June 2–5, 2022
The Nitrate Picture Show, the festival of film conservation, features screenings of vintage nitrate prints from international archives and the Eastman Museum’s own collection and lectures from leading archivists, inviting you to experience the art and science of film preservation, from print conservation to archival projection.
Events in this Series
Program 12 | Blind Date with Nitrate
Nitrate Picture Show In Nitrate Picture Show tradition, this title will not be revealed until the screening begins. Full program notes will be distributed after the screening.
Program 11 | Le Jour se lève
Nitrate Picture Show With Le Jour se lève, director Marcel Carné lowered the curtain on the golden age of French cinema. Released three months before the Nazi invasion of Poland, and one year before the fall of France, this tightly wound, suspenseful tragedy mirrored the encroaching dread of an entire nation.
Program 10 | The Unholy Three
Nitrate Picture Show “Lon Chaney talks!” declared Metro-Goldwyn-Mayer’s press release. The chance for audiences to hear one of the studio’s biggest stars speak was reason enough to remake one of Chaney's biggest silents, Tod Browning’s 1925 wild carny crime thriller, The Unholy Three.
Program 9 | Trail of the Hawk
Nitrate Picture Show Here is one of the oddest movie mashups you’ll ever see: a 1950 re-release of Trail of the Hawk (1935), a B western that was Edward Dmytryk’s first directorial effort. This 1950 version cut in new scenes and musical performances starring Ramblin’ Tommy Scott, a country-western singer-songwriter/ventriloquist, and his traveling medicine show band that included his wife and daughter.
Program 8 | Western Approaches
Nitrate Picture Show Filming Western Approaches with the huge three-strip Technicolor camera on board a flimsy lifeboat out in the Atlantic swell must have seemed a reckless enterprise, but director Pat Jackson wanted the audience to experience an authentic depiction of those risking their lives to bring vital supplies across the ocean during the Second World War. In pursuit of this ideal, he employed a cast entirely of serving officers and seamen, many of them veterans of Atlantic convoys, and for the most part he kept well away from the film studio.