The spectacle of the big screen has long been the unique selling point of film exhibitors hoping to draw audiences away from home media (from the radio to Netflix). The bigger the screen, the more essential the experience. But whilst modern big screens are all too often dominated by superhero antics, the Golden Era of Widescreen entertainment saw the big Hollywood studios release historical epics, romantic comedies, thrillers, travelogues, biopics, war movies and westerns. Every studio wanted it’s own eye-grabbing, must-see format and all wanted to engage as many potential audiences as possible.
Celebrating and honouring this era of filmmaking and it’s legacy is Widescreen Weekend at the Pictureville Cinema in Bradford. Five days of grand-sized epics and cinematic curiosities. I first made the pilgrimage last year, just in time for their celebration of the 70th anniversary of CinemaScope. I keenly remember waiting in the cosy lobby, catching glimpses of the state-of-the-art auditorium beyond the foyer doors. The Pictureville boasts the only screen in the world currently able to project Cinerama. The screen curves backwards, enveloping the audience in the image, drawing them to the edge of their seat. It’s an overwhelming and entirely unique experience.
And the programming reflects the myriad possibilities of the widescreen formats. Following the celebration of CinemaScope, it’s rival VistaVision is the headline of the year. An illustrated talk shall explore the history of Paramount’s alternative to anamorphic processes that is a far more natural prefigure to modern formats like IMAX than Cinerama or Cinemascope. To demonstrate the versatility of the format, Widescreen Weekend shall screen Stanley Donen’s musical rom-com Funny Face starring Audrey Hepburn and Fred Astaire, John Ford’s epic western The Searchers starring John Wayne and Muriel Box’s comedy Simon and Laura. Simon and Laura comes hot on the heels of the BFI’s Muriel Box season and is a rare opportunity to see this hidden gem of British cinema.
A great proponent of VistaVision was Alfred Hitchcock. He made four films in the format, convincing MGM to license the process from Paramount for the final picture. All four films shall be screened this year including a brand new 35mm print of his immortal psychological thriller Vertigo. Classic Hitchcock caper The Man Who Knew Too Much shall be presented on 35mm whilst his masterpiece crime thriller North by Northwest shall be presented in 70mm. The films may be familiar but they are rarely screened as Hitchcock intended for them to be seen.
The programmers at Widescreen Weekend are keen to break free of the standard association of widescreen formats with Hollywood dominance. They programme spectacle from around the world. This year they are spotlighting Italian Cinema. A selection of Italian widescreen films have been programmed, including Fellini’s masterpiece La Dolce Vita, Vittorio De Sica’s Techniscope comedy anthology Yesterday, Today and Tomorrow (starring Sophia Loren and Marcello Mastroianni) and Fabio Grassadonia and Antonio Piazza’s haunting supernatural crime story Sicillian Ghost Story (reviewed by us here: https://screenmayhem.com/sicilian-ghost-story-review-an-enchanting-mafia-tragedy/).
Of all the genres of the Hollywood golden age that simply do not exist in cinemas anymore, perhaps the most forlorn is the romantic spectacle. The modern romantic comedy is treated by studios as streaming fodder. Perhaps this is due to the genres typical association with female audiences and the foolhardy but surprisingly enduring sexist belief that cinemas are primarily for teenage boys. Nevertheless, Widescreen Weekend pays homage to the great romantic dramas and comedies of the past. A History of Romance celebrates love on the big screen with screenings of Billy Wilder’s The Apartment (presented in gorgeous 35mm), David Lean’s epic Doctor Zhivago, and the infamous yet fabulous romantic saga Cleopatra. But not to overlook the contemporary, Widescreen Weekend also presents the delightfully twisted modern romance films: Paul Thomas Anderson’s Phantom Thread and Peter Strickland’s The Duke of Burgundy.
Beyond the strands the programmers have a host of cinematic treats for the faithful. The whole festival kicks off with a digital Cinerama screening of the Seven Wonders of the World. The second produced Cinerama film (but third released due to inflated budget and production setbacks) is a spectacular successor to This is Cinerama (screened last year). The film acts as a travelogue showcasing the remnants of the ancient wonders of the world and identifying modern candidates. The Cineramacana showcase returns to feature more novelties and history from the golden age including a scratch and sniff card event.
This is all without mentioning the epic adventure film La Fayette, Miloš Forman’s immortal historical biopic Amadeus (incredibly presented in 75mm), and the Cinerama western How the West Was Won presented in inimitable 3-strip Cinerama. It’s not an exaggeration to say that this is one of the very few chances you will ever have to see this spectacular western as it was filmed and as it was meant to be seen. And for those with any lingering energy left, they can stay up and catch the Indiana Jones trilogy all-nighter.
If reading the menu is enough to make you feel overstuffed, you can only imagine the feast. Each of these films were designed to be the basis of a grand night out. Most of the films are over two hours long and a fair few are over three. Many of the films have intervals but it cannot be denied that committing oneself to the entire programme is an overwhelming prospect. It is remarkable the thirst that the Widescreen Weekend patrons have for the grand images, the soaring scores, the lavish production design and old-fashioned star power. Experiencing the entire programme is a feat that must be attempted at least once in every cineastes life.
Find out more about the Widescreen Weekend here: https://www.scienceandmediamuseum.org.uk/cinema/widescreen-weekend
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