Krrr! Means not only Krnov, but also a sound of roaring film projector
Remarks of a visitor
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The 70mm Newsletter
|Written by: Stanislav Novotný||Date: 28.06.2014. |
|Pavel Tomesek, the chief projectionist of Krnov Mir 70 cinema and the spirit of KRRR!|
During past nine years a new tradition has been established for Czech 70mm film fans in North-Moravian city of Krnov. When mid-April comes, flowers start to be in bloom and days are longer and longer – those are not only marks of forthcoming spring – it is also an inviting enticement for real film connoisseurs from Czech Republic, Slovakia, Poland and other not only neighbouring countries. There's a categorical imperative: “Let's go to Krnov.” A very positive circumstance could be seen in fact that this unique event gathers people from various companies oriented to film from various aspects – schools, institutions, archives, studios, labs – and joins people of ages from young students, up to matured experts.
A three-day Marathon of 9th KRRR 2014 took place from Friday, 11th April till Sunday 13th April. Nine 70mm film titles, more than 50 km of 70mm film strips and more than 25 hours of pure time in darkened cinema moved real film feeders to heavenly nice cinematic euphoria.
The program opened Soviet historical drama The Flying Hussars Squadron filmed in Sovscope 70. This print was made on a Soviet positive film stock called Svema. Although its spectrum is generally considered as full coloured, it has to be modified to full “Russian colour spectrum”. Telling the truth there are not such remarkable changes of dyes as are usually visible on older prints made on Eastman Color Print, however this particular colour spectrum was also somehow changed. It means that flesh tones are unnaturally pale, lights are bluish and overall colour saturation is lower than corresponds to a correct colour reproduction. This is a general portrayal of Russian film colour response, although not all Soviet prints weren't made on Svema stock, but also on the East-German Orwocolor Positive film material.
Second listed film followed later in the afternoon was American musical Chitty Chitty Bang Bang filmed in Super Panavision 70. This feature wasn't ever released in former Czechoslovakia (or now in the Czech Republic) before. The showed print had almost magenta dye remained. That means the image was quite reddish or pink but surely the plot of the film based on Ian Fleming's novel and Roald Dahl's screenplay, nice Chitty Chitty Bang Bang song and English humour stood still distinct.
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Third 70mm Seminar
4th 70mm Seminar
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KRRR! 6th 70mm Film Fest Krnov
KRRR! 7th 70mm Film Fest Krnov
KRRR! 8th 70mm Film Festl Krnov
|Containers with kilometers of 70mm films utilize most every free space in the technical compartment of the cinema|
The evening program opened an official address of Krnov Mayor Mrs. Alena Krušinová. After this formal opening a third film was threaded into a pair of Meopta UM70/35 projectors in the Mír 70 cinema. It was a premiere show of the Ultra-Panavision 70 print of Khartoum in its full aspect ratio of 1 : 2.76. This show was made possible thanks to Mr. Herbert Born, who kindly lent his Ultra-Panavison projection lenses to the Krnov Mír 70 cinema for this special event. In fact the Mír 70 cannot exploit wider screen than the installed 15-meter-wide one. To fit the image of Khartoum in 1 : 2.76 aspect ratio onto this screen means that the projected image was a little bit lower. Using a television terminology it could be described as a letterbox format on a screen of 1 : 2.2 ratio.
When Khartoum finished a traditional Friday evening bash in the foyer of the cinema was arranged. This is always a good opportunity not only as a refreshment of hungry a thirsty viewers but also a unique chance for meetings friends and talks to other film fans, because usual breaks between films are not long enough for such purposes and film fans have always much to talk about their movie experience.
Late night show belonged to brave Indiana Jones, who personally visited the cinema with his typical broad hat on his head and a with a whip in his hand to introduce the third movie of “his” series – Indiana Jones and the Last Crusade. This movie originally filmed in anamorphic 35mm Panavision was the only one blow-up title shown at this festival and was projected without Intermission. Other 70mm films on the Fest had traditional Intermissions, which are inherent parts of pristine 70mm movies.
Kino Mir 70
Namesti Miru 14
794 01 Krnov
The Czech Republic
Telephone: +420 554 615 050
Head of the Kino Mir 70: Pavel Tomešek
Official 70mm Festival Page
|Accreditations in the lobby of the Kino Mir 70 cinema|
Short night left and Saturday morning dragged viewers to another long film run again. The first movie shown on Saturday was Russian (Soviet) film Tchaikowski, a biographical story of a famous Russian composer. Heavy dark atmosphere of Russian society of 19th century and inner struggles of Tchaikowski – that is a brief report of this film. Its colour spectrum corresponds to parameters described above.
Early afternoon opened a video clip made by Polish Guru group together with Czech film enthusiasts showing their individual vision of the KRRR Festival. A historical drama - the classic Shakespeare's play Hamlet in an unusual arrangement of Kenneth Branagh – followed after this extraordinary clip. Long, but well done notorious story transposed to 19th century could be found as a pretty much talkative film with more than four hours of projection time with three thousand of subtitles.
|Official on-stage photo|
Early Saturday evening another historical drama took place on the Mír 70 screen: The Fall of the Roman Empire, another Ultra-Panavision 70 film, but in a difference to Khartoum, this print was optically unsqueezed, transformed to regular spherical 70mm screening in 1 : 2.2 format. Stellar cast, spectacular show and stunning exterior set of Forum Romanun however could not balance more or less boring plot. Colour shift of the film image to reddish tones due to its olden date of the print was very apparent.
Late night show took viewers to Ireland during a period of world war one in an amorous story of Ryan's Daughter. Masterful direction of David Lean and fine cinematography of Freddie Young didn't allow to sleep to outspent viewers, although this three-hour drama run in a very late night time. This show was possible thanks to Hans Hänßer, who kindly loaned this print in German dubbing. In addition to this there was one more very late night unscheduled bonus. After the Ryan's Daughter we've got a unique opportunity to see a half-hour Soviet Kinopanorama promo picture similar to This Is Cinerama, but Made in USSR. The 70mm print integrated three original separate 35mm Cinerama-like strips. Colour degradation to pink tones indicated that this print was made on the Eastman Colour Print stock. Film was narrated into English. Composite Cinerama-like image proved similar handicaps as original Cinerama, but in a more apparent form, i.e. connection, unsteadiness and disparity of photographic quality of particular images were more disruptive than such ones in its American counterpart.
|Early Saturday nighto in front of the Kino Mir 70|
Sunday morning attracted real film patrons, who are interested in film technology. They were amply rewarded by a perfect lecture devoted to a history of film sound systems of Mr. Ivan Školuda, the author, who had prepared a very good one-hour discourse supported by virtual demonstrations of various sound systems from a very past history up-to present days.
Regular Sunday film program had started at 10.30 A. M. The third Russian film presented on this show Anna Karenina (1967) was screened. A famous story based on a Lev Nikolayevich Tolstoy's novel is well-known not only as a literary original, but also thanks to various film adaptations. This one was made in the USSR in 1967 by Alexander Zarchi with Tatyana Samoylova in a title role. This third Russian (Soviet) film screened on 9th KRRR was the best one in the Russian series (according to opinion of the author). Nevertheless it also suffered with the same technical problems as other two Russian ones that mean typical desaturated colour reproduction as well as visible low resolution of large format image, despite of the fact that the original negative was shot on a 70mm film stock. In a difference to Todd-AO and Super Panavision 70, which had used 65mm negative, Soviet Sovscope 70 exploited both negatives and prints in 70mm width.
Sunday afternoon and early evening brought reprises of two films shown first on Friday: Chitty Chitty Bang Bang and Khartoum.
Well, 9th KRRR is over, let's look forward to the jubilee 10th KRRR 2015 (17th to 19th April 2015)!
More details of screened films here KRRR! 9th 70mm Film Fest Krnov 2014. More photos are available on Facebook.
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