by Gary Meyer
ON THE TOWN, ROYAL WEDDING, SINGIN’ IN THE RAIN, SEVEN BRIDES FOR SEVEN BROTHERS, IT’S ALWAYS FAIR WEATHER, FUNNY FACE, THE PAJAMA GAME, INDISCREET, DAMN YANKEES, CHARADE, ARABESQUE, TWO FOR THE ROAD and BEDAZZLED.
by Paul F. Etcheverry
by Gary Meyer
I will never forget the day. June 19, 1968.
By Lincoln Spector
Stanley Kubrick’s 2001: A SPACE ODYSSEY celebrated its 50th anniversary in style this year with two totally different restorations. Warner Brothers released new 70mm prints overseen by DUNKIRK and INTERSTELLAR director Christopher Nolan. Kubrick assistant Leon Vitali (himself the subject of a recent documentary) supervised a new, 4K digital restoration. The Castro Theatre in San Francisco offers the 2001: A SPACE ODYSSEY 70MM/4K Challenge December 28-January 1 where you can see both versions.
An excerpt by Michael Benson
My own lifelong engagement with 2001 started in the spring of 1968 at the age of six. My mom, a confirmed Clarke fan, took me to an afternoon matinee within weeks of the film’s premiere. Whether it was in Washington (where we then lived) or New York (as I remember it) is unclear. While I was already excited by the jump into space as then best represented by the Apollo program—which had already launched two of its towering Saturn V Moon rockets on unmanned test flights—it was no preparation for my first exposure to such a powerfully ambiguous, visually stunning work.
by Carlos Valladares
Jean Cocteau said of Jiří Trnka, the Czech animator and puppeteer, that the very name conjures up childhood and poetry. Note the “and”—childhood and poetry, la poésie de l’enfance, which Trnka treats with the depth and respect those oft-belittled years merit. We are only too quick to gloss over our fanciful kid dreams, our stumbling attempts to use simple words to convey huge emotions which we spend our adult trying to refine and intellectualize and know, know, boringly know.
Trnka, by contrast, was a seer, a dweller. He dwelled in youth, dwelled in the crevices of language before social and linguistic codes are mastered (most of his films’ narratives lose you along the way, and that’s when you know they’re working). His magic is the magic of the slow burn, the way the worlds of imperial China or a rose-wrapped Greek forest unfurl before your childlike eyes with a responsible contempt for the straight-edged story-line. Trnka’s gift—the gift, also, of Lewis Carroll, Beatrix Potter, François Truffaut, Demy in Donkey Skin mode, the late Stephen Hillenburg, and other bards of childhood—was to give kids what they most needed for maturity, a truthful artifice wrapped in a lived-in melancholy and wistfulness, and to make jaded adults see as simply as their kids again.