The Museum of Modern Art’s 10th annual series of To Save and Project, under the direction of Joshua Siegel, Associate Curator, Department of Film, continues to amaze and delight with some 75 films rescued from imminent destruction, projected for the most part in their original film format, as opposed to digital versions.
As Dave Kehr notes in The New York Times, the the 10th incarnation of To Save and Project comprises “about 75 films from 15 countries, a vast assortment of work in practically every conceivable format, from Hollywood features to home movies. And yet, as hefty as the program may be, it represents a small fraction of the films rescued each year from physical deterioration or commercial neglect by the world’s archives, museums and those studios enlightened enough to take responsibility for, and pride in, the films on which their business was built.
Paradoxically, even as preservation work proliferates, opportunities to see the films in question continue to dwindle, as studios cut back on their ‘deep library’ releases to home video, black-and-white movies vanish from television, and even museums and revival houses turn more and more to the digital presentation of films through hard-drive digital cinema packages (or D.C.P.’s, to use the industry acronym), which are rapidly replacing celluloid film prints.
For the moment, at least, MoMA is holding the line: all but a handful of the screenings in Save and Project are being presented the old-fashioned way: on film. ‘I’m not entirely convinced that digital technology is sophisticated enough to compare with the quality of celluloid on a big screen,’ said Joshua Siegel, an associate curator in the museum’s department of film and the organizer of this year’s festival. ‘There will be a time when we won’t be able to discern a difference, but for the time being I believe in showing these films in the original.’
Mr. Siegel’s purist approach is best represented by the two racy Hollywood features, made before the industry’s self-censorship regulations began to be strictly enforced, that open the festival on Thursday: John Francis Dillon’s 1932 Call Her Savage, with Clara Bow, and Raoul Walsh’s 1932 Wild Girl, a western romance with Joan Bennett. Both are new 35-millimeter prints struck from original nitrate materials donated to MoMA decades ago by 20th Century Fox.”
This is an incredibly rare opportunity to see some remarkable films in the original format; I remember running a 16mm print of Call Her Savage in my film history class years ago, and being really impressed by it. The chance to see these films in the full splendor of 35mm shouldn’t be passed up, so if you live in the New York City area, and have even the slightest interest in cinema, this series should go to the very top of your “must see” list — it’s a once in a lifetime chance to see these films.