2001: A PROJECTION ODYSSEY – Big Screen, Small Screen, 70mm, & Digital

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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. 

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NEVER SILENT SAN FRANCISCO- The Festival

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By Gary Meyer

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I have attended dozens of film festivals from the biggies like Cannes, Berlin, Toronto, Venice, SXSW and Sundance to more intimate gatherings of movies and their makers from Telluride high in the Colorado Mountains, Morelia in Mexico’s Michoacán to Devour! In tiny Wolfville, Nova Scotia.

Most screen new movies with occasional restorations while others focus exclusively on the classics. I like many of them though have burned out on the monster events. The San Francisco Bay Area hosts nearly one hundred film festivals a year including some of the best and most unique.

It is easy for me to claim that the San Francisco Silent Film Festival is my favorite. Some might say, “But they only show old movies.” It is true that most of the films were made before 1930 and the only sound is that of the live music and enthusiastic audience reactions.

If I have never seen the movie it is “new” to me.

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Let’s All Go To The Movies

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Editor’s note: It is timely that veteran film distributor and film lover Gary Palmucci has written a review for us of Ben Davis’ new book  Repertory Movies Theatres of New York City: Havens for Revivals, Indies and the Avant-Garde, 1960–1994 (McFarland 2017) 

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Dan Talbot with Alfred Hitchcock, January 13, 1965

The last week of December 2017 saw the passing of one of the giants in art film distribution and exhibition, Dan Talbot.  In March, 1960 Dan and Toby Talbot took over the rundown –but with great decor– Yorktown Theater on New York’s Upper West Side and renamed it the New Yorker, reusing the “York” portion of the neon and starting a policy of repertory cinema mixing classics and more recent films in eclectic double features.  The Talbots operated the New Yorker until 1973, often at a loss but with some surprise hits. 

“The theater had a policy of no policy,” Toby Talbot wrote in The New Yorker Theater and Other Scenes From a Life at the Movies. “We thought of it as our living room, playing movies we wanted to see on the screen.”” I’ll play new films, old films, foreign films, American films—whatever I think merits being shown.” Dan said. “And if the audience agreed with me, great. If they didn’t, too bad.”

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