July 30th, 2015

west side story by mrbnatural

(no subject)

SEE IT BIG! Moving Image to Screen WEST SIDE STORY, INTERSTELLAR & More on 70mm This Summer

Even in these days of improving digital projection, there is nothing comparable to the crisp, bright images and rich sound of 70mm film. With a higher resolution and more light hitting the frame, 70mm film offers a bigger, brighter image than 35mm. It traditionally offered richer sound, with more space on the soundtrack as well. It is the ideal film format for ambitious cinematic spectacles, yet with the transition to digital filmmaking, 70mm movies have become increasingly rare.

This summer, Museum of the Moving Image will present See It Big! 70mm, every weekend from August 7 through 30, featuring eight films made between 1961 and 2014 -- all of them shot in 70mm and to be shown in 70mm prints in the majestic Sumner M. Redstone Theater.

West Side Story

FRIDAY, AUGUST 21, 7:00 P.M.
SATURDAY, AUGUST 22, 2:00 P.M.

Dirs. Jerome Robbins, Robert Wise. 1961, 151 mins. 70mm. With Natalie Wood, Richard Beymer, Russ Tamblyn, Rita Moreno. Beautifully restored in 2011 for the 50th anniversary of its release, West Side Story has stood the test of time as one of the most beloved film musicals. In its adaptation of the Romeo and Juliet story-featuring unforgettable songs by Leonard Bernstein and choreography by Jerome Robbins-feuding families are replaced by warring New York City gangs, the white Jets and the Puerto Rican Sharks. When forbidden love escalates their rivalry, tragedy strikes and doesn't stop until the climactic and heartbreaking ending.
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wss jets prologue by deisi

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Robert Wise on his films : from editing room to director's chair by Sergio Leemann

p. 165-166

"Putting a stage musical on the screen represents challenges...On the stage, the turf that the kids fight over were stylized sets. There was no way I could realistically open the film without opening it in the real New York streets.

You can get away with sets at sunset or night, but when the sun is pouring down, you need the real thing. I felt that if I could do all day shooting in New York, from then on we would be more successful in doing it back in Hollywood in sets at the studio or in Downtown Los Angeles. All the night street scenes were shot in Downtown L.A.; you can't tell the difference because you light just what you want to be seen. I had a hard sell with the Mirisch Company, but we were allowed to do it in New York locations. Jerry said to me, "I agree with you completely about the need to open it in New York, but you gave me the biggest challenge to take my most stylized dancing and put it against the most real background that we have in the whole picture.

The aerial opening was also my concept. I know that I had to deliver New York and I didn't want that same shot across the river, the bridge, and the skyline that had been shot to death. I had to find some new way... I said to myself "I wonder what the canyons of New York look like straight down. What I wanted to do was to show a New York that people hadn't seen, a different look of the city, almost an abstract one. I wanted to put the audience in a frame of mind to accept the kids dancing in the streets without that twinge of embarrassment."