Behind the Motion Picture Canvas: MANHATTAN, THE BLACK STALLION Screenings
Woody Allen, Diane Keaton in Manhattan
Newly struck prints of Woody Allen’s Manhattan (1979) and Carroll Ballard’s The Black Stallion (1979) will be screened as part of the Academy of Motion Picture Arts and Sciences’ presentation “Behind the Motion Picture Canvas: Film Formats through the 21st Century,” which will trace the history and evolution of motion picture formats from the silent era through the current digital age.
"Behind the Motion Picture Canvas" will kick off on Wednesday, September 9, at 8 p.m. at the Samuel Goldwyn Theater in Beverly Hills. It will continue with screenings of Manhattan on Thursday, September 10, and The Black Stallion on Friday, September 11. Both screenings will begin at 8 p.m. Academy Science and Technology Council member Rob Hummel will host each evening.
As per the Academy’s press release, “Behind the Motion Picture Canvas” will feature filmmakers discussing "how film formats shape creative decisions, examining the technical constraints and the artistic opportunities that accompany the choice of format. The program also will examine the role that emerging technology has played in the evolution of film formats, and how the technical choices made by Thomas Edison and William Dickson at the dawn of the film era continue to influence the way we look at movies today."
I find Manhattan one of Woody Allen’s three or four greatest films. (My other favorites: Annie Hall, Crimes and Misdemeanors, Bullets Over Broadway.) Masterfully shot in black-and-white by Gordon Willis, this romantic comedy-drama for adults stars Allen as a 40-something comedy writer who still have lots to learn about love, maturity, ethics, women, and himself. Also in the cast: Diane Keaton, Michael Murphy, Meryl Streep (who dumps Allen for another woman), and a beautifully nuanced Mariel Hemingway.
Though superior to just about every other Academy Award nominee that year — no matter the category — Manhattan received a mere two Oscar nominations: for Supporting Actress (Hemingway) and Writing – Screenplay written directly for the screen (Allen, Marshall Brickman).
Manhattan was filmed in Panavision with Eastman B&W negative. It was released in 35mm Anamorphic (CinemaScope) with Eastman Kodak B&W prints, with prints by Technicolor. This screening will premiere a newly struck print from the Academy Film Archive.
Based on Walter Farley’s 1941 children’s novel, The Black Stallion tells the story of a boy (Kelly Reno, above) and his wild Arabian horse, whom he meets after being shipwrecked on some semi-deserted island. Probably one of the most jaw-droppingly gorgeous movies ever made, The Black Stallion misses out on its by-the-book screenplay. That’s why I much prefer director Carroll Ballard’s perhaps even more stunning-looking Never Cry Wolf (1983), a thoughtful, thought-provoking, and just plain magical nature drama that happens to be one of my all-time favorite movies.
The Black Stallion also features Teri Garr as the boy’s mother, plus veterans Mickey Rooney and Clarence Muse. The film earned a Special Achievement Award for sound editing (Alan Splet) and was nominated for Supporting Actor (Rooney) and Film Editing (Robert Dalva) — whereas Caleb Deschanel’s cinematography was ignored. Oh, Academy…
The Black Stallion was filmed in 35mm with Eastman Color negative, composed for 1.85. It was released in Eastman Color prints composed 1.85 with prints by Technicolor. This screening also will premiere a newly struck print from the Academy Film Archive.
The Academy’s press release adds that Rob Hummel "is a member of the Academy’s Scientific and Technical Awards Committee and edited the 8th edition of the American Cinematographer Manual (2002). During Hummel’s tenure at Technicolor, he worked closely with more than 70 cinematographers, from John Alonzo to Vilmos Zsigmond, giving him a unique perspective on the creative process of working with film formats."
Tickets to “Behind the Motion Picture Canvas,” Manhattan and The Black Stallion are $5 each for the general public and $3 each for Academy members and students with a valid ID (a separate ticket is required for each night). Tickets are available for purchase by mail, at the Academy box office (Monday through Friday, 9 a.m. to 5 p.m.), or online at www.oscars.org. Doors open one hour prior to each event. All seating is unreserved.
The Samuel Goldwyn Theater is located at 8949 Wilshire Boulevard in Beverly Hills. For more information, call (310) 247-3600 or visit www.oscars.org.
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Tags: Academy of Motion Picture Arts and Sciences, Caleb Deschanel, Classic Movies, Diane Keaton, Los Angeles Screenings, Manhattan, Oscar 1979, Oscar Movies, Rob Hummel, Science and Technology Council, The Black Stallion, Woody Allen
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2 Responses to “Behind the Motion Picture Canvas: MANHATTAN, THE BLACK STALLION Screenings”
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“The Black Stallion” is a simple but very touching story about overcoming difficulties to achieve one’s dream.
I’m not sure what kind of problem you had with the film’s screenplay, but I think that this Carroll Ballard film is one of the finest of the 70s. In fact, I think it’s one of the finest movies of any decade.
Another Woody Allen that is excellent that you failed to mention in your article is “Sleeper.” Just a comedy, but a very, very, very funny comedy.