucien’s affections) desperately pressures Ginsberg to confide where Carr has gone. Without a word, Radcliffe conveys resentment, self-interest, confusion and, finally, empathy. On second viewing, it’s even clearer that the film, and Ginsberg’s subsequent path as a human being, pivots on this moment.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/08/12years.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>12 Years a Slave\u003c/i>\u003c/p>\n\u003cp>\u003cb>\u003ci>12 Years a Slave\u003c/i>\u003c/b>\u003cbr>Saved from a lynching by the plantation overseer, Solomon Northrup is nonetheless left to learn his lesson at the end of the rope. His toes barely reach the muddy earth, and after hours of avoiding strangulation he’s exhausted and dehydrated. The scene has many stages and meanings, but the most revelatory and shocking aspect is the way the other slaves ignore Solomon (or are so practiced at survival mechanisms that they don’t register his suffering). The cruelly dehumanizing effects of slavery are more subtle and devious than I ever realized.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/08/bluewarmest.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Blue Is the Warmest Color\u003c/i>\u003c/p>\n\u003cp>\u003cb>\u003ci>Blue Is the Warmest Color\u003c/i>\u003c/b>\u003cbr>As one might expect from a study of an unformed young woman becoming, well, slightly less unformed, \u003ci>Blue Is the Warmest Color\u003c/i> delivers a peripatetic stream of intense feelings, intellectual inconsistency and pervasive ambiguity. The image that stays with me, and it could be from any of 20 places in the film, is of Adele’s perplexed countenance. Adele (a brave and generous Adele Exarchopolous) might be trying to make sense of how she fits (or doesn’t) with her school friends, or how to respond to her unexpected feelings of attraction to other women, or how to make and keep her older lover, Emma (Léa Seydoux), happy. Like us, Adele is sussing out her way through a movie comprised of questions rather than answers.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/08/ld.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Inside Llewyn Davis\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>\u003ci>Inside Llewyn Davis\u003c/i>\u003c/b>\u003cbr>The Coen Brothers’ latest catastrophic comedy conceals the essentially reactive nature of its main character, a talented early-’60s folk singer who’s unfortunately not as smart as he thinks, by putting him on the road. Llewyn may finds himself on the A train, or behind the wheel of a car on its way to Chicago. The bloated jazzman in the backseat (John Goodman) imperiously taps Llewyn with his gold-handled cane, underscoring the barbed rivalry between musicians (who share an obliviousness that they’re out of step with the 4-4 beat of rock ‘n’ roll, which will steamroll everything in a few short years). It feels like a warning, or a premonition, but all Llewyn recognizes is he’s blessedly out of the cold for a few minutes in this winter’s tale of frustrated, uncompromising artists.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>One of the more ephemeral pleasures of reviewing the fading year is summoning the most transcendent or provocative moments that I spent in the dark of a movie theater. From your standpoint, it’s perhaps a more suggestive and democratic endeavor than were I to anoint the 10 best films of 2013: Instead of inciting an argument, I’m encouraging a personal journey. Much more in keeping with the spirit of the season, don’t you think? In fact, I invite you to contribute your favorite movie moments of the last 12 months in the comments section.\u003c/p>\n\u003cdiv class=\"article-pic-right\">\u003ca href=\"http://www.kqed.org/arts/bestof2013\">\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/09/Bestof2013arts3.png\" alt=\"Get all our critics' best of lists for 2013\">\u003c/a>\u003c/div>\n\u003cp>\u003cb>\u003ci>Lore\u003c/i>\u003c/b>\u003cbr>For me, the lingering image of 2013 is a close-up of a perturbed, puzzled face. In a year when lone characters were asked to carry numerous films (\u003ci>All is Lost\u003c/i> and, to a slightly lesser degree, \u003ci>Gravity\u003c/i>, \u003ci>Blue Is the Warmest Color\u003c/i> and \u003ci>Her\u003c/i>), drama was often concentrated in a facial expression. Australian director Cate Shortland’s sensuous study of a sheltered acolyte of Hitler Youth compelled to shepherd her siblings overland across Germany in 1945 gave us an open-faced protagonist (bravely portrayed with neither guile nor filters by Saskia Rosendahl) stunned equally by a first kiss and a first corpse. On par with \u003ci>Lore\u003c/i> is the anguished Orthodox Jewish teenage daughter (the equally expressive Hadas Yaron) desperately trying to make the right move in Israeli filmmaker Rama Burshtein’s mesmerizing \u003ci>Fill the Void\u003c/i>. The final scene, when Shira realizes the consequences of her decision, is sublime and harrowing.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/08/actofkilling.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Act of Killing\u003c/i>\u003c/p>\n\u003cp>\u003cb>\u003ci>The Act of Killing\u003c/i>\u003c/b>\u003cbr>Joshua Oppenheimer’s exposé of the Indonesian gangsters who carried out the mass murder of their country’s intellectuals and anyone else perceived as Communist or otherwise opposed to the military dictatorship is a unique and shocking documentary. During one typically crazy recreation of decades-old events, a man playing an interrogation suspect breaks down in shame when recalling his reaction to his father’s brutal death: Utterly brainwashed, he had rejected the older man as an enemy of the state — and denied his father’s love and sacrifice. I get a knot in my stomach just thinking about it.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/08/fruitvale.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Fruitvale Station\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>\u003ci>Fruitvale Station\u003c/i>\u003c/b>\u003cbr>Ryan Coogler’s recreation of Oscar Grant’s last day before he was shot in the back by a panicky BART cop on the Frutivale platform on an otherwise ordinary New Year’s Eve, is, among its many virtues, a terrifically nuanced character study. In one bravura sequence, Oscar (a marvelous Michael B. Jordan) plays with a stray dog while he fills up at a gas station. No one’s around to see this brief interaction, or to witness Oscar’s grief after a car hits the animal and speeds away. As depicted in this essential film, sudden death and helpless anguish are part of everyday life in Oakland.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/08/storieswetell.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Stories We Tell\u003c/i>\u003c/p>\n\u003cp>\u003cb>\u003ci>Stories We Tell\u003c/i>\u003c/b>\u003cbr>Canadian actress (\u003ci>The Sweet Hereafter\u003c/i>) and director (\u003ci>Away From Her\u003c/i>) Sarah Polley plumbs her family history in this unusually thought-out first-person doc. The mystery at the core of the film revolves around Polley’s deceased mother, and the glimpses we get of her in numerous home-movie snippets (pay close attention, for they aren’t necessarily what they appear to be) don’t draw us closer to a resolution so much as suggest the impossibility of ever knowing another human being.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/08/museumhours.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Museum Hours\u003c/i>\u003c/p>\n\u003cp>\u003cb>\u003ci>Museum Hours\u003c/i>\u003c/b>\u003cbr> Jem Cohen’s understated yet profound film imagines an ad hoc friendship between a 60-something security guard at Vienna’s Kunsthistorisches Art Museum and a slightly younger Canadian tourist who finds herself at loose ends during an extended visit to a comatose friend. The movie’s central theme is the tenuous hold of civilization at present, evoked through myriad verbal and visual contemplations of paintings and buildings. Johann and Anne are standing in a nondescript gravel parking lot late in the film, with the camera at a discreet distance, when she gets a call from her friend’s doctor. Johann steps away, allowing Anne a private moment when she gets off the phone. The filmmaker likewise gives Anne her space. Awareness and compassion are as much hallmarks of civilization as works of art and architecture.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/08/gravity.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Gravity\u003c/i>\u003c/p>\n\u003cp>\u003cb>\u003ci>Gravity\u003c/i>\u003c/b>\u003cbr>Simply mentioning the title of Alfonso Cuaron’s adrenalized space oddity is enough to summon an image or a sequence. What popped in your head? I propose the seemingly unremarkable moment in the film’s opening minutes when our perspective seamlessly shifts from third person (watching Sandra Bullock and listening to her breathing) to first person (the view from inside her helmet, of scrolling numbers and a gyrating skyscape). Regardless of what you think of the story and the characters, \u003ci>Gravity\u003c/i> is top-drawer filmmaking.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/08/killdarlings.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Kill Your Darlings\u003c/i>\u003c/p>\n\u003cp>\u003cb>\u003ci>Kill Your Darlings\u003c/i>\u003c/b>\u003cbr>Period pieces are notoriously hard to pull off on an indie-film budget, but that’s a minor hurdle compared to crafting a convincing portrait of well-known historical figures. Daniel Radcliffe’s marvelous portrayal of Columbia University freshman Allen Ginsberg circa 1944, under the sway of first love Lucien Carr, uninhibited writer Jack Kerouac and certified freak William Burroughs, finds its zenith in a single close-up late in the film. David Kammerer, Lucien’s mentor and lover (and Allen’s ostensible rival for Lucien’s affections) desperately pressures Ginsberg to confide where Carr has gone. Without a word, Radcliffe conveys resentment, self-interest, confusion and, finally, empathy. 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The cruelly dehumanizing effects of slavery are more subtle and devious than I ever realized.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/08/bluewarmest.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Blue Is the Warmest Color\u003c/i>\u003c/p>\n\u003cp>\u003cb>\u003ci>Blue Is the Warmest Color\u003c/i>\u003c/b>\u003cbr>As one might expect from a study of an unformed young woman becoming, well, slightly less unformed, \u003ci>Blue Is the Warmest Color\u003c/i> delivers a peripatetic stream of intense feelings, intellectual inconsistency and pervasive ambiguity. The image that stays with me, and it could be from any of 20 places in the film, is of Adele’s perplexed countenance. Adele (a brave and generous Adele Exarchopolous) might be trying to make sense of how she fits (or doesn’t) with her school friends, or how to respond to her unexpected feelings of attraction to other women, or how to make and keep her older lover, Emma (Léa Seydoux), happy. Like us, Adele is sussing out her way through a movie comprised of questions rather than answers.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://u.s.kqed.net/2013/12/08/ld.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Inside Llewyn Davis\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
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"soldout": {
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"title": "SOLD OUT: Rethinking Housing in America",
"tagline": "A new future for housing",
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