Chitty Chitty Bang Bang 70mm print


We are incredibly excited about our 70mm Film Series this week. Unfortunately, we have some bad news. We were able to only find one single print of Chitty Chitty Bang Bang in existence, and it is original from the 1968 release.

We began testing prints today and discovered that while the print has very few scratches, it has turned very pink over the years. We have tried to find a replacement print, but this is the only print of Chitty Chitty Bang Bang in circulation. . . .

We do believe that in the spirit of repertory film programming and the 70mm Film Festival that we should screen the 70mm film print as it is. The only other option would be a Blu-Ray presentation. We cannot condone that as part of this festival. As we will still be running the film on Saturday at 2pm and Sunday at 5pm, we will now do so at a reduced price of $3 per ticket.

Full announcement:

Jennings, Dave. Chitty Chitty Bang Bang is pink.” Music Box Theatre Blog. 14 Feb. 2013.


riddle of whiteness

A white silence proposes itself as an appropriate empty space for us to wait in until the story begins. We are in transition; we are given a few moments to clear our minds of anything likely to interfere with our enjoyment of this movie. As long as it doesn’t go on too long, whiteness can be a tranquil metaphor for unwanted things fading out.

It’s interesting how this mental activity of fade-out and clearing away as we wait for something to happen coincides with the breaking awareness that the image is already full and that our eyes must adjust to its dazzling turbulence. There is an undeniable pleasure in such deception. Our ability to take notice is suddenly called upon in a manner that makes us reflect on it. . . .

And indeed as we grasp the snowstorm as a reality we have not only seen, but imagined, for ourselves, it strikes us first as a thing of beauty. . . . We have undergone an awakening, a jubilant awakening to the fact that snow is presently there to contemplate. And for the time spent catching the drift of whiteness, it is like we are being let in on a wonderful secret.

Toles, George. A House Made of Light: Essays on the Art of Film. Detroit: Wayne State University Press, 2001.


Salon Bleu


The New York Times called Louise de Vilmorin’s Salon Bleu, “one of the high-water marks of 20th-century decoration.” The most copied aspect of this room is the large amounts of Brunschwig & Fils blue Verrières fabric which designer Henri Samuel used on all the chairs, sofa and curtains. The Peak of Chic blog considers Verrières “one of the design world’s great prints,” and Nadine de Rothschild, French author and actress, thought this fabric made “all the women look lovelier because it radiates a peaceful and serene atmosphere.”


Petkanas, Christopher. “Chichi Devil.” The New York Times. 19 Feb. 2009.


yellow articles

Rosemary watched Nicole pressing upon her mother a yellow evening bag she had admired, saying, “I think things ought to belong to the people that like them”—and then sweeping into it all the yellow articles she could find, a pencil, a lipstick, a little note book, “because they all go together.”

Fitzgerald, F. Scott. Tender Is the Night. New York: Charles Scribner’s Sons, 1934.


“The Audition”

This short 8mm color film footage was fimed by an audience member of I Love Lucy, on the evening of October 12, 1951, at Sound Stage #2 of Desilu Studios in Hollywood, California.

The episode filmed that night was sixth episode of the first season, “The Audition.” It was a remake of the I Love Lucy pilot episode, which was presumed lost until 1990.

Although many people tried to capture the scene of filming, producer and writer Jess Oppenheimer prohibited it, because of the possibilities of leaking. This footage is the only surviving “behind-the-scenes” material of this legendary sitcom.

“The Audition.” By Madelyn Pugh Davis, Bob Carroll Jr., Jess Oppenheimer. I Love Lucy. CBS, Los Angeles. 19 Nov. 1951.