The ninth annual Nitrate Picture Show took place over the weekend at the George Eastman Museum in Rochester, New York, delighting film enthusiasts with its eclectic programming.
This year’s festival continued to explore the evolution of color in cinema, a significant theme echoed throughout the selected films and shorts.
Opening the festival was Rouben Mamoulian’s groundbreaking film, Becky Sharp (1935), starring Miriam Hopkins.
As the first feature film entirely shot in three-color Technicolor, Becky Sharp holds a special place in cinematic history, as it introduced ‘natural colors’ to motion pictures.
The prior limitations in palette meant that certain colors, particularly yellow and blue, could not be displayed prominently until the advancement brought by Technicolor Process IV in the early 1930s.
Despite some critics labeling Hopkins’ performance as crude, her ability to embody the vibrant colors of the film was undeniable, creating a sensational viewing experience.
The shorts program at the festival consistently delivers memorable moments, and this year was no different, showcasing a selection that highlighted seven different color processes.
The program kicked off impressively with Les Destructeurs de nos jardins (1916), or The Destroyers of Our Gardens.
The Pathécolor process used in this short film not only captivated the audience with its stunning colors but also revealed the intricate craftsmanship behind its creation.
Through a labor-intensive method involving the creation of stencils for each intended color, the film brought vibrant life to its subject—the mighty caterpillar.
This elaborate process underscores the often-overlooked contributions of women in the history of cinema and highlights how vital their role was in film creation.
Miriam Hopkins may have dazzled audiences with her performance, but the skilled women behind the scenes, cutting stencils, were the true artists crafting the film’s visual experience.
The festival also featured a captivating selection of Czech animations from the 1930s, which included a series of advertisements skillfully crafted by the husband-and-wife duo, Karel Dodal and Irena Dodalová.
Interestingly, these advertisements were actually animated by Karel’s ex-wife, Hermína Týrlová, adding another layer of complexity and creativity to the showcase.
In addition to historical animations, attendees enjoyed a rich lineup of features, including Mikio Naruse’s Wife! Be Like a Rose! (1935), Gregory La Cava’s My Man Godfrey (1936), and Jerzy Kawalerowicz’s Mother Joan of the Angels (1961).
It’s important to note that nitrate film stock was a staple in film production until 1951, after which Kodak ceased its manufacture—an era that the festival emphasizes through its curated selections.
While the festival thrived on its cinematic offerings, a new seating arrangement for patron passholders introduced some challenges.
Assigned seating resulted in many reservations across the theater, leaving regular passholders with only pockets of seating available.
Attendees are hopeful that the festival will reconsider this arrangement for next year to enhance the viewing experience.
Beyond films, attendees indulged in local culture, with Rochester being known for its unique regional delicacy— the garbage plate—adding flavor to the festival experience.
As the event concluded, moviegoers returned to their regular routines, particularly in cities like Chicago, eager for what cinematic adventures lie ahead.
Until next time, film aficionados know that the magic of the Nitrate Picture Show continues to shine a light on cinema history and the artistry behind it.
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