It seems almost counter-intuitive to talk about the movie theater industry hemorrhaging customers when a box office behemoth has raked in more than $1.5 billion worldwide in less than a month. But the struggle is real, as they say, and theater chains have to keep evolving their game to compete with a populace that proves ever more comfortable to have their cinematic experiences from the comfort of their own home. In most instances locally, the upgrades have been made to the surrounding environs, be it more comfortable seating (the apotheosis of which, Marcus Theatres’ Dream Loungers, are absurdly comfortable and spacious) or expanding the food and bar options available right at the theater itself. Which makes the recent release of Quentin Tarantino’s ambitious Hateful Eight 70mm Roadshow (still playing through tomorrow at the Marcus Majestic) all the more interesting for its championing of both his film and film itself as a reason to come out to the theater.
https://www.youtube.com/watch?v=WlYIe8EHdnM
I’ve been excited ever since Tarantino first announced his intentions to roll out his latest picture in this decidedly anachronistic manner. Both the roadshow format (an experience which includes an overture before the film starts, an intermission and a program included in the ticket price) and the use of the 70mm format (a film process that allowed Tarantino a frame much wider and more detailed than traditional film cameras would allow for) being used in conjunction were a grand experiment in reviving the grand “night out at the movies” notion. There was reason for concern, though. With The Weinstein Company sending out projectors to hundreds of theaters nationwide, there were worries that these theaters who had wholly converted to digital projection would not be adequately trained in the art of projecting film reels, possibly destroying these prints in the process of showcasing them. It’s a worry that led me to schedule my first experience with the 70mm experience to be at Chicago’s Music Box Theatre, one of (if not the only) theater in the country that has an annual 70mm film festival and a master projectionist on staff. In turns out the fear was largely unfounded – while there were instances of theaters ill-equipped to deal with this blast from the past, our own Marcus Majestic experienced no such issues over the course of their run with the film.
The idea of screening actual film prints and focusing on making the experience of the film itself the focus of the experience is not a new one for local moviegoers. In fact, the championing of the screening itself as a unique event is what makes our annual Milwaukee Film Festival such a success, be it post-screening Q&A’s or rare 35mm prints (Jaws, Blow Out, The Shining and 2001 all come to mind) that help make audiences feel like they’re engaging in a one-of-a-kind communal event instead of something easily replicable from the comfort of one’s own home.
And the UWM Union Cinema continues to champion the screening of film prints on their winter calendar, having Cassavetes’ Opening Night scheduled to screen in 35mm while Fellini’s La Strada will show in 16mm (more on those closer to their February screening dates). Hopefully the success of these screenings (and Tarantino’s Roadshow) will lead to further forays into making the movie itself feel like an event as opposed to a two-hour digression in an evening’s festivities. If you’ve yet to treat yourself to The Hateful Eight presented in 70mm, I highly encourage you to head out over the next two days to the Marcus Majestic and treat yourself to a genuinely unique cinematic experience.
This Week On the Marquee
Friday, January 8: The Masked Saint, The Forest and The Revenant open in local release; Carol opens in even more theatres
Check local listings for showtimes/pricing
Saturday, January 9: Pygmalion (1938)
7 p.m. @ The Church in the City, 2648 N. Hackett Ave. ($3)
Saturday, January 9: The Rocky Horror Picture Show
Midnight @ The Oriental Theatre (Purchase tickets here!)
