By Alex Deleon

          ~~ Tony, Marilyn, And Jack, in Some Like it Hot --

It is a fact of cinema life that films after many passages through the projection equipment eventually deteriorate and wear out, a fact which anyone who has viewed a scratched up mutilated old favorite in a time worn copy can painfully verify. 

In recent years a movement has developed to digitally restore important landmarks of world cinema championed among others by such old time film lovers as Martin Scorcese.

Since 2012, with growing success, the Festival section Venezia Classici has been presenting the world premieres of a selection of the best restorations of classic films conducted over the previous year by film libraries, cultural institutions and productions all over the world.

With no less than sixteen titles to pick from this years crop is exceptionally rich and provides guaranteed quality just in case too many of the new films turn out to be duds or disappointments.

A selection of highlights:

To start with, Not to miss,  Mizoguchi's final masterpiece,

AKASEN CHITAI (Street of Shame) 1956
by Kenji Mizoguchi (Japan, 1956, 86’, B/W)

Which deals with life in the last Tokyo Red Light District before it was closed down by the American occupation forces. Stars two of the leading lights of the postwar Japanese cinema, Machiko Kyo and Ayako Wakao.
Restoration: Kadokawa Corporation, Tokyo.

Three Italian films:

MORTE A VENEZIA (Death in Venice)

by Luchino VIsconti ti). Italy, France, USA, 1971, 130 min..)

The definitive screen version of the famous Thomas Mann tale of an aging writer's obsession with a young boy (ahem) filmed right here and starring Dirk Bogarde. with a late appearance by postwar Italian star Silvana Mangano
Rstoration: Cineteca di Bologna and Istituto Luce - Cinecittà in collaboration with Warner Bros. and The Criterion Collection

IL PORTIERE DI NOTTE (The Night Porter), 
by Liliana Caviani (Italy, 1974, 120’.)

A hard look at the sadomasochistic relationship between a former concentrate camp inmate and her Nazi prison guard lover, starring Charlotte Rampling and again, english actor Dirk Bogarde.

Restoration: CSC-Cineteca Nazionale and Istituto Luc

IL POSTO, 1961 by Ermanno Olmi (Italy, 1961, 95’, B/W) a late neorealistic  look at the dreary frustrated lives of young people trying to get ahead in postwar Milan. Not very spiritually uplifting but highly acclaimed for its uncompromising realism and artistic qualities.
Restoration: Cineteca di Bologna.

Two versions of The Killers!

THE KILLERS
by Robert Siodmak (USA, 1946, 95’, B/W)

The original version based on a Hemingway short story made overnight stars of both Burt Lancaster and Ava Gardner. 

Restoration: Universal Pictures in collaboration with The Film Foundation

The remake in 1964 by Don Siegel, USA, 102’, .starred Lee Marvin as a classic killer and Angie Dickinson, but is perhaps most notable for the very last screen appearances of actor Ronald Reagan as a brutal crime kingpin. He would, of course, later give his most famous performance as President of the United States.

Restoration: Universal Pictures in collaboration with The Film Foundation

THE NAKED CITY, 
by Jules Dassin (USA, 1948, 96’, B/W)

Is a trendsetting noirish pursuit of a notorious murderer around the streets of New York City. Dassin's documentary like use of the city itself was soon to be imitated by many others. Last chase scene atop the Brooklyn Bridge is an all-rime nail-biter. Ted de Corsia was so perfect as the killer he should have gotten an Academy Award that year.   Popular Irish character actor Barry Fitzgerald, usually seen as a droll Irish uncle, was also compelling as the hard boiled head cop in charge of the investigation.
Restoration: Torsten Kaiser - TLEFilms FRPS, Master Licensing Inc. and Brook Productions

L'ANNÉE DERNIÈRE À MARIENBAD

 (Last Year at Marienbad) 
by Alain Resnais (France, Italy, 1961, 94’, B/W)

was a complete departure from the low budget early Nouvelle Vague films by Godard and Co.  Resnais's use of time scrambling -- was it really last year, or maybe this year, or next -- had many viewers scratching their heads but the sumptuous setting in a Baroque chateau and dreamlike characterizations set an inimitable high water mark for the time. Actress Delphine Seyrig, memorable. Definitely Resnais' masterpiece, and totally unique even today.
Restoration: Studiocanal with the support of Centre National du Cinéma.

SOME LIKE IT HOT 1959
by Billy Wilder (USA, 1959, 121', B/W)

Set a bench standard for ensemble comedy acting that has never been equaled. Tony Curtis, Jack Lemmon, and Marilyn Monroe all at the top of their game against prohibition era gangster setting. Curtis and Lemmon on the run after accidentally witnessing a gangland massacre have to dress up as females to hide from the mob and Monroe joins them. Ends with famous Joe E. Brown line, "well, nobody's perfect" but this movie is just about the perfect comedy from stem to stern.

Curtis once quipped that kissing Monroe in this picture was like kissing Hitler, but if so -- well, make mine Hitler.
Restoration: Park Circus in collaboration with Metro Goldwyn Mayer and The Criterion Collection

Tony Curtis and Marilyn Minnie. 

     ~~ A kiss us but a kiss --