As anyone who reads this blog knows, film preservation – the active conservation of our shared cinematic heritage – is one of the prime concerns of this website. The Museum of Modern Art’s latest edition of To Save and Project: the 12th MoMA International Festival of Film Preservation is thus absolutely central to film history and criticism; if you can’t see the films, how can you possibly judge them, or appreciate them? It’s somewhat amazing to me that along with films such as Her Sister’s Secret - a title I just blogged on, and a film which clearly begs for preservation due to its Public Domain status – more recent films such as Caravaggio and Excalibur, to name just two possible titles, also need to be carefully preserved for the future. Projected in MoMA’s state of the art auditorium, these films are an indispensable part of of cultural heritage, and need to be as widely seen as possible. Curated by Joshua Siegel, Curator of Film at MoMA, and adjunct curator Dave Kehr (who used to write an excellent column for the New York Times, now much missed), this is an event of the first rank, and anyone in the New York area should run, not walk, to see this superb series of screenings.
As the notes for the series point out, “each fall, MoMA’s annual festival of newly preserved films, To Save and Project, brings together masterworks and rediscoveries from film archives, studios, and foundations from around the world. Many of the films in the festival will be receiving their first American screening since their original release; others will be shown in meticulously restored editions that more closely approximate the original experience of the film; a few will even be publicly screened for the first time ever in New York—including work by Orson Welles (sequences filmed but never used for the 1938 Mercury Theatre production Too Much Johnson). Also presented are films by Charles Chaplin, Maya Deren, Allan Dwan, Derek Jarman, Sergio Leone, Kenji Mizoguchi, Raul Ruiz, and Edgar G. Ulmer. Guest presenters include Kathryn Bigelow, John Boorman, George Chakiris, and Ken Jacobs.
The opening-night film is the North American premiere of a new MoMA restoration: Allan Dwan’s 1929 masterpiece The Iron Mask, a rousingly entertaining swashbuckler starring Douglas Fairbanks that is often considered, as Dwan himself called it, ‘the last of the big silents.’ MoMA’s version, however, contains the entire original Vitaphone soundtrack—with music, sound effects, and three spoken sequences—which will be heard here for the first time since the film’s original roadshow presentation. These titles will join dozens of others from archives both public and private to create a four-week overview of the tremendously exciting work that is being done around the world to reclaim endangered films and rediscover forgotten treasures.