filmfoundation

filmmakers for film preservation

Front cover photo credits(clockwise from top left): RICHARD III (1955, d. Laurence Olivier) Image courtesy of Janus Films and The Criterion Collection. • SENSO (1954, d. Luchino Visconti) Image courtesy of StudioCanal and Cineteca di Bologna. • THE CHESS PLAYERS (1977, d. Satyajit Ray) Image courtesy of Ray Films and Academy Film Archive. • WANDA (1970, d. Barbara Loden) Image courtesy of Leo Kazan, Marco Joachim and UCLA Film & Television Archive.

page 1 photo credits(clockwise from top left): THE CHESS PLAYERS (1977, d. Satyajit Ray) Image courtesy of Ray Films and Academy Film Archive. • THEY MADE ME A FUGITIVE (1947, d. Alberto Cavalcanti) Image courtesy of Warner Bros. and BFI. • SENSO (1954, d. Luchino Visconti) Image courtesy of StudioCanal and Cineteca di Bologna. • WANDA (1970, d. Barbara Loden) Image courtesy of Leo Kazan, Marco Joachim and UCLA Film & Television Archive. • REMINISCENCES OF A JOURNEY TO LITHUANIA (1971–72, d. Jonas Mekas) Image courtesy of Jonas Mekas and Anthology Film Archives.

back cover photo credits(clockwise from top left): SUNNYSIDE UP (1929, d. David Butler) Image courtesy of the Museum of Modern Art. • REMINISCENCES OF A JOURNEY TO LITHUANIA (1971–72, d. Jonas Mekas) Image courtesy of Jonas Mekas and Anthology Film Archives. • RUTHLESS (1948, d. Edgar G. Ulmer) Image courtesy of Paramount Pictures and UCLA Film & Television Archive. • KESEY COLLECTION (1960s) Image courtesy of UCLA Film & Television Archive and Dick Millais, IVC Digital Film Center.

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ChairMartin Scorsese

Board of direCtorsWoody AllenPaul Thomas AndersonWes AndersonFrancis Ford CoppolaClint EastwoodCurtis HansonPeter JacksonAng LeeGeorge LucasAlexander PayneRobert RedfordSteven Spielberg

in MeMoriaMRobert AltmanStanley KubrickSydney Pollack

PresidentTaylor Hackford

seCretary-treasurerGilbert Cates

exeCutive advisorJay D. Roth

founding exeCutive direCtorRaffaele Donato

exeCutive direCtorMargaret Bodde

Managing direCtorJennifer Ahn

arChivists advisory CounCilRobert Rosen, ChairAcademy Film ArchiveAnthology Film ArchivesGeorge Eastman HouseLibrary of CongressMuseum of Modern ArtNational Film Preservation FoundationUCLA Film & Television Archive

artists rights advisory CounCilElliot Silverstein, ChairTom CruiseHarrison FordMiloš FormanTaylor HackfordDustin HoffmanAnjelica HustonBruce RamerKen Ziffren

2009 OverviewGuided by the expertise and dedication of its board of directors, The Film Foundation works with its member archives to preserve cinematic history—title by title and image by image. Over the past 19 years, The Film Foundation has saved over 545 endangered movies representing every genre, from studio releases to independent, documentary, silent and avant-garde films.

The foundation is also committed to educating young people about film and the need for preservation. Through The Story of Movies program, more than 35,000 educators are teaching their students about classic cinema. These students are learning to “read” the language of film and to recognize its artistic, cultural, and historical significance.

On the issue of artists’ rights, the foundation strives to ensure that films are presented as originally intended by the filmmaker—protected from censorship, distortion or alteration of any kind.

The Film Foundation is dedicated to the art of cinema, past, present and future.

fiLMMAkERS fOR fiLM pRESERVAtiOn

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This report details The Film Foundation’s programs and activities during 2009:

• Managed and funded the preservation/restoration of over 25 films (visit Member Archives for details).

• Distributed the third curriculum unit of The Story of Movies program featuring the science fiction classic THE DAY THE EARTH STOOD STILL (1951, d. Robert Wise) (visit Educational Programs for details).

• The Cinema Visionaries program, featuring films that have been pre-served/restored with funding from GUCCI and The Film Foundation, screened at the San Francisco and Seattle International Film Festivals (visit Events for details).

• Sony Pictures Home Entertainment and the foundation released three new Collector’s Choice DVD sets featuring Michael Powell, Samuel Fuller, and Film Noir (visit Events for details).

• The continuation and expansion of the foundation’s Preservation Screening Program sponsored by American Express (visit Events for details).

• Screenings of over 90 preserved/restored films funded by The Film Foundation at over 70 venues worldwide (visit Screenings List for details).

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(top left to bottom right):

THE BOYS FROM SYRACUSE (1940, d. A. Edward Sutherland)

Image courtesy of NBC Universal Pictures and Library of Congress.

UNTITLED (1947, d. norman Mailer)

Image courtesy of the National Film Preservation Foundation.

THEY MADE ME A FUGITIVE (1947, d. Alberto Cavalcanti)

Image courtesy of Euro London Films Ltd. and BFI.

RICHARD III (1955, d. Laurence Olivier)

Image courtesy of Janus Films and The Criterion Collection.

RUTHLESS (1948, d. Edgar G. Ulmer)

Image courtesy of Paramount Pictures and UCLA Film & Television Archive.

SENSO (1954, d. Luchino Visconti)

Image courtesy of StudioCanal and Cineteca di Bologna.

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Member Archives and Affiliated Organizationsin 2009, the film foundation awarded over $1.5 million in grants supporting film preservation projects. the following information is organized by archive and details the work completed an each project.

ACADEMY FILM ARCHIVE

the chess pLaYers [shatranJ ke khiLari] (1977, d. Satyajit Ray)

THE CHESS PLAYERS was the most expensive film Ray had directed to date, as well as the first one he made in a language other than Bengali. Set in 1856 in the city of Lucknow during the British takeover of the last Indian state, two aristocrats become increasingly obsessed with their chess game. Their growing fixation occupies time from their personal lives and becomes a metaphor for the political chess match being played by the East India Company. The script was adapted by Ray from Munshi Premchand’s story and only 300 words are spoken in the whole film, in three different languages: Hindi, Urdu, and English.

The original camera negative and optical track negative have been inspected, repaired and delivered to YCM Laboratories. The track has been captured and the audio restoration is underway. Restoration work is scheduled to be completed in 2010.

Images courtesy of Ray Films and Academy Film Archive.

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Nine Films by Stan Brakhage:Stan Brakhage was a major influential force in the motion picture industry. Producing his own unique films, he made tremendous strides within the independent film movement. Through his explorations with hand-held camera techniques, quick and thoughtful cutting, and manipulation of film emulsion, Brakhage revolutionized personal filmmaking throughout the 1950s and 60s. In his lifetime he created nearly 400 works of varying length, ranging from 9 seconds to 4 hours. The nine films listed below, all shot on 16mm, are some of his most significant.

• REFLECTIONS ON BLACK (1955): Considered one of his most important films, this early work features a legendary Brakhage technique involv-ing the manipulation of the film’s emulsion by scratching star shapes over the protagonist’s eyes.

• LOVING (1957): Brakhage used optical distortion and cinematic impressionism to capture the love exchanged between a young couple, composer James Tenney and performer and filmmaker Carolee Schneeman.

• ANTICIPATION OF THE NIGHT (1958): Even though when it debuted in Belgium, this film was so unusual that it was completely misunderstood and was met with hostility, it’s now considered Brakhage’s first major artistic triumph.

• SIRIUS REMEMBERED (1959): Another break-through film for Brakhage, this meditation on a deceased pet dog also examines the mechanics of cinema and is, ultimately, a philosophical look at death.

• WINDOW WATER BABY MOVING (1959): Brakhage’s most widely seen film depicts the birth of Brakhage’s daughter and his role, as a father, in the process. The film led to significant changes in the portrayal of such private but universal experiences.

• THE DEAD (1960): Filmed in a Paris cemetery, Brakhage experimented with black and white as well as color. The film features a cameo appearance by fellow filmmaker and friend Kenneth Anger.

“THE PITTSBURGH TRILOGY” During time he spent in Pittsburgh in 1971, Brakhage made a trio of films:

• EYES (1971): The film tells the story of Brakhage’s confusion about the police and their role in society.

• DEUS EX (1971): Based on countless visits to doctors and hospitals during a lifetime of medical issues, the film depicts the fear, interest, and sense of mystery that Brakhage felt for hospitals.

• THE ACT OF SEEING WITH ONE’S OWN EYES (1971): The film shows a human autopsy in a coroner’s examination room.

The original camera negatives are being utilized for these nine films and have all been evaluated and examined. The first step is to produce fully color-corrected answer prints and make a new set of 35mm black-and-white separation masters. The last step in the process is to recombine the separation masters to a 35mm recombined internegative. Restoration work is scheduled to be completed in 2010.

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REFLECTIONS ON BLACK (1955) ANTICIPATION OF THE NIGHT (1958)

SIRIUS REMEMBERED (1959) THE DEAD (1960) DEUS EX (1971)THE ACT OF SEEING WITH ONE’S OWN EYES (1971)

Images courtesy of Marilyn Brakhage and Academy Film Archive.

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ANTHOLOGY FILM ARCHIVES

reMiniscences oF a JoUrneY to LithUania (1971–72, d. Jonas Mekas)

BFI

theY Made Me a FUgitive (1947, d. Alberto Cavalcanti)

Trevor Howard stars as Clem Morgan, a cynical ex-RAF pilot unable to adjust to post-war civilian life. After becoming involved with racketeer Narcy (Griffith Jones), Morgan discovers that the gang is dealing heroin. He threatens to quit, and is in turn framed for murder and imprisoned for 15 years. He seeks restitution and hopes to clear his name by teaming with Narcy’s ex-girlfriend, Sally (Sally Gray), who is bitter over Narcy’s involvement with Morgan’s girl. Also released under the title I BECAME A CRIMINAL, the black-and-white film was shot by noted cameraman Otto Heller and the script written by playwright Noel Langley, who also co-wrote THE WIZARD OF OZ (1939, d. Victor Fleming).

No original negative could be located and a fine grain positive, printed from the camera negative on 1947 Kodak stock, was the best source for both picture and sound restoration. The nitrate fine grain was in fair physical condition, with no tears, but it had suffered shrinkage. A full digital intermediate restoration was carried out and the nitrate fine grain positive was scanned at 2K resolution. Through digital repair and clean-up, the amount of damage printed into the fine grain was drastically reduced. The soundtrack on the nitrate fine grain positive was the source for the sound restoration and was digitized to reduce levels of modulated noise, notice-able on some dialogue.

REMINISCENCES OF A JOURNEY TO LITHUANIA is a gripping documentary about brothers Jonas and Adolfas Mekas and their journey from America to their native Lithuanian village, after leaving there more than a quarter century earlier. Originally produced for German television, REMINISCENCES presents a fast-paced flow of images that take us from the immigrant-filled streets of early 1950s Brooklyn, to the house of the filmmaker’s mother in Semeniskiai, Lithuania, and ultimately to Vienna. The soundtrack features music with lyrical narra-tion provided by Mekas as he reflects upon the footage. The film was selected by the Library of Congress in 2006 for the National Film Registry.

Working with Cineric, Inc. and Audio Mechanics in New York for picture and sound, Anthology Film Archives used the original 16mm footage to create a 35mm blow-up internegative, a 35mm magnetic track, a 35mm optical track, a 35mm answer print and 35mm release prints. The original magnetic track, which was identified as having vinegar syndrome, was also transferred and restored.

Image courtesy of Euro London Films Ltd. and BFI.

Images courtesy of Jonas Mekas and Anthology Film Archives.

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CINETECA DI BOLOGNA

senso (1954, d. Luchino Visconti)

The original 3-strip Technicolor camera negatives had suffered extreme shrinkage and decay, and the digital restoration process was able to properly correct and align the negatives. Digital technology was also utilized to improve frame steadiness, remove dirt, and eliminate flickering, as well as to address noise issues on the original sound negatives.

SENSO was restored by StudioCanal, Centro Sperimentale di Cinematografia/Cineteca Nazionale, Cineteca di Bologna/L’Immagine Ritrovata. With funding provided by GUCCI, The Film Foundation and Comitato Italia 150.

LIBRARY OF CONGRESS

high treason (1929, d. Maurice Elvey)

Based on a play by Noel Pemberton Billing, this film features James Carew, Raymond Massey, Humberstone Wright, Benita Hume, Hayford Hobbs, and Jameson Thomas. Set in 1940, the plot centers around a group of women called the Peace League who successfully stop a second world war breaking out between the two rival superpowers, United Europe and United America.

Existing in both silent and sound versions, this title is being preserved from a composite print, the one known surviving element from the sound version of this film. The print was used for theatrical exhibition, and thus has the typical array of broken perforations, base/emulsion scratching, and projection oil coating that are routinely in need of repair. Restoration is scheduled for completion in 2010.

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Set in 1866 Venice during the period of Italian unification, the unhappily married Countess Livia Serpieri (Alida Valli) falls desperately in love with Franz Mahler (Farley Granger), a charming but dissolute officer with the Austrian occupying forces. Betraying both family and country, she becomes consumed by their affair and soon Livia’s passion spirals into jealousy, vengeance and, ultimately, madness. With sets inspired by important Italian paintings, and costumes by legendary designers Marcel Escoffier and Piero Tosi, the production design re-creates the historical period with spectacular and accurate detail.

L’Immagine Ritrovata at Cineteca di Bologna performed a digital restoration working from the film’s original 3-strip Technicolor camera negatives. The film’s positive masters were also utilized, when it was discovered that the original negatives had problems such as lost frames and deep scratches that could not be digitally filled. The key reference for color correction was a 1954 positive print as well as a print created from a photochemical restoration done in 2001. Although SENSO was also photochemically restored in the late 1990s, L’Immagine Ritrovata’s digital restoration addressed issues that were impossible to fix then.

Images courtesy of Library of Congress.

Image courtesy of StudioCanal and Cineteca di Bologna.

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british agent (1934, d. Michael Curtiz)

Michael Curtiz’s film takes an interesting look into pre-World War II perceptions of the Soviet Union. Leslie Howard plays a young English diplomat stationed in Moscow when the provisional government is overthrown by the Bolsheviks. He falls in love with a mysterious young woman (Kay Francis) he first sees in the act of shooting a Cossack to save a mother and child. J. Carroll

Naish plays the villainous Com-missioner of War, clearly modeled on Trotsky. The action builds to a climax with Dora Kaplan’s assassi-nation attempt on Lenin, and the city explodes in chaos.

The picture and track negatives from the United Artists Collection required extensive replacement of dried and brittle splices. Restoration work is in progress and scheduled to be completed in 2010.

the boYs FroM sYracUse (1940, d. A. Edward Sutherland)

THE BOYS FROM SYRACUSE is the film adaptation of the 1938 Rodgers and Hart Broadway musical, which in turn was based on Shakespeare’s Comedy of Errors. Directed by A. Edward Sutherland, the film takes place in ancient Greece where two sets of twins (Allan Jones and Joe Penner) are separated at sea, until the boys living in Syracuse set out to find the ones living in Ephesus.

The original picture and track negatives demon-strate slight-to-moderate curl, with slight shrinkage. A picture and sound master positive will be created. Restoration work is in progress and scheduled to be completed in 2010.

NATIONAL FILM PRESERVATION FOUNDATION

NFPF Federal Grant Program2009 marked the tenth cycle of federal cash grants offered by the NFPF through monies authorized and appropriated by the Library of Congress under the National Film Preservation Act of 1996. The NFPF grants fund the creation of preservation masters and public access copies of culturally and historically significant orphan films in American libraries, archives and museums. Under the terms of the legislation, the NFPF is required to raise private matching funds to sustain its operations, making The Film Foundation’s support essential in underwriting these expenses. The Film Foundation’s 2009 grant of $75,000 underwrote nearly 50% of the direct costs for managing the NFPF’s Federal and Partnership Grant programs. In 2009, 120 films were preserved through these programs. Some of the highlights include:

dinner For eight (1934), one of the earliest live-action shorts produced in Technicolor.

carib goLd (1956, d. Harold Young), an adventure yarn from the African American owned Splendora Film Corporation, featuring Ethel Waters and Cicely Tyson in her film debut.

Mary Ellen Bute’s passages FroM Finnegans Wake (1965), an adaptation of the James Joyce novel.

the storY oF MatZo (ca. 1930s), profiling the last matzo factory in Manhattan.

carnivaL in trinidad (1953), by noted fashion photographer Fritz Henle.

LUther Metke at 94 (1980), the Academy Award-nominated biographical profile of the Oregon environmentalist and log cabin builder.

the Magic keY (1950), a U.S. Chamber of Commerce short promoting advertising.

diaMonds (1915), a crime drama from Rhode Island’s Eastern Film Company.

prairie Fire (1977), the documentary by John Hanson and Rob Nilsson, exploring North Dakota’s farm revolt of the late 1910s.

Image courtesy of Warner Bros. and Library of Congress.

Image courtesy of NBC Universal Pictures and Library of Congress.

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art discovers aMerica (ca. 1944), with rare footage of artists Raphael Soyer, John Sloan, Thomas Hart Benton, and Reginald March in their studios.

Footage of the spectacular 1940 collapse of the Tacoma Narrows Bridge, known as “Galloping Gertie.”

The only known sound footage of legendary jazz guitarist Snoozer Quinn.

Avant-garde works by Dorsey Alexander, Ericka Beckman, James Benning, Andrea Callard, Manuel DeLanda, Joe Gibbons, Bette Gordon, Marjorie Keller, Amos Poe, Dean Snider, Dion Vigne, Natalka Voslakov, and Andy Warhol.

Home movies of the 1939 Atlanta premiere of GONE WITH THE WIND (1939, d. Victor Fleming), the mountaineering adventures of the American Alpine Club’s president in the 1920s, activist Allard K. Lowenstein crashing Princess Grace’s wedding, the relocation of Dust Bowl farmers to Alaska, and other subjects that passed under the radar of the mainstream media.

Avant-Garde Masters GrantsThe Avant-Garde Masters Grant is the first program solely dedicated to the preservation of American experimental film. Typically produced with limited funds and few commercial prospects, experimental films are among those most likely to suffer deterioration and loss. The artists often do not have the funds or the technical knowledge to properly care for their elements, making the support of organizations such as the NFPF and The Film Foundation critical.

Established in 2003 and fully funded by The Film Foundation, the grants provide $50,000 annually for the preservation of these important works. Awarded by an expert panel which includes critics, scholars and preservationists, the grants enable archives to work directly with the filmmakers to preserve and protect their films. Over the past six years, the initiative has saved over 48 films including works by Kenneth Anger, Samuel Beckett, Bruce Conner, Hollis Frampton, Ernie Gehr, George and Mike Kuchar, Tom Palazzolo, Carolee Schneeman, and many others.

In 2009, the grant was shared among several institu-tions for work on four projects:

• RAUMLICHTKUNST: German émigré Oskar Fischinger began experiments with abstract ani-mation in the 1920s, using film in multimedia performances that integrated music and slides with three 35mm films projected side by side. The Center for Visual Music, in collaboration with Fischinger’s heirs, preserved three badly damaged nitrate reels from these pioneering performances.

• UNTITLED NORMAN MAILER FILM (1947): While best known as a novelist and journalist, Pulitzer Prize-winning author Norman Mailer also wrote and directed a number of films, including MAIDSTONE (1970) and TOUGH GUYS DON’T DANCE (1987). Mailer’s first effort, an untitled film from 1947 discovered by the Harry Ransom Center at the Univer-sity of Texas among the author’s personal papers, was preserved by the Center as well. The short tells the story of a young woman who considers having an illegal abortion.

• Three films by Sidney Peterson—THE CAGE (1947), THE PETRIFIED DOG (1948), THE POTTED PSALM (1946): After spending time in France as a painter and sculptor, American artist Sidney Peterson introduced avant-garde film-making to the San Francisco Art Institute in the late 1940s. The surrealist-inflected films produced by Peterson’s “Workshop 20” classes laid the foundation for the nascent avant-garde cinema movement. Anthology Film Archives is saving two films Peterson made with his students, THE CAGE (1947) and THE PETRIFIED DOG (1948), as well as the artist’s first film, THE POTTED PSALM (1946), a collaboration with poet-filmmaker James Broughton.

• LOCAL COLOR (1977, d. Mark Rappaport): George Eastman House preserved Rappaport’s LOCAL COLOR, a deadpan melodrama in which the line between “real” and “surreal” grows increasingly hard to draw. George Eastman House used the filmmaker’s original camera and track negatives as the source materials.

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Images courtesy of the National Film Preservation Foundation.

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THE MUSEUM OF MODERN ART

sUnnYside Up (1929, d. David Butler)

An influential musical comedy of the early talkie period which tells the story of Molly Carr (Janet Gaynor), a girl from New York City’s Lower East Side, and her encounter with Jack Cromwell (Charles Farrell), a wealthy socialite from Southampton, New York. After Jack hears Molly sing at a local block party, he hires her and her friends to perform at the upcoming Charity Carnival, persuading her also to help him make his fiancée jealous. After numerous misunderstandings, Jack falls in love with Molly and realizes she is the one he should marry. Its bold musical numbers wowed audiences in 1929 and the film is recognized today for its groundbreaking use of sound and staging.

An optical wet-gate black-and-white duplicate negative was made from MoMA’s nitrate release print, which was the best surviving material. The soundtrack was transferred and cleaned up digitally to correct a minor synchronization problem, and the track was re-equalized to assure the original sound quality from 1929 was retained. A magnetic preservation master was produced, along with a new re-recorded track negative.

Restoration funding provided by a generous grant from the Franco- American Cultural Fund, a partnership of the Directors Guild of America; Société des Auteurs, Compositeurs et Editeurs de Musique; the Motion Picture Association of America; and the Writers Guild of America, West.

the seaFarers (1953, d. Stanley kubrick)

Stanley Kubrick’s third film and his first in color documents the benefits provided to the nautical community by the Seafarers International Union. This straightforward, thirty-minute industrial film is an important example of this major film artist’s early technique, as well as a simple and heartfelt record of part of New York City’s maritime past.

An optical wet-gate blow-up color duplicate negative was created from the sole surviving 16mm release print. The soundtrack was also transferred and digi-tally cleaned and balanced for a 35mm reproduction to produce a re-recorded track negative and backup magnetic track.

Restoration funding provided by a generous grant from the Franco- American Cultural Fund, a partnership of the Directors Guild of America; Société des Auteurs, Compositeurs et Editeurs de Musique; the Motion Picture Association of America; and the Writers Guild of America, West.

Images courtesy of Twentieth Century Fox and the Museum of Modern Art.

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UCLA FILM & TELEVISION ARCHIVE

Kesey CollectionBest known for his debut novel, One Flew Over the Cuckoo’s Nest, Ken Kesey is often seen as the coun-ter-culture link between the Beat Generation of the 1950s and the hippies of the 1960s. When his second novel, Sometimes a Great Notion, was pub-lished in 1964, Kesey set out for a promotional tour in New York with Beat Generation icon Neal Cassady and other friends who called themselves the “Merry Pranksters.” In an iridescent day-glo school bus nicknamed “Furthur” (fusing “further” and “future”) with Cassady at the wheel and couches in place of traditional seats, the Merry Pranksters set out on a psychedelic “trip” across America. Their revelations and adventures, inspired by pitchers of LSD-laced Kool-Aid, spawned Tom Wolfe’s The Electric Kool-Aid Acid Test.

The Merry Pranksters installed an intricate system of sound and film equipment to document their journey and captured hundreds of hours of 16mm reversal picture footage and separate non-synced audio; the Kesey Collection consists of over 40 hours. Approximately 17 hours of select 16mm original color footage has been transferred to high definition HDCAM-SR masters using a wet-gate Spirit Datacine chosen to minimize surface dirt and scratches. The HDCAM-SR masters were down-converted to digital betacam sub-masters for in-house use and compressed QuickTime files for research access. Grant funds were also used to restore the soundtrack of the 1965 Merry Pranksters 20-minute short film, CASSADY IN THE BACK-HOUSE, from a ¼" audio tape, 16mm mag track, and 16mm composite print optical track.

man who will step on anyone to get what he wants. As the story unfolds, his deceiving and selfish ways are seen in the lives of friends he has ruthlessly affected.

UCLA produced a 35mm black-and-white preser-vation duplicate negative from two 35mm nitrate fine grains. These same nitrate fine grains, along with supplemental elements, were used for digital sound restoration. The audio track was cleaned and from that, a 35mm preservation magnetic track and optical track negative were created.

Restoration funding provided by a generous grant from the Franco-American Cultural Fund, a partnership of the Directors Guild of America; Société des Auteurs, Compositeurs et Editeurs de Musique; the Motion Picture Association of America; and the Writers Guild of America, West.

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Images courtesy of UCLA Film & Television Archive.

Image courtesy of Paramount Pictures and UCLA Film & Television Archive.

rUthLess (1948, d. Edgar G. Ulmer)

Based on the novel by Dayton Stoddart, the story of RUTHLESS is told in flashback. The film begins at a reception at the home of investment mogul Horace Vendig (Zachary Scott), a canny business-

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Wanda (1970, d. Barbara Loden)

Director and actress Barbara Loden was inspired by an article about Wanda Goranski, an accomplice in a bank robbery who, at her sentencing, thanked the judge for her 20-year sentence. Loden stars as the hapless Wanda, who abandons her conventional life to wander the road, until she embarks on a crime spree with a small-time crook (Michael Higgins). Wanda’s quest for validation, by both society and men, keeps her vulnerable and on the street.

At the time of its release, the film raised gender issues and ignited a dialogue among working class women and those on the forefront of the feminist movement, well before feminist topics were main-stream. With its powerful realism, Wanda is one of the most formidable directorial debuts in independent cinema.

Barbara Loden began her career as an actress, best known for her role in SPLENDOR IN THE GRASS (1961) in which she worked with director and future husband Elia Kazan. WANDA proved to be the only feature Barbara Loden would direct before her untimely death in 1980.

The UCLA Film & Television Archive holds the original 16mm color reversal camera original A/B rolls and original optical track, which were identified and rescued from a laboratory closure by an archive staff member the day before they were to be destroyed. The original A/B rolls were blown up to a 35mm preservation internegative. The soundtrack was digitally restored and a new 35mm soundtrack negative was struck. The resulting 35mm negatives serve as the source for a color-graded 35mm viewing print. The restora-tion is scheduled to be completed in 2010.

Restoration funding provided by a generous grant from GUCCI.

SPECIAL PROJECT

richard iii (1955, d. Laurence Olivier)

Laurence Olivier’s 161-minute motion picture, RICHARD III, is arguably the best Shake-speare adaptation on film. Olivier directed and starred as the title character, garnering an Academy Award nomina-tion for his acclaimed performance. Olivier cast only British actors, including three other knights—John Gielgud, Cedric Hardwicke, and Ralph Richardson.

The film includes elements of Shakespeare’s Henry VI, Part 3. Richard’s military skills have helped to put his older brother King Edward IV (Hardwicke) on England’s throne, but jealousy and resentment cause Richard to seek the crown for himself. He devises a lengthy and carefully calculated plan using deception, manipulation, and murder to achieve his goal. His plotting soon has tumultuous consequences, both for himself and for England. Originally released to limited critical praise, the film gained popularity through a re-release in 1966.

The film’s original VistaVision 8-perf negative will be scanned at 6K and a digital intermediate will be created to geometrically realign from the vertical eight perforation frame to a standard 35mm horizontal four perforation frame. Digital processing will address dirt and scratches and color correction. From the 4K files, a new digital negative will serve as the new preservation element. Restoration work is scheduled to be completed in 2010.

The restoration of RICHARD III is a collaboration between The Film Foundation, the BFI, Janus Films and Romulus Films. Grover Crisp of Sony Pictures Entertainment is technical advisor to the project.

Restoration funding provided by a generous grant from the Hollywood Foreign Press Association.

Images courtesy of Janus Films and The Criterion Collection.

Images courtesy of Leo Kazan, Marco Joachim and UCLA Film & Television Archive.

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THE FILM FOUNDATION CONSERVATION COLLECTIONThe following titles were added to the Collection in 2009:

• THE BOY WITH GREEN HAIR (1948, d. Joseph Losey)

• THE RED SHOES (1948, dirs. Michael Powell & Emeric Pressburger)

• REMINISCENCES OF A JOURNEY TO LITHUANIA (1971–72, d. Jonas Mekas)

• THE ROBE (1953, d. Henry Koster)

• SENSO (1954, d. Luchino Visconti)

The Collection, established in 2007 and archived at George Eastman House, totals 50 films:

• BABO 73 (1964, d. Robert Downey Sr.)

• BABY DOLL (1956, d. Elia Kazan)

• THE BAREFOOT CONTESSA (1954, d. Joseph L. Mankiewicz)

• BECKY SHARP (1935, d. Rouben Mamoulian)

• THE BIG COMBO (1955, d. Joseph H. Lewis)

• THE BIG COUNTRY (1958, d. William Wyler)

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• BLONDE COBRA (1958–63, d. Ken Jacobs)

• BORN TO BE BAD (1950, d. Nicholas Ray)

• CHAFED ELBOWS (1966, d. Robert Downey Sr.)

• CLOAK AND DAGGER (1946, d. Fritz Lang)

• THE DIARY OF A CHAMBERMAID (1946, d. Jean Renoir)

• DRUMS ALONG THE MOHAWK (1939, d. John Ford)

• THE ENFORCER (1951, d. Bretaigne Windust)

• A FACE IN THE CROWD (1957, d. Elia Kazan)

• FACES (1968, d. John Cassavetes)

• FAIR WIND TO JAVA (1953, d. Joseph Kane)

• THE GOLDEN BED (1925, d. Cecil B. DeMille)

• George and Mike Kuchar 8mm Shorts (1958–63, d. George and Mike Kuchar) (10 films)

• JOAN OF ARC (1948, d. Victor Fleming)

• LE AMICHE (1955, d. Michelangelo Antonioni)

• LEAVE HER TO HEAVEN (1945, d. John M. Stahl)

• MACBETH (1948, d. Orson Welles)— both the original and U.S. release versions

THE RED SHOES (1948, dirs. Michael powell & Emeric pressburger)

Images courtesy of ITV Studios, Global Entertainment Ltd.

(left to right):

B&W separation master positive of the blue record showing mold damage in B&W; recombined Eastman color image showing red, blue and green mold damage; 4K digital restoration output to film.

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• THE MAN WITH THE GOLDEN ARM (1955, d. Otto Preminger)

• MY DARLING CLEMENTINE (1946, d. John Ford)

• NO MORE EXCUSES (1968, d. Robert Downey Sr.)

• OF MICE AND MEN (1939, d. Lewis Milestone)

• ONCE UPON A TIME IN THE WEST (1968, d. Sergio Leone)—both Italian and English language versions

• PANDORA AND THE FLYING DUTCHMAN (1951, d. Albert Lewin)

• THE RIVER (1951, d. Jean Renoir)

• SHADOWS (1959, d. John Cassavetes)

• TURNABOUT (1940, d. Hal Roach)

• A WALK IN THE SUN (1945, d. Lewis Milestone)

• WAY OUT WEST (1937, d. James W. Horne)

• A WOMAN UNDER THE INFLUENCE (1974, d. John Cassavetes)

ARCHIVISTS ADVISORY COUNCILOn Wednesday, December 9th, 2009, the Archivists Advisory Council convened at the Directors Guild of America in Los Angeles and New York for a video conference to discuss TFF projects and film preservation issues. Representatives from each archive discussed current projects, upcoming events/screen-ings, future projects and issues related to the field.

Participants included: Archivists Advisory Council Chair Robert Rosen; Josef Linder and Mike Pogorzelski, The Academy Film Archive; Andrew Lampert, Anthology Film Archives; Patrick Loughney, Library of Congress; Rajendra Roy and Katie Trainor, Museum of Modern Art; Annette Melville, National Film Preservation Foundation; Chris Horak, UCLA Film & Television Archive; and the staff of The Film Foundation.

THE BIG COUNTRY (1958, d. William Wyler)

Image courtesy of Metro-Goldwyn-Mayer Studios, Inc. and Academy Film Archive.

A FACE IN THE CROWD (1957, d. Elia kazan)

Image courtesy of Warner Bros. Entertainment, Inc.

THE GOLDEN BED (1925, d. Cecil B. DeMille)

Image courtesy of Paramount Pictures.

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Educational programs and Outreachin 2009, the Story of Movies, continued to meet the foundation’s educational goals by:

• exposing students to a wide range of classic films—many, perhaps, for the first time;

• teaching students to appreciate the artistic, cultural, and historical value of movies;

• teaching students to comprehend the visual language of film;

• introducing students to the idea of artists’ rights, increasing their awareness of the problem of internet theft; and

• educating students about film preservation and the impoprtance of safeguarding films for the future to ensure their proper presentation.

Program ComponentsEach unit in The Story of Movies curriculum contains five interrelated components:

• Teacher’s Guide, available for downloading from The Story of Movies website (storyofmovies.org). The guide features lessons with teaching objectives, detailed step-by-step instructions for presenting each activity, and answer keys.

• Student Activity Booklet, also available for downloading from the SOM website. The booklet includes graphic organizers, screening sheets to be used while viewing the film clips, as well as reading, writing, visual-thinking, and group activity worksheets.

In Spring 2009, The Film Foundation distributed the third unit in The Story of Movies program: a curriculum based upon THE DAY THE EARTH STOOD STILL (1951, d. Robert Wise). Like the previous two units, TO KILL A MOCKINGBIRD (1962, d. Robert Mulligan) and MR. SMITH GOES TO WASHINGTON (1939, d. Frank Capra), the material for THE DAY THE EARTH STOOD STILL examines the film from a wide variety of perspectives.

In addition to fundamentals of film production and film language, the curriculum covers areas especially relevant to this science-fiction classic, including visual effects; creating credibility in a sci-fi film; film genres; and the cinematic career of director Robert Wise. THE DAY THE EARTH STOOD STILL’s Cold War context also makes it a perfect vehicle for exploring war, tolerance, global politics and fear, in the post-war era as well as today.

The program was distributed free of charge to over 10,000 educators across the country—including teachers in public, private and parochial schools, in urban, suburban, and rural areas. It’s estimated that well over eight million students will have studied one or more of the three Story of Movies cur-riculums by the end of the 2009–2010 school year.

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• DVD featuring film clips and original mini- documentaries, as well as movie stills and photographs.

• DVD of the feature film for in-depth study.

• Website (storyofmovies.org) featuring “Take 2” extension activities, resources and links, and a Teacher’s Lounge that allows educators to exchange teaching strategies. The website also features a Film Lesson Library, with lesson plans and activities that explore other aspects of the study of film, and film-related topics such as piracy and copyright issues.

New DevelopmentsThe curriculum team is currently working on expanding The Story of Movies to include curricu-lums on comedy (for upper elementary grades 3–5) and animation (for high school) which will include feature films, shorts, and documentaries, films produced in the U.S. and internationally.

In addition, with the completion of three core curriculum units, the foundation will now measure the impact that The Story of Movies has had on the many students and teachers who have benefited from the program. Dr. Arthur Johnson, who

supervised the pilot site study, and his Edumetrics team will measure students’ academic and critical- thinking skills as well as their knowledge of film and preservation issues, both prior to studying the program and after completing the program. He will also evaluate students and teachers who had previously completed the project, checking to see how this program affected their attitudes and behaviors—both in the classroom and in other areas of their lives.

Principal Project FundersThe Story of Movies was created in partnership with IBM, Turner Classic Movies, and the Directors Guild of America, with additional support from Driehaus Capital Management, Eastman Kodak Company, the Entertainment Industry Founda-tion, the Carnegie Corporation of New York, the Nathan Cummings Foundation, the Paul G. Allen Foundation, the National Endowment for the Arts, and Marc Jacobs International, as well as numerous individual benefactors from the entertainment industry.

storyofmovies.org

(clockwise from top left):TO KILL A MOCKINGBIRD (1962, d. Robert Mulligan)

Image courtesy of NBC Universal.

MR. SMITH GOES TO WASHINGTON (1939, d. frank Capra)

Images courtesy of Sony/Columbia Pictures.

THE DAY THE EARTH STOOD STILL (1951, d. Robert Wise)

Image copyright Twentieth Century Fox, All Rights Reserved.

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INTERNATIONAL FILM CLASSROOMIn 2009, The Film Foundation completed The Story of Movies International Film Classroom, a cultural exchange program with China sponsored by the U.S. Department of State. The program’s goal was to help educators, filmmakers, and archivists share their insights and knowledge with counterparts in China, fostering a mutual appreciation of each culture as expressed through the art of film.

The first phase of the program launched in 2008 with a U.S. delegation’s visit to Shanghai and Shangyu, China and concluded in April 2009 with a Chinese delegation visiting schools and cultural institutions in New York and Washington, D.C. The Chinese delegation included Weiping Chen, Deputy Dean of Film and TV Art & Technology School, Shanghai University; Haibo Liu, Head of Art Department, Film and TV Art & Technology School, Shanghai University; Wuhua Xia, Head of Xie-tang Primary School, Shangyu; and Xuemei Xu, Lecturer—Chinese Language and Literature, East Urban High School, Shanghai.

As part of the exchange program, The Film Foundation created lessons around three Chinese films that were recommended by Chinese students during the Phase I trip to Shanghai as films that might help American students to better understand modern China’s changing culture. These suggested films for study were THE KING OF MASKS (1996, d. Wu Tianming), BEIJING BICYCLE (2001, d. Wang Xiaoshuai), and KEKEXILI: MOUNTAIN PATROL (2004, d. Lu Chuan).

Prior to the Chinese team’s visit, students at the participating U.S. schools—Cardinal Hayes High School in the Bronx, NY; Bloomfield Middle School in Bloomfield, NJ; and Meridian Public Charter School in Washington, D.C.—were taught these film lessons, giving them a cultural and historical background on China through the shared language of film.

(top to bottom):

The Chinese delegation with American partners at Cardinal Hayes High School.

Bloomfield Middle School students welcome the Chinese delegation with a string ensemble performance.

The Chinese delegation with American partners and Bloomfield Middle School students.

Mr. Wuhua Xia talks about Xie-tang Primary School with students at Cardinal Hayes High School.

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During the school visits, Chinese delegates Mr. Xia and Ms. Xu gave presentations to both teachers and students about how they incorporate film education into their classrooms in China—both in studies of other cultures and in filmmaking courses. Students at all three U.S. schools also had the opportunity to speak with the Chinese educators; their questions focused not only on the films they had viewed prior to the delegation’s visit, but also on everyday life in China. The American students were delighted to view videos made by the Chinese students, short films that showed similarities and differences between the two countries.

The Chinese delegation also visited the Museum of Modern Art in New York and the Library of Congress’ new National Audio-Visual Conservation Center in Culpeper, VA. At the NAVCC, the delegates were given a tour of the preservation and restoration facilities and viewed a restored print of Charlie Chaplin’s MODERN TIMES (1936). The Chinese delegation’s visit ended with a public screening of HERO (2002, d. Zhang Yimou) at the Mary Pickford Theater in the Madison Building of the Library of Congress. The film was introduced by Mike Mashon of the Library of Congress, who was a participant in Phase 1 of the program.

An in-depth description of the International Film Classroom project, including photos, a daily diary, and participants’ reflections on the program and its achievements, as well as lesson material created for the three Chinese films studied, can be found on The Story of Movies website (storyofmovies.org).

DGA-MPI CONSERVATION COLLECTIONThe Directors Guild of America—Motion Picture Industry Conservation Collection was created to conserve a 35mm release print of every DGA Signatory feature film produced. Archived at the UCLA Film & Television Archive, the Collection ensures that a print exists so it can be used as an element of last resort for preservation purposes in the future.

In 2009, 137 titles were added to the Collection, bringing to 1,423 the total number of deposits since its inception on November 1, 2000.

COMMUNICATIONSOver 400,000 on-line guests visited The Film Foundation’s website (film-foundation.org) in 2009, learning about the foundation’s work in the areas of preservation, education and artists’ rights.

The Film Foundation’s newly redesigned website is scheduled to go live in March 2010. Thanks to Ogilvy & Mather for lending its creative and tech-nical expertise, the new site features interactive preservation information complete with film clips, and provides the opportunity for supporters to donate to current preservation and restoration projects of their choice.

The Film Foundation hosts a separate website for The Story of Movies educational program at storyofmovies.org.

(clockwise from left):

Xie-tang Primary School Principal Wuhua Xia with Mike Mashon. The two met during Phase I when the U.S. delegation visited Xia’s school in Shangyu.

Shanghai University’s Weiping Chen and Haibo Liu with filmmaker Jonas Mekas at the International Film Classroom Welcome Dinner in New York.

Wuhua Xia speaks to students at Meridian Public Charter School in DC with interpreter Nan Wang (left).

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Events

CITY SECRETS MOVIES: THE ULTIMATE INSIDER’S GUIDEProceeds to Benefit The Film FoundationIn February 2009, The Film Foundation and Fang Duff Kahn Publishers released City Secrets Movies: The Ultimate Insider’s Guide, a compilation of short essays about film written by directors, actors, producers, scholars, and critics.

Essays were contributed by many of the Foundation’s supporters including Woody Allen, Allison Anders, Wes Anderson, Anjelica Huston, Jim Jarmusch, Sidney Lumet, Martin Scorsese, and many others. A portion of the proceeds from the sale of this book will benefit The Film Foundation.

CINEMA VISIONARIES PROGRAMGucci and The Film Foundation Host Screenings of Restored Films at U.S. Film FestivalsGucci and The Film Foundation continued their partnership by creating Cinema Visionaries, a traveling preservation screening series of films restored by Gucci and the foundation.

In 2009, Cinema Visionaries featured new restorations of A WOMAN UNDER THE INFLU-ENCE (1974, d. John Cassavetes) and LE AMICHE

(1955, d. Michelangelo Antonioni) at the San Francisco International Film Festival on April 26 and the Seattle Internation-al Film Festival on June 6.

Gena Rowlands, nominated in 1975 for an Academy Award as Best Actress for her performance in A WOMAN UNDER THE INFLUENCE, introduced the film at the Castro Theatre in San Francisco, and co-hosted a special reception at the famous Tosca Cafe. “I’m so touched that A WOMAN UNDER THE INFLUENCE was chosen by Gucci and The Film Foundation to be restored,” said Rowlands. “Many films have had their lives extended far into the future through The Film Foundation. I know John would be very honored.”

The program will continue in 2010 with festival screenings across the globe, featuring two new restoration projects funded by Gucci and The Film Foundation, SENSO (1954, d. Luchino Visconti) and WANDA (1970, d. Barbara Loden).

PRESERVATION SCREENING PROGRAMThe Film Foundation and American Express Present Restored Film Screenings The Film Foundation and American Express’ Preservation Screening Program continued its third year with screenings at film festivals in Miami, San Francisco, and Los Angeles. The festivals selected films from three categories: “New American Cinema,” a collection of work from the independent film movement in the 1950s; “In Glorious Technicolor,” featuring films originally photo-graphed in 3-strip Technicolor; and a special

screening of Sergio Leone’s epic western, ONCE UPON A TIME IN THE WEST (1968).

A WOMAN UNDER THE INFLUENCE star Gena Rowlands with the film’s cinematographer Mike Ferris at the San Francisco screening. Image courtesy of Drew Altizer Photography.

Paramount’s Barry Allen introducing ONCE UPON A TIME IN THE WEST at the 2009 San Francisco International Film Festival. Image courtesy of Eric Kjellberg.

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The screenings also featured presentations on the preservation and restoration of the selected films. John Cassavetes’ SHADOWS (1959) and FACES (1968) screened on March 14th at the Miami International Film Festival and were preceded by an 11-minute documentary created about the film’s restoration by UCLA archivist Ross Lipman. Paramount’s Barry Allen introduced the San Fran-cisco International Film Festival’s screening of ONCE UPON A TIME IN THE WEST on May 3rd. And on June 27th, the LA premiere of NIGHT TIDE (1961, d. Curtis Harrington) was preceded by a presentation from the Academy Film Archive’s Mark Toscano, followed by a special showing of the documentary HOUSE OF HARRINGTON (2008, d. Jeffrey Schwarz and Tyler Hubby).

In 2010, the program will enter its fourth year with “20 Years/20 Films,” a curated program selected from the hundreds of films restored with funding by The Film Foundation. Screenings will be held in Atlanta, Los Angeles, New York City, San Francisco, Seattle, and Washington, D.C.

TETROPremiere Benefits The Film FoundationFrancis Ford Coppola, Gucci, and The Film Foundation hosted the New York premiere of TETRO, at the Directors Guild Theater on Sunday, June 7th. The Film Foundation’s Executive Director Margaret Bodde introduced the evening. Coppola then welcomed the audience and spoke about the work of the The Film Foundation and future challenges to preservation.

The screening was followed by a reception at Nobu 57. Guests for the evening included the film’s star Alden Ehrenreich, as well as Xan Cassavetes, Jonas Mekas, Kevin Corrigan, Paul F. Tompkins, Gay & Nan Talese, Ralph Macchio and James Toback.

HOLLYWOOD FOREIGN PRESS ASSOCIATIONWarren Beatty Accepts HFPA Contribution On Behalf of TFF

Filmmaker & TFF Board Member, Francis Ford Coppola at the NY premiere of his film TETRO. Image courtesy of Patrick McMullan Group.

Warren Beatty and HFPA President Philip Berk. Image courtesy of Kevin Winter, copyright 2009 Getty Images.

The Hollywood Foreign Press Association (HFPA) continued its longstanding support of film preser-vation with a generous $350,000 grant, awarded at the HFPA’s Annual Installation Luncheon, held on August 11th at the Beverly Hills Hotel. Warren Beatty accepted the contribution on behalf of The Film Foundation’s board of directors and thanked the HFPA for being a vital partner in the foundation’s efforts.

Over the past 13 years, the HFPA has contributed $2.7 million in support of the foundation’s preservation projects, including films by DeMille, Ford, Hitchcock, Renoir, Welles, Kubrick, and Cassavetes. Recent projects undertaken with funding from the HFPA include Sir Laurence Olivier’s classic RICHARD III (1955) in 2007, and Michael Powell and Emeric Pressburger’s 3-strip Technicolor masterpiece, THE RED SHOES (1948) in 2006.

This year’s grant will fund the restoration of two films by Robert Altman—THAT COLD DAY IN THE PARK (1969) and COME BACK TO THE FIVE AND DIME, JIMMY DEAN, JIMMY DEAN (1982). Both films were made independently and are in need of preservation. In addition, the HFPA grant will support “Silent Hitchcock,” a major restoration project being undertaken by the BFI.

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COLLECTOR’S CHOICESony and The Film Foundation Release DVD Box Sets on Michael Powell, Samuel Fuller and Film Noir

The Samuel Fuller Film Collection—released October 27th, featuring:Directed by Samuel fuller:

• THE CRIMSON KIMONO (1959)

• UNDERWORLD U.S.A. (1961)

Written by Samuel fuller:

• IT HAPPENED IN HOLLYWOOD (1937, d. Harry Lachman)

• ADVENTURE IN SAHARA (1938, d. D. Ross Lederman)

• POWER OF THE PRESS (1943, d. Lew Landers)

• SHOCKPROOF (1949, d. Douglas Sirk)

• SCANDAL SHEET (1952, d. Phil Karlson)

• Bonus materials include Martin Scorsese on UNDERWORLD U.S.A.; Curtis Hanson: The Culture of THE CRIMSON KIMONO; Samuel Fuller’s Search for Truth, with Tim Robbins; Samuel Fuller, Storyteller which explores Fuller’s life and art through the eyes of his wife Christa and daughter Samantha

Columbia Pictures Film Noir Classics Volume 1— released November 3rd, featuring:• THE SNIPER (1952, d. Edward Dmytryk)

• THE BIG HEAT (1953, d. Fritz Lang)

• 5 AGAINST THE HOUSE (1955, d. Phil Karlson)

• MURDER BY CONTRACT (1958, d. Irving Lerner)

• THE LINEUP (1958, d. Don Siegel)

• Bonus materials include special introductions by directors Martin Scorsese, Michael Mann, and Christopher Nolan, and commentaries by James Ellroy and Eddie Muller

2010 will see the release of additional Collector’s Choice DVD sets, including Rita Hayworth, Frank Capra, and additional Film Noir sets.

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Sony Pictures Home Entertainment and The Film Foundation joined forces in 2008 to create The Collector’s Choice, featuring works of classic cinema with introductions and commentary from filmmakers and historians. Meeting the foundation’s mission to provide public access to restored film treasures, the program makes available films that have not previously been released on DVD, and places classic films and filmmakers in historical and cultural context.

Following the critical success of the first release, The Films of Budd Boetticher, the partnership released three additional DVD box sets in 2009—The Films of Michael Powell, The Samuel Fuller Film Collection, and Columbia Pictures Film Noir Classics Volume 1.

The Films of Michael Powell— released January 4th, featuring:• AGE OF CONSENT (1969)—original director’s cut

• A MATTER OF LIFE AND DEATH (1946)— written, produced and directed with longtime collaborator Emeric Pressburger

• Bonus materials include introductions by Martin Scorsese, an interview with Helen Mirren, and commentary by Ian Christie and Kent Jones

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THE RED SHOESPremieres at Cannes Film FestivalTHE RED SHOES, the newly-restored 1948 master-piece from directors Michael Powell and Emeric Pressburger, had its world premiere at the Cannes Film Festival as the centerpiece of the “Cannes Classics” section on May 15th. Martin Scorsese and Thelma Schoonmaker introduced the film, which underwent an extensive two year 4K digital restora-tion by the UCLA Film & Television Archive and The Film Foundation, in association with the BFI, ITV Global Entertainment Ltd. and Janus Films. The restoration was funded by the Hollywood Foreign Press Association, The Film Foundation and the Louis B. Mayer Foundation. Restoration work was completed at Warner Bros. Motion Picture Imaging and Audio Mechanics.

Following the Cannes premiere, the film went on to screen at the Edinburgh International Film Festival, Il Cinema Ritrovato in Bologna and in Los Angeles at the Directors Guild of America Theater on July 29th. Along with Scorsese, award-winning editor Thelma Schoonmaker, who was married to Michael Powell, consulted on the resto-ration. She presented the film to audiences at the three festival screenings.

On Tuesday, November 3rd, Scorsese, fellow board member Woody Allen, Schoonmaker, and foundation supporters Alec Baldwin and Emily Mortimer hosted the New York restoration premiere of THE RED SHOES at the Directors Guild Theater, to benefit The Film Foundation. A private post-screening reception was held at Nobu 57.

Additionally, the Film Forum in New York had a successful two week run of THE RED SHOES from November 6th–19th, and is bringing the film back in 2010.

(left to right):

Martin Scorsese introducing THE RED SHOES at the 2009 Cannes Film Festival.

Martin Scorsese and Thelma Schoonmaker at the 2009 Cannes Film Festival.Images courtesy of Getty Images.

THE RED SHOES presented in La Piazza Maggiore at the 23rd Edition of Il Cinema Ritrovato in Bologna, Italy. Image courtesy of Cineteca di Bologna.

(left to right):

TFF Executive Director Margaret Bodde; HFPA President Philip Berk; UCLA Film & Television Archive Preservation Officer Robert Gitt; and TFF Board Member Curtis Hanson at the North American Restoration Premiere of THE RED SHOES at the Directors Guild Theater in Los Angeles. Image courtesy of Todd Cheney, UCLA Photography.

Film Foundation board members and co-hosts Martin Scorsese and Woody Allen at the New York Premiere of THE RED SHOES at the Directors Guild Theater in New York.

Co-hosts Alec Baldwin, Thelma Schoonmaker, Martin Scorsese and Emily Mortimer at the New York Premiere of THE RED SHOES after party at Nobu 57. Images courtesy of Dave Alloca.

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partners

American ExpressHistoric preservation has long been the hallmark of American Express’ involvement in the community, reflecting the company’s recognition of the importance of cultural sites and monuments to a sense of national and local identity, and the role that their preservation can play in attracting visitors and revitalizing neighborhoods. American Express extends its support of preservation beyond physical sites by supporting organizations such as The Film Foundation and the Preservation Screening Program. Now in its third year, the program has reached audiences in Boston, Calgary, New York, Chicago, Miami, San Francisco and Los Angeles, providing access to restored film treasures from the foundation’s “In Glorious Technicolor” and “New American Cinema” collections, as well as the international classic ONCE UPON A TIME IN THE WEST (����, d. Sergio Leone). In �0�0, the program will feature “�0 Years/ �0 Films,” a new screening series in recognition of The Film Foundation’s �0th anniversary.

DirecTVFrom classic cinema to current releases to independent and avant-garde works, DirecTV, the nation’s leading satellite television service provider, offers access to a wide range of viewing experiences. Through its partnership with The Film Foundation, DirecTV features “The Scorsese Selection” column in its monthly magazine, which high-lights Martin Scorsese’s must-see film selections in the current month’s programming rotation and provides cinematic, cultural and historical contexts for the selections. Films featured in the �00� columns varied widely and included Scorsese’s views on IMITATION OF LIFE (����, d. John M. Stahl), THE FOUNTAINHEAD (����, d. King Vidor), THE PARTY (����, d. Blake Edwards), THE MAN WHO FELL TO EARTH (����, d. Nicolas Roeg), and EASTERN PROMISES (�00�, d. David Cronenberg).

Franco-American Cultural Fund (FACF)Formed in ����, the FACF is a partnership between the Directors Guild of America (DGA); Société des Auteurs, Compositeurs et Editeurs de Musique (SACEM); the Motion Picture Association of America (MPAA); and the Writers Guild of America, West (WGAW), which creates a common cultural fund to be used in promoting and teaching the art of filmmaking. In both the U.S. and France, the fund makes possible a series of events including the annual City of Light, City of Angels (COL•COA) Film Festival in Los Angeles; a group of master classes at major French film festivals; and other events throughout the year. In addition, the FACF supports a series of film preservation projects jointly undertaken with The Film Foundation, including the completed restorations of PANDORA AND THE FLYING DUTCHMAN (����, d. Albert Lewin), SECRET BEYOND THE DOOR (����, d. Fritz Lang), RUTHLESS (����, d. Edgar G. Ulmer), SUNNYSIDE UP (����, d. David Butler), and THE SEAFARERS (����, d. Stanley Kubrick). Through the Cinémathèque Française, the FACF also funded the restoration of LOLA MONTÈS (����, d. Max Ophüls), five films from the Albatros catalogue, and PIERROT LE FOU (����, d. Jean-Luc Godard).

GUCCICelebrating a rich history influenced by film, GUCCI has partnered with The Film Foundation for the fourth consecutive year to save cinematic treasures. In addition to funding the restoration of A WOMAN UNDER THE INFLUENCE (����, d. John Cassavetes) in �00�, LE AMICHE (����, d. Michelangelo Antonioni) in �00�, WANDA (���0, d. Barbara Loden) in �00�, and SENSO (����, d. Luchino Visconti) in �00�, GUCCI and The Film Foundation created the Cinema Visionaries program to screen these films at select international film festivals across the globe. In order to further benefit audiences served by the program, GUCCI extends its support through local events promoting the work of the individual festivals and film societies. GUCCI is also proud to support The Film Foundation’s Conservation Collection.

Hollywood Foreign Press AssociationSince first contributing to The Film Foundation thirteen years ago, the Hollywood Foreign Press Association (HFPA) has been a major supporter, donating over �.� million dollars and funding the preservation of over �0 important films, including work by John Ford, Stanley Kubrick, Ida Lupino, Alfred Hitchcock, John Cassavetes, and Jean Renoir, among many others. The HFPA’s �00� grant will fund the restoration of two Robert Altman films—THAT COLD DAY IN THE PARK (����) and COME BACK TO THE FIVE AND DIME, JIMMY DEAN, JIMMY DEAN (����). Its �00� grant funded the restoration of RICHARD III (����, d. Laurence Olivier), and its �00� gift supported the restoration of Michael Powell and Emeric Pressburger’s THE RED SHOES (����).

The HFPA is celebrating its ��th anniversary in Hollywood. Today the members of the Hollywood Foreign Press Association represent some �� countries with a combined readership of more than ��0 million. Through the success of the Golden Globe Awards, the HFPA has been able to donate more than $�0.� million in the past fifteen years to entertainment-related charities, as well as funding scholarships and other programs for future film and television professionals. In �00� the HFPA donated over $�.� million, the largest charitable contribution distributed in a single year by the organization.

IBMThe Film Foundation has benefited enormously from its decade-long partnership with IBM, including contributions totaling over $�.� million in support of the foundation’s work in preser-vation and education. As the lead partner in The Story of Movies program, IBM has helped expose young people to great cinema, giving them the tools to better understand and interpret the language of film, and helping them to think critically and creatively about moving images. The Story of Movies curriculum has been provided, free of charge, to over ��,000 educators across the country, reaching an estimated � million students annually. IBM has also lent essential support by hosting The Story of Movies website (storyofmovies.org), where teachers can build upon the core curriculum material by downloading additional lessons and activities.

In its sixth year, IBM continues to work with the UCLA Film & Television Archive on the preservation of reference materials documenting the entire Hearst Metrotone Newsreel Collection. The project includes testing of long-term strategies for digital preservation of both images and video files. Through this project, scholars, historians, and the general public will have online access to original documents about a variety of newsreel stories, covering many of the most important events of the �0th century.

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Louis B. Mayer FoundationFormed by the legendary Hollywood producer, Louis B. Mayer, the Foundation’s film preservation program specifically focuses on the body of work of key figures in the history of film. In �00�, The Louis B. Mayer Foundation provided TFF with grant support for the restoration of two films from the directing team of Michael Powell and Emeric Pressburger: THE LIFE AND DEATH OF COLONEL BLIMP (����) and THE RED SHOES (����). Both films were shot using the original �-strip Technicolor process and were discovered to be severely damaged by mold, excessive shrinking of the film and mis-registration of the color records. The three-year grant from the Louis B. Mayer Foundation will help ensure the restoration and preserve the legacy of these two masterpieces.

OgilvyFounded in ���� by David Ogilvy, Ogilvy & Mather today is one of the largest marketing communi-cations companies in the world. The agency has a strong corporate culture built on a history of innovation and thoughtful leadership. It believes in helping clients’ brands define themselves through BigIdeals—creating meaningful ways of connecting with cultural values. Internally, this translates into a wide variety of corporate initiatives that support the community, the arts and those in need. In �00�, Ogilvy began a partnership with The Film Foundation, lending its creative and marketing expertise to build awareness of film preservation. Through its network of more than ��0 offices in ��0 countries, Ogilvy & Mather services Fortune Global �00 companies and local businesses, as well as partnering with non-profits which share its values. For more information, visit ogilvy.com.

The Bureau of Educational and Cultural Affairs, United States Department of StateFor over fifty years, the Bureau of Educational and Cultural Affairs of the Department of State has tapped the diverse resources of the U.S. arts community to encourage a dialogue with people of other nations. The Bureau accomplishes its mission through a variety of international programs that showcase the creativity, diversity and dynamism of our country, highlight the importance of the individual and community in fueling creativity, and demonstrate our respect for other peoples and cultures.

In �00�, the Bureau partnered with The Film Foundation to create The Story of Movies International Film Classroom, an extension of the Foundation’s Story of Movies program and part of an exchange with China. The project uses American and Chinese films to teach film literacy, promote relationships between American and Chinese film-makers, preservationists and educators, and create models and materials to help educators use film to promote cultural understanding. In �00�, American filmmakers, archivists and educators visited China to meet with their counterparts and discuss the Story of Movies learning concept. In �00�, the Chinese delegation visited the United States, continuing the engagement and learning experience, and highlighting the addition of lessons on Chinese film to The Story of Movies Film Lesson Library.

Sony Pictures Home EntertainmentSony Pictures Home Entertainment (SPHE) has partnered with The Film Foundation to bring a variety of classic films to DVD. The alliance between SPHE and The Film Foundation serves to reintroduce to the public many films revered by film collectors but long out of circulation. The collaborations, released under the banner The Collector’s Choice, feature restored and remastered films from the vast Sony Pictures catalog. In addition, celebrated Hollywood talent, including Oscar® winning directors and actors, have contributed their own commentary and personalized introductions of films and film-makers that have inspired them in their own work. In �00� and �00�, four collections were released to widespread critical and popular acclaim: The Films of Budd Boetticher, The Films of Michael Powell, The Samuel Fuller Film Collection, and Columbia Pictures Film Noir Classics Volume �.

Twentieth Century FoxThrough its Film Preservation department, Twentieth Century Fox has established its dedication to the conservation of our film heritage through the restoration and preservation of over �,000 feature films since ����. In �00�, with the support of Jim Gianopulos, Chairman of Fox Filmed Entertainment, Fox began a new collaboration with The Film Foundation, working with the foundation and its member archives to restore classic Fox films. Since the partnership’s beginning, the two organizations, working with the Academy Film Archive, have completed the digital restoration of three titles: DRUMS ALONG THE MOHAWK (����, d. John Ford), LEAVE HER TO HEAVEN (����, d. John M. Stahl), and THE ROBE (����, d. Henry Koster). Work is currently being completed on WILD RIVER (���0, d. Elia Kazan), which will premiere at the TCM Classic Film Festival in April �0�0 in Los Angeles.

the Film Foundation is grateful to receive significant support from:Wes Anderson, Alec Baldwin, Steve Bing and Shangri-La Entertainment, Bloom Hergott Diemer Rosenthal & LaViolette, California Community Foundation, Cinema per Roma Foundation, Cineric, DeLuxe Labs, Leonardo DiCaprio, Digital Entertainment Group, Clint & Dina East-wood, Entertainment Industry Foundation, Exclusive Media, Fang Duff Kahn Publishers, Timothy Finn, Miloš Forman, Mark Goldblatt, Taylor Hackford, Tom Hanks & Rita Wilson, Lisa Hill, ITV Studios, Global En-tertainment Ltd., Irving Kohn Foundation, Peter Jackson, Graham King, The Alan & Cindra Ladd Family Foundation, John & Mary Lithgow, John Logan, Lucasfilm Foundation, Overture Films, Paramount Pictures Group, Rob & Michele Reiner, Ira M. Resnick Foundation, Gena Rowlands, Jeff Schick, Soundtrack Studios, Special Rider Music, Steven Spielberg, STARZ, Sharon Stone, Technicolor/Thomson, Turner Classic Movies, John & Katherine Turturro, Vanity Fair Magazine, John Waters, Gretchen Wayne & Batjac Productions, and WME Entertainment.

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acadeMY FiLM archive

APARAJITO [THE UNVANQUISHED] (����, d. Satyajit Ray) February �� & �� Stanford Theatre—Palo Alto, CA February �� Pacific Film Archive—Berkeley, CA April �� & �� Film Society of Lincoln Center—New York, NY

APUR SANSAR [THE WORLD OF APU] (����, d. Satyajit Ray) February �� & �� Stanford Theatre—Palo Alto, CA April �� & �� Film Society of Lincoln Center—New York, NY

CHARULATA [THE LONELY WIFE] (����, d. Satyajit Ray) April ��, �� & �0 Film Society of Lincoln Center—New York, NY

DEVI [THE GODDESS] (���0, d. Satyajit Ray) April �� Film Society of Lincoln Center—New York, NY

JALSAGHAR [THE MUSIC ROOM] (����, d. Satyajit Ray) April ��–�� Film Society of Lincoln Center—New York, NY September �0 High Museum of Art—Atlanta, GA

LEAVE HER TO HEAVEN (����, d. John M. Stahl) October ��–�� London Film Festival—London, UK

MAHANAGAR [THE BIG CITY] (����, d. Satyajit Ray) April �� & �� Film Society of Lincoln Center—New York, NY

THE MAN WITH THE GOLDEN ARM (����, d. Otto Preminger) June �� Cinematheque Ontario—Toronto, Canada December �� Pacific Film Archive—Berkeley, CA

NAYAK [THE HERO] (����, d. Satyajit Ray) April �� & �� Film Society of Lincoln Center—New York, NY

NIGHT TIDE (����, d. Curtis Harrington) January ��–�� Anthology Film Archives—New York, NY February � Australian Centre for the Moving Image— Melbourne, Australia April � Wisconsin Film Festival—Madison, Wisconsin June �� Los Angeles Film Festival—Los Angeles, CA July � Cinemateca Portuguesa—Lisbon, Portugal July �� Pacific Film Archive—Berkeley, CA

ONCE UPON A TIME IN THE WEST (����, d. Sergio Leone) January �� Music Box Theatre—Chicago, IL January �0 The Getty Center—Los Angeles, CA May � San Francisco International Film Festival— San Francisco, CA June �� Seattle International Film Festival—Seattle, WA June ��–�� New Beverly Cinema—Los Angeles, CA November �0 Verona Film Festival—Verona, Italy December ��–�� Northwest Film Forum—Seattle, WA

PATHER PANCHALI [SONG OF THE ROAD] (����, d. Satyajit Ray) February ��–�� Stanford Theatre—Palo Alto, CA April ��–�� Film Society of Lincoln Center—New York, NY August � Doc Films—Chicago, IL December �� & �� Film Society of Lincoln Center—New York, NY

TEEN KANYA [THREE DAUGHTERS] (����, d. Satyajit Ray) May �� Film Society of Lincoln Center—New York, NY

anthoLogY FiLM archives

BABO �� (����, d. Robert Downey Sr.) January ��–�� Yerba Buena Center for the Arts—San Francisco, CA February �–� Anthology Film Archives—New York, NY March ��–�� George Eastman House—Rochester, NY

BLONDE COBRA (����-��, d. Ken Jacobs) February � Anthology Film Archives—New York, NY December �� Anthology Film Archives—New York, NY

CHAFED ELBOWS (����, d. Robert Downey Sr.) January ��–�� Yerba Buena Center for the Arts—San Francisco, CA February �–� Anthology Film Archives—New York, NY March ��–�� George Eastman House—Rochester, NY April �� National Gallery of Art—Washington, DC July �0 Pacific Film Archive—Berkeley, CA

NO MORE EXCUSES (����, d. Robert Downey Sr.) January ��–�� Yerba Buena Center for the Arts—San Francisco, CA February �–� Anthology Film Archives—New York, NY March ��–�� George Eastman House—Rochester, NY

REMINISCENCES OF A JOURNEY TO LITHUANIA August �–�� Anthology Film Archives—New York, NY (����–��, d. Jonas Mekas)

film ScreeningsScreenings in �00� of films preserved/restored with funding from The Film Foundation

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cineteca di boLogna

LE AMICHE (����, d. Michelangelo Antonioni) February � Slovenian Cinematheque—Ljubljana, Slovenia October �� MoMA “To Preserve and Protect” Festival of Preservation— New York, NY

SENSO (����, d. Luchino Visconti) May �� Cannes International Film Festival—Cannes, France October �� Grand Lyon Film Festival—Lyon, France October �� MoMA “To Preserve and Protect” Festival of Preservation— New York, NY

LibrarY oF congress

ALL QUIET ON THE WESTERN FRONT (���0, d. Lewis Milestone) December �0 Filmarchiv Austria—Vienna, Austria

THE OLD DARK HOUSE (����, d. James Whale) September �� Harvard Film Archive—Cambridge, MA October � ��YTribeca—New York, NY

MUseUM oF Modern art

THE BIG TRAIL (���0, dirs. Raoul Walsh & Louis R. Loeffler) January �� Cinemateca Portuguesa—Lisbon, Portugal

THE BOY WITH GREEN HAIR (����, d. Joseph Losey) May � Danish Film Institute—Copenhagen, Denmark June � British Film Institute—London, UK November �� National Gallery of Art—Washington, D.C.

EAST SIDE, WEST SIDE (����, d. Allan Dwan) June � Newport International Film Festival—Newport, RI

GANJA AND HESS (����, d. Bill Gunn) August � Pacific Film Archive—Berkeley, CA

THE GREAT TRAIN ROBBERY (��0�, d. Edwin S. Porter) October � Le Giornate del Cinema Muto (Silent Film Festival)— Pordenone, Italy

THE LITTLE FUGITIVE June � Newport International Film Festival—Newport, RI (����, dirs. Ray Ashley, Morris Engel & Ruth Orkin)

LOVE AFFAIR (����, d. Leo McCarey) April � National Audiovisual Archive—Helsinki, Finland

THE MARK OF ZORRO (���0, d. Fred Niblo) September � Tromsø International Film Festival—Tromsø, Norway September �� Cinemateket Trondheim—Trondheim, Norway

THE MARRIAGE CIRCLE (����, d. Ernst Lubitsch) July �� Brooklyn Academy of Music—Brooklyn, NY November � Filmhaus Bielefeld—Bielefeld, Germany

ON THE WATERFRONT (����, d. Elia Kazan) June � Newport International Film Festival—Newport, RI

THE PRIVATE LIFE OF A CAT (����, d. Alexander Hammid) March �� Magic Lantern Cinema—Ketchum, ID

THE SEAFARERS (����, d. Stanley Kubrick) November � MoMA “To Preserve and Protect” Festival of Preservation— New York, NY

SWEET SWEETBACK’S BAADASSSSS SONG April �� National Audiovisual Archive—Helsinki, Finland (����, d. Melvin Van Peebles)

THE WHITE ROSE (����, d. D.W. Griffith) September � Le Giornate del Cinema Muto (Silent Film Festival)— Pordenone, Italy

WILD AND WOOLLY (����, d. John Emerson) October �� UW Cinematheque—Madison, WI

nationaL FiLM preservation FoUndation

ANITA NEEDS ME (����, d. George & Mike Kuchar) March ��–�� Anthology Film Archives—New York, NY

ASPHALT RIBBON (����, d. George Kuchar) March ��–�� Anthology Film Archives—New York, NY

BORN OF THE WIND (����, d. Mike Kuchar) March ��–�� Anthology Film Archives—New York, NY September � Kino Arsenal—Berlin, Germany

THE CLIMATE OF NEW YORK (����, d. Rudy Burckhardt) November � Anthology Film Archives—New York, NY

THE CONFESSIONS OF BABETTE (����, d. Mike Kuchar) March ��–�� Anthology Film Archives—New York, NY

DR. CHICAGO (���0, d. George Manupelli) May ��–�� Anthology Film Archives—New York, NY

EPILOGUE and SIAM (����, d. Tom Chomont) July �� Outfest—Los Angeles, CA September �� San Francisco Cinematheque—San Francisco, CA

I WAS A TEENAGE RUMPOT (���0, d. George & Mike Kuchar) March ��–�� Anthology Film Archives—New York, NY June �� Frameline Festival—San Francisco, CA October �� Viennale—Vienna, Austria

JABBOK (����, d. Tom Chomont) July �� Outfest—Los Angeles, CA September �� San Francisco Cinematheque—San Francisco, CA

LOVE OBJECTS (����, d. Tom Chomont) July �� Outfest—Los Angeles, CA September �� San Francisco Cinematheque—San Francisco, CA

THE MIRROR GARDEN (����, d. Tom Chomont) July �� Outfest—Los Angeles, CA September �� San Francisco Cinematheque—San Francisco, CA

MOTEL CAPRI (����, d. George Kuchar) March ��–�� Anthology Film Archives—New York, NY April � Images Festival—Toronto, Canada

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nationaL FiLM preservation FoUndation (continued)

NIGHT OF THE BOMB (����, d. George & Mike Kuchar) March ��–�� Anthology Film Archives—New York, NY April � Images Festival—Toronto, Canada

NOSTALGIA (����, d. Hollis Frampton) March ��–�� Anthology Film Archives—New York, NY October �� London Film Festival—London, UK

OBLIVION (����, d. Tom Chomont) July �� Outfest—Los Angeles, CA September �� San Francisco Cinematheque—San Francisco, CA

ONE FLIGHT UP (����, d. Rudy Burckhardt) November � Anthology Film Archives—New York, NY

ONE NIGHT A WEEK (����, d. George Kuchar) March ��–�� Anthology Film Archives—New York, NY

OPHELIA and THE CAT LADY (����, d. Tom Chomont) July �� Outfest—Los Angeles, CA September �� San Francisco Cinematheque—San Francisco, CA

PHASES OF THE MOON (����, d. Tom Chomont) July �� Outfest—Los Angeles, CA September �� San Francisco Cinematheque—San Francisco, CA

POWER OF THE PRESS (����, d. George Kuchar) March ��–�� Anthology Film Archives—New York, NY

THE SLASHER (����, d. George & Mike Kuchar) March ��–�� Anthology Film Archives—New York, NY

SYLVIA’S PROMISE (����, d. George Kuchar) March ��–�� Anthology Film Archives—New York, NY

THE THIEF AND THE STRIPPER (����, d. George Kuchar) March ��–�� Anthology Film Archives—New York, NY

A TOWN CALLED TEMPEST (����, d. George Kuchar) March ��–�� Anthology Film Archives—New York, NY September � Kino Arsenal—Berlin, Germany

UNTITLED NORMAN MAILER FILM (����) October � New York Film Festival—New York, NY

A WOMAN DISTRESSED (����, d. George Kuchar) March ��–�� Anthology Film Archives—New York, NY

UcLa FiLM & teLevision archive

BABY DOLL (����, d. Elia Kazan) August �� Harvard Film Archive—Cambridge, MA October �� Cinematheque Ontario—Toronto, Canada

BECKY SHARP (����, d. Rouben Mamoulian) December ��, �00� British Film Institute—London, UK February � University of Michigan—Ann Arbor, MI April �� UW Cinematheque—Madison, WI

THE BIG COMBO (����, d. Joseph H. Lewis) October �� Block Museum of Art at Northwestern University— Evanston, IL October �� AFI Silver Theatre—Silver Spring, MD

THE BIGAMIST (����, d. Ida Lupino) March � Film on Film Foundation at Pacific Film Archive— Berkeley, CA

CAUGHT (����, d. Max Ophüls) January �� Harvard Film Archive—Cambridge, MA February � UW Cinematheque—Madison, WI February �� AFI Silver Theatre—Silver Spring, MD May � University of Chicago Film Studies Center—Chicago, IL June �� Gene Siskel Film Center—Chicago, IL

THE CONNECTION (����, d. Shirley Clarke) April �� Anthology Film Archives—New York, NY

THE DARK MIRROR (����, d. Robert Siodmak) September �� The Screen—Santa Fe, NM December � Bing Theater, Los Angeles County Museum of Art— Los Angeles, CA April �� UW Cinematheque—Madison, WI

ETERNAL LOVE (����, d. Ernst Lubitsch) November �–�, �00� National Audiovisual Archive—Helsinki, Finland

A FACE IN THE CROWD (����, d. Elia Kazan) August �� Harvard Film Archive—Cambridge, MA October �� Film Forum—New York, NY October �� Cinemateca Portuguesa—Lisbon, Portugal October �� Cinematheque Ontario—Toronto, Canada

FACES (����, d. John Cassavetes) September ��–�0 Danish Film Institute—Copenhagen, Denmark

HOW GREEN WAS MY VALLEY (����, d. John Ford) December �, �00� The Screen—Santa Fe, NM April �0 Wesleyan Cinema Archives—Middletown, CT

JOAN OF ARC (����, d. Victor Fleming) April �� George Eastman House—Rochester, NY

KUSTOM KAR KOMMANDOS (����–����, d. Kenneth Anger) January �� Directors Guild of America—New York, NY February �� Museum of Photographic Arts—San Diego, CA March � Bowers Museum—Santa Ana, CA March �� Palace of Fine Arts—San Francisco, CA April �� Seattle Art Museum—Seattle, WA April �� UW Cinematheque—Madison, WI

LA CUCARACHA (����, d. Lloyd Corrigan) April �� UW Cinematheque—Madison, WI June �0 National Gallery of Art—Washington, D.C. September � Cornell Cinema—Ithaca, NY

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UcLa FiLM & teLevision archive (continued)

LETTER FROM AN UNKNOWN WOMAN (����, d. Max Ophüls) February � Harvard Film Archive—Cambridge, MA February �� AFI Silver Theatre—Silver Spring, MD February �� UW Cinematheque—Madison, WI April � The Crank, UCLA—Los Angeles, CA April �� University of Chicago Film Studies Center—Chicago, IL June �� Gene Siskel Film Center—Chicago, IL July �� Pacific Film Archive—Berkeley, CA

LOUISIANA STORY (����, d. Robert Flaherty) January �� DocPoint—Helsinki Documentary Film Festival— Helsinki, Finland April � Anthology Film Archives—New York, NY August �� Silent Movie Theater (Cinefamily)—Los Angeles, CA

MACBETH (����, d. Orson Welles) April � American Cinematheque (Aero Theatre)—Santa Monica, CA July �� Film Society of Lincoln Center—New York, NY

THE NIGHT OF THE HUNTER (����, d. Charles Laughton) April �� UW Cinematheque—Madison, WI October �� Tennessee Archive of Moving Image & Sound—Knoxville, TN

OF MICE AND MEN (����, d. Lewis Milestone) May �� AMPAS—Los Angeles, CA

PENNY SERENADE (����, d. George Stevens) August �� Brooklyn Academy of Music—Brooklyn, NY

POINT OF ORDER! (����, d. Emile de Antonio) April � UCLA Festival of Preservation—Los Angeles, CA August �–�0 Pacific Film Archive—Berkeley, CA September �0 Gene Siskel Film Center—Chicago, IL

PURSUED (����, d. Raoul Walsh) June � AMPAS—Los Angeles, CA

RAMROD (����, d. Andre de Toth) August �� Anthology Film Archives—New York, NY

THE RED SHOES (����, dirs. Michael Powell & Emeric Pressburger) May �� Cannes International Film Festival—Cannes, France June �� Edinburgh International Film Festival—Edinburgh, Scotland June �� Cineteca del Comune di Bologna—Bologna, Italy July �� The Film Foundation/Directors Guild of America— Los Angeles, CA July ��–August � Billy Wilder Theatre, Hammer Museum—Los Angeles, CA September �� Dreamworks Animation—Glendale, CA October � San Francisco Museum of Modern Art—San Francisco, CA October �� Cinematheque Ontario—Toronto, Canada November � The Film Foundation/Directors Guild of America— New York, NY November �–�� Film Forum—New York, NY December �� Butt-Numb-A-Thon—Austin, TX

RUTHLESS (����, d. Edgar G. Ulmer) April �� UCLA Festival of Preservation—Los Angeles, CA May �� American Cinematheque—Los Angeles, CA August �–�0 Pacific Film Archive—Berkeley, CA September �� Gene Siskel Film Center—Chicago, IL October �� Wexner Center for the Arts, Ohio State University— Columbus, OH October �� UCLA Press Screening—Los Angeles, CA

SCORPIO RISING (����, d. Kenneth Anger) November ��, �00� REDCAT—Los Angeles, CA October �� The Crank, UCLA—Los Angeles, CA

SECRET BEYOND THE DOOR (����, d. Fritz Lang) April � UCLA Festival of Preservation—Los Angeles, CA August �–�0 Pacific Film Archive—Berkeley, CA September �� Gene Siskel Film Center—Chicago, IL October � Wexner Center for the Arts, Ohio State University— Columbus, OH

SHADOWS (����, d. John Cassavetes) November �, �00� Yerba Buena Center for the Arts—San Francisco, CA January �� National Gallery of Art—Washington, D.C. September �–�0 Danish Film Institute—Copenhagen, Denmark September � Film Society of Lincoln Center—New York, NY

SHE WORE A YELLOW RIBBON (����, d. John Ford) April �� Stanford Theatre—Palo Alto, CA

SHOCK CORRIDOR (����, d. Samuel Fuller) September �0 Melbourne Cinematheque—Melbourne, Australia

SUNDAY (����, d. Daniel Drasin) April � UCLA Festival of Preservation—Los Angeles, CA August �–�0 Pacific Film Archive—Berkeley, CA September �0 Gene Siskel Film Center—Chicago, IL

TILLIE’S PUNCTURED ROMANCE (����, d. Mack Sennett) May �0 Cinemateca Portuguesa—Lisbon, Portugal

WAY OUT WEST (����, d. James W. Horne) June � Playboy Mansion—Los Angeles, CA

A WOMAN UNDER THE INFLUENCE (����, d. John Cassavetes) March �� UCLA Festival of Preservation—Los Angeles, CA August �–�0 Pacific Film Archive—Berkeley, CA September �� Danish Film Institute—Copenhagen, Denmark September �� Gene Siskel Film Center—Chicago, IL October � Wexner Center for the Arts, Ohio State University— Columbus, OH October �� MoMA “To Preserve and Protect” Festival—New York, NY

��

($1 Million or more)

American Movie ClassicsDirectors Guild of AmericaSir J. paul GettyHollywood foreign press AssociationiBMLucasfilm foundation

($250,000 to $999,999)

American ExpressDirectVEntertainment industry foundationfranco-American Cultural fund

(fACf)Guccinetflixphilips Consumer ElectronicsRome film festivalSteven SpielbergRobert B. Sturmturner Classic Moviestwentieth Century foxVanity fair Magazine

($100,000 to $249,000)

Allen foundation for the ArtsCreative Artists Agencytom CruiseMarc Jacobs internationalMaxMaraLouis B. Mayer foundationMiramax filmsSony pictures Home EntertainmentUnited States Department of StateWarner Bros. Entertainment

($25,000 to $99,999)

Wes AndersonMarc AnthonyCarnegie Corporation of new YorkCondé nast travelerthe nathan Cummings foundationthe Carole & Robert Daly Charitable

foundationLeonardo DiCaprioDriehaus Capital ManagementEastman kodak Companytimothy E. finnHarrison fordMiloš formanHermèsitV Studios, Global

Entertainment Ltd.the kennedy/Marshall Companynational Endowment for the Artsthe newman’s Own fundparamount Motion picture Groupprimetime Omnimedia, LtDWinona RyderJeff Schickthe Semel Charitable foundationthe Simons foundationUniversal Studios, inc.Marc WeilheimerHarvey WeinsteinRobert Zemeckis

($10,000 to $24,999)

the Academy foundationGiorgio ArmaniAlec Baldwinthe Banky La Rocque foundationSteve BingJake BloomMichael J. BluttWilliam BrawerCalifornia Community foundationGlenn Gordon CaronCBC framing inc.City national BankMichael CrichtonAlfonse D’AmatoDigital Entertainment GroupClint EastwoodJohn Ebey Energy Brands, inc.City national BankGQ Magazinetom Hanks and Rita WilsonArthur HillerJanus films & the Criterion

CollectionGraham kingAlan & Cindra Ladd family

foundationGarry Marshall

Mercedes BenzBruce RamerRob and Michele Reinerivan Reitmanthe Roblee foundationthe Ross family foundationRpMC, inc.Andrew SaffirYeardley SmithStarr & CompanyStARZSharon StonetechnicolorUnited talent AgencyMichael VerrutoWME EntertainmentJohn Sacret Young

($1,000 to $9,999)

American Corporation Ali AmidyRobert AppiahMichael AptedGuido A. ArenArista RecordsAlan ArkushArtists Management GroupAurora productions, inc.William AustinAvalon Cablethe B Y foundationZane BalsamRachel BanvardS. Barrett and Cynthia RittmasterBatjac productions B. Baron BenhamWilliam BerengerJay BernsteinBernardo Bertoluccithe Bisch familyMark BloomBlueprint films Gloria BoileauBoots Entertainment, inc.peter and Loraine Boylephillip BrockDale f. BrownDavid BrownMatthew BrownCarolyn Buchananthomas BurlingtonCatherine A. ButlerRobert Butlerc5 inc.nicholas CageJames CameronCapital publishingCartierCasswood insurance AgencyMichael ChapmanJohn B. CharnayLyman Chenfrank ChrissotilmosCineric, inc.Judy CollinsSandra CostaCW productionsDallas film Society, inc.Joe DanteDeluxe LabsRobert De nirokirk and Anne DouglasDuArt film Laboratories, inc.Diana Lynn EllisEncore Media CorporationExclusive MediaVera farmigaDonald p. farrellYvette fiersteinSelma fonsecafoundation for Brotherhood forbes foundationJanet friedman-EdwardsJeremy frommerGagosian GalleryCharles GarganoLarry GarrisonMel GibsonMark Goldblatt, ACEMr. and Mrs. peter John GoulandrisBarbara Grogantaylor Hackfordkenneth W. HarrellGeorge S. HarrosHugh HefnerMarie Heppthe Heron foundationDustin Hoffman

Anthony Hoytinternational Creative

Management, inc.interstate Consultant ServicesJames ivorypeter Jackson.Georgia Rosenberg JacobsonDr. Wendell L. JamesDr. Mark R. Jenkinsnorman JewisonJohn Gordon Jonesnina kaminerHarvey keitelDaniel f. kelly, Jr.timothy f. kellykevin klineSteve knottsknotts Enterprisesirving kohn foundationkorn/ferry internationalthomas kranzMark krizkiDavid LaChapelleJames LadmanHoward LancerLandmark Silver Cinemas Marisa LangAbe & frances Lastfogel foundationthe Last Moving picture CompanyDarlene Litchfield LathigeeAng LeeJohn LoganSidney LumetAdrienne M. MaloofMichael Mann Marmont productions, inc.Richard C. Marquardt, Jr.Mark MarsilloJ. Scott and Ashley MatteiDavid Maule-ffinchkate McEnroeJoseph MedewarJames MeigsMerchant ivory productions, inc.Michael and Courtney MonahanMichael Morrow, Schwab fund for

Charitable Giving torie Mudarrispaula MuellerSteven and paula Myersnational philanthropic trustJose Luis nazarUrsula nealRichard new and Mara Beltrami-new new Line CinemaMike nicholsVern nobleEdward nortonphilip noyceGianni nunnariOctober filmsnoreen O’LoughlinOMDUSA, inc.Overture filmspace productionsRichard paduloGwyneth paltrowpanavisionparadyme trustCheyne parkerpDi EnterprisesChristopher todd perrottapersonal Concierge Services

international, inc.Joe pesciplanet HollywoodCheryl Reventlow postpremiere MagazineRainbow MediaHenry RappaportRay of Light foundationira M. Resnick foundation, inc.RiCOH CorporationRobert RifkinJulia RobertsE. Robert and Diane RoskindLeonard RossGena RowlandsElbert RoyasJeffrey A. SachsJoshua Sapanpaul SchraderJane W. ScottRidley ScottRonald and Marilyn SecrestDavid SehringJonathan SehringWilliam ShatnerBruce W. Sheinberg

Heide SignesMike SilvermanJane SmithRussell k. SmithRichard SolowaySpecial Rider MusicRay StarkElizabeth thieriotDenise thomasontoshifilmsJoseph trainaJohn travoltatribeca productions, inc.paul tsigrikesDavid UngerValhalla Motion picturestrang VoMark WahlbergWalt Disney Companythe Wasserman foundationRachel Webberpeter WeirCourtney and Barbara H. WernerWes Craven filmsWest Coast Ground Servicest. WheatcraftDavid L. Wienerthe Windfall foundationMargo & irwin Winkler foundationfanny Yacaman, D.D.S.Rick YornSteven and Elizabeth Zaillian

($500 to $999)

Edvard AkopyanChristian A. AndrewsW. & R. Bernheimer family

foundationthora BirchJudy Ann BlakeMitch BlumbergJanet Leigh BrandtJeremy CarrJosh CharlesCondé nast publications, inc.paul CzakoJudith Entesfang Duff kahn publishersilene feldmanAndrew GalleraniBrian GershGabriella forte GlantzGroup Clarinsnancy Havens-Hasty Bud JacksonMyrna JacobyCharles JamesSpike Jonzetom karschking World productions, inc.Michael LibowDaniel LionJohn and Mary LithgowLoews Cineplex EntertainmentLone pine CommunicationsGrace Lowellkevin MisherDave Ostranderpara Los niñosDiana phillipsGeri prentissJoyce ReaGary RossJon RubinsteinMichael RutmanSage Realty Corporationthomas SalatteCarol A. Savoietom SkerrittSoundtrack StudiosDante SpinottiRoger SpottiswoodeBen StillerJerry StillerCharlene tiltonSallie toussaintJohn and katherine turturroJulia WayneSteven Weber and Juliette HohnenDoreen WilcoxJackie York

($100 to $499)

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foundationtara Sloan Beverburg

Joe Blasenoah BlinderAndrew BottomleyGary D. BreseeConrad and Laura BuffBill CantleberryJames ChadamHeather ChristensenLaina CohnHal CooperBen CosgroveJules DalyBlythe DannerRobert DarwellSivonne Daviskatherine De paulMichael DiGirolamoBradford and Suzy parker DillmanLarry and Catherine DorfmanJillian finnHal fisherLucy fisherLaura fox and Bennet Van De BuntBarry fredianikathryn friedrichDennis t. GallagherRobert GalzaranoBrian GershGary GilbertWilliam i. Goldstein, Esq.April Carter GrantMichael GriffithHarold A. Hallkathye Hamilton and Jason RussoJudith L. HarrisonRyan HeilLouis HelmanElizabeth HertzDonna Heuman, Esq. Lisa HillVictoria HochbergCecile insdorfRenee R. JennettJericho Entertainmentphilip kaufmanOris and Bonnie kirkDr. Arnold kleinAl LacknerBonnie-Jill Laflinnicole LandersEllen LewisLinda B. LichterCarol LiebensonLynne LittmanCarol and Alan Marshallpaul D. McCraneMeghan R. McElhenyVictoria V. McMahon frank MedinaDaphne MerynRon and Harriet MeyerJudith MurphyJesse nelsonMatthew palmieriSean pennJonathan and Jacqueline ReichmanJessamyn Ressler-MaerlenderMilagros RiveraDavid RossRobert Rosstracy RossDavid SalleAnjenette Schiolathelma C. SchoonmakerAdam SchroederCantor Esther SchwartzBerton Severson and Gerald SolomonMichael ShonkMike SilvermanSteven StablerMark Sternbergkaren StetlerJoseph StuczynskiJohn WatersConnie WeaverLoretta WebberMindy Ross WestDoug WickRoque WickerDoreen Wilcoxpamela WolfeCraig YoungRachel ZalisEduardo Zuniga

the film foundation Donors The Film Foundation gratefully acknowledges our generous supporters (from ���0–�00�).

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