An Open Letter to Christopher Nolan

Dear Christopher

I have enjoyed your earlier films but the new Dunkirk has given me the greatest pleasure. I found the organisation of the narrative fresh and inventive. The cast are good. The soundtrack is effective. But it is the visual quality of the film that is really awesome.

I saw the film first on 35mm at the Hyde Park Picture House in Leeds. As far as I could make out this was the only cinema screening the 35mm print. I realised later that both the colour palette and the sound are not quite up to the 70mm versions. I wonder how much this is due to the prints distributed in the UK?

I saw the 70mm version at the Parkway Cinema in Barnsley. This was impressive. And I think the cinema’s dedication to screening 70mm is admirable: they were the only venue in the region to screen The Hateful Eight in 2016. I gather there was only one 70mm print of that film in the UK: it seems there are four of Dunkirk, which is an improvement. And only last month the cinema screened Interstellar in 70mm. I do question how effectively the distributors are handling these films. The other 70mm exhibitor [in Bradford] are not screening Dunkirk in the 70mm print until October?

Most impressive, I watched the 70mm IMAX at The Printworks in Manchester. Visually stunning and the image, colour and sound were all of real quality. I also got my head around all of the time zones in the film.

However I am becoming increasingly concerned. I now understand that The Printworks is replacing the 70mm projectors with Digital Imax. Apparently there will be a laser projector, which will be superior to other digital IMAX. But my technical friends assure me that it will not be equivalent to 70mm. The Printworks [which was run by Odeon] is now run by VUE. I remember a couple of year ago that ‘The Guardian’ profiled the Chief Executive of VUE, who was quoted as stating that he was’

“passionate about film.”

I suspect that the quotation was abbreviated and that the full version ran something like,

“passionate about film as a commodity with sufficient surplus value to generate profits.”

So I worry whether I will be able to see see your future productions using ‘reel film’ in their proper format: or those by your colleagues who also privilege this superior film format. Our distributors and exhibitors are so disinterested in this that hardly any of them bother to detail formats in their publicity or programmes.

Seeing these films in their proper form is almost as hard as getting off the French beach into those heroic little boats in 1940.

Regards and thanks

Keith

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