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Restoring Merrily We Go to Hell, One Warp at a Time

A member of Criterion’s team of digital-restoration artists details how he tackled the biggest challenge he faced while working on Dorothy Arzner’s 1932 film.

By Eric Luszcz

An Indonesian Classic in a New Light: A Conversation on the Landmark Restoration of After the Curfew

Two key figures in the pathbreaking project, Lisabona Rahman and Lintang Gitomartoyo, discuss its significance for Indonesian cinema, the challenges they faced while working on it, and the legacy of the film’s director, Usmar Ismail.

Remembering Giuseppe Rotunno, a Gentle Maestro

Criterion’s technical director pays tribute to the late, great cinematographer, who worked in both Italy and the U.S., and whose brilliant eye and warm personality were well known in the film world.

By Lee Kline

The Lady Eve’s Long Road to High Definition

Preston Sturges’s screwball masterpiece is one of the most beloved Hollywood comedies of all time, but a lack of good film materials held up our recently released Blu-ray upgrade for years.

By Lee Kline

The Final-Hour Preservation of Dance, Girl, Dance in Nitrate

Our plans to release Dorothy Arzner’s feminist classic set in motion a restoration process that led Warner Bros. to discover a nitrate negative that had begun to deteriorate in storage.

By Benjamin Mercer

Restoration Spotlight

Cleaning Up Spike Lee’s Mixed-Format Masterpiece

Released in 2000, the incendiary satire Bamboozled posed some interesting challenges for our restoration team with its combination of film and digital video.

By Giles Sherwood

Defogging Wanda

Veteran archivist Ross Lipman untangles the complexities of restoring Barbara Loden’s film, from questions surrounding the tonal quality of its images to the mysteries of its aspect ratio.

By Ross Lipman

Diving into the Nitty-Gritty of Film Conservation in Kolkata

Members of the Criterion tech team headed to India last month to teach some practical skills in moving-image conservation at the Film Preservation & Restoration Workshop.

By Benjamin Mercer

A New Restoration Brings Detour Back to the Big Screen

Long available only in substandard public-domain prints, Edgar G. Ulmer’s noir masterpiece looks better than ever in the new restoration opening at New York’s Film Forum this week.

Restoration Spotlight

Bringing Mildred Pierce Back to Luminous Life

The restoration teams at Warner Bros. and Criterion explain how they captured the silken texture of the nitrate print of Michael Curtiz’s classic noir melodrama.

Restoration Spotlight

A Preservationist’s Puzzle: Restoring The Front Page

When the Academy Film Archive embarked on a new restoration of The Front Page, preservationists stumbled onto a mystery regarding the existing prints of the film.

Visits with Raoul Coutard

Last week, we were saddened to learn of the passing of Raoul Coutard. Our technical director, Lee Kline, shared some memories of working with the great cinematographer.

By Lee Kline

Restoration Spotlight

Cleaning Up A Brighter Summer Day

Following an arduous restoration effort that involved broken scanners, missing reels, and the complicated transfer of materials between Taipei, Bologna, and New York, Edward Yang’s 1991 epic film is finally available in a high-quality viewing forma

Restoration Spotlight

Restoring The New World
With the Academy Awards coming up on Sunday, we’re celebrating the breathtaking work of cinematographer Emmanuel Lubezki, who is nominated this year for his work on Alejandro González Iñárritu’s The Revenant. If he wins, Lubezki will be one of…
Remembering Vilmos Zsigmond, Master of Light and Dark

In honor of the great cinematographer, our technical director shares some memories of encountering the man and his work.

By Lee Kline

The Color of Dreams

While in Tokyo to work on Akira Kurosawa’s 1990 film, our technical director got a glimpse at some of the filmmaker’s original drawings that he used to shoot the movie.

By Lee Kline

Restoration Spotlight

Resurrecting The Apu Trilogy

Now that Satyajit Ray’s dazzling epic is back out in its original glory, watch a video by :: kogonada that shows how Ray’s breathtaking work was reconstructed from the ashes.

Repertory Picks

Restoring The Apu Trilogy
In 1993, the original negatives of Satyajit Ray’s The Apu Trilogy were burned in a massive nitrate fire at a laboratory in London. Even though there were no technologies available at the time capable of fully restoring such badly damaged film eleme…

Restoration Spotlight

Restoring The Umbrellas of Cherbourg
The following short program, which also appears as a supplement in our new box set The Essential Jacques Demy, gives viewers a behind-the-scenes look at the painstaking 2013 digital restoration of The Umbrellas of Cherbourg, which brought the…

Restoration Spotlight

Martin Scorsese on the Richard III Restoration
Shot in VistaVision and Technicolor, Richard III is the most eye-catching of Laurence Olivier’s essential big-screen Shakespeare adaptations. For years, it couldn’t be seen in its original glory, due to lost footage, faded colors, chemical staini…
A Tale of Three Aspect Ratios
In our release of On the Waterfront, out today on Blu-ray and DVD, we offer Elia Kazan’s film in a trio of aspect ratios. Our official presentation of the movie is in 1.66:1, but you can also watch it in its entirety in both 1.33:1 and 1.85:1 frame…

Restoration Spotlight

How We Restored The Man Who Knew Too Much
Criterion’s new restoration of Alfred Hitchcock’s 1934 thriller The Man Who Knew Too Much was a project many years in the making. Since the original negative is missing, the first challenge was to find the best possible source elements; only then…
Leaving the Color in L’enfance nue
One of the most challenging aspects of our work is to get accurate color for films when there are no filmmakers to consult with. This is especially true of films from the fifties and sixties, for which cinematographers, directors, editors, and color …

By Lee Kline