The Ring - BFI National Archive
There is no more venerated name in the world of cinema than Alfred Hitchcock. His movies and methods have been studied and emulated by filmmakers around the world, and his impact on the art of directing is unsurpassed. The master of suspense made films in the United Kingdom and in Hollywood, demonstrating the adage that moving images speak a global language.
Surprisingly, in light of these facts, Hitchcock’s very early silent era work — films that offer a fascinating glimpse into the development of his style — has been in bad shape. Deluxe and the British Film Institute (BFI) have corrected this, gathering as many elements of these early films as possible and using the latest restoration techniques to resurrect them. The project required thousands of hours of painstaking work. Hitchcock fans have rejoiced.
Celluloid Man spotlights the work of P.K. Nair, who, almost single-handedly, has preserved India’s unique film heritage. For director-producer Shivendra Singh Dungarpur, his first feature-length documentary project was a monumental task as well. Celluloid Man was shot using 11 cinematographers and almost as many KODAK Film stocks. The documentary examines the remarkable work of Nair who founded the National Film Archive of India (NFAI). Featuring stalwarts from world cinema who were influenced by Nair and his work, it also looks at their experiences and the need to improve film preservation efforts.
“Nair built the Archive can by can in a country where the archiving of cinema is considered unimportant,” explains Dungarpur. “It is thanks to him that the Archive still has nine precious silent films of the 1,700 silent films made in India, and that Dadasaheb Phalke is recognized as the ‘father of Indian cinema.’”
Scenes from Gate of Hell before and after restoration (Photo ©1953 Kadokawa Pictures)
Gate of Hell is the first Japanese feature film shot on EASTMAN Color Negative Film 5248 / Tungsten EI25. Directed by Teinosuke Kinugasa in 1953, this movie was awarded the Grand Prize in Cannes in 1954 and also won two Academy Awards®.
The restoration was a joint project of Kadokawa Pictures and the National Film Center (NFC) of the National Museum of Modern Art, Tokyo, who conducted research and led the project as film archivists. The intention was to faithfully restore the original 1953 look of EASTMAN Color Film.