How film history gets rewritten
Posted By Jonathan Rosenbaum on 06.13.07 at 05:48 PM
I realize it must sound crazy for people who haven’t seen Jacques Rivette’s 750-minute Out 1 (1971) or his 255-minute Out 1: Spectre (1972) to keep reading blog posts about them — even though I keep hearing almost every day from various others who have seen either or both films recently, in Chicago or New York or Vancouver or Berkeley, and are still recovering from the experience.
What I’d like to focus on here is how these films wind up getting misrepresented due to the circulation of incomplete data. For instance, everyone who’s seen any stills from the two films and hasn’t seen the films probably concludes that they’re both in black and white. They’re wrong; the problem is that the only photos available from the films on the Internet and in film magazines are in black and white, undoubtedly because color stills would cost too much money to process. In fact, the beautiful restoration of Spectre that showed at the Gene Siskel Film Center last Saturday, blown up from 16-millimeter to 35, had far more luscious and luminous colors than any other print I’ve ever seen — finally justifying Rivette’s supposedly extravagant claim in a 1975 interview that “you might almost say that I am trying to bring back the old MGM Technicolor!