FALSTAFF CHIMES AT MIDNIGHT

by Steven Morowitz and Joel Bender

(Part 1 by Steven Morowitz)

Distribpix Inc. discovers a hidden cinema treasure……

New York/Los Angeles for immediate release/Feb. 9,2015

Film enthusiast and archivist, Steven Morowitz, and veteran film director Joel Bender, unearth a rare and almost pristine 35mm print of Falstaff, Chimes at Midnight. This is one of the most important discoveries for us to date, at least regarding a mainstream film and one of such historical importance. Not that the film does not exist, and not that there are many experts already on the case, but from the bootleg versions and web clips available that we have seen over the years, it seems that the source material that people have been using is in very poor shape, and or put together from various prints. Maybe not doing proper film restorations or not having proper film elements has been the biggest obstacle for most, as we know that people have film elements. One thing is for sure and that is that the world wants a gorgeous and definitive release of Falstaff.

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.

I was very happy to see that there are literally hundreds of thousands of film fans, fans of Orson Welles, fans of Shakespeare, history buffs, literary buffs, institutions, etc. that have been waiting decades for a proper release(restoration/preservation) of this film. There are people already dedicated to finding the best elements and assembling the best prints, there are dozens of articles on the film and it’s short theatrical life in the United States. You don’t need to go far, just google Falstaff, and see for yourself.

And most recently, the Film Forum in NYC had hosted a Welles retrospective, where it seems that a DCP of Falstaff was presented and with Beatrice Welles in person, as a guest for the Q/A. Of course, we are anxious to find out more about the event, as we were unable to make the event, due to the inclement weather.

The print we obtain is complete, and totally uncut, and takes up a full 7 reels. How do I know? That is a great question, with a complete and definitive answer. Literally within just a few weeks of Joel and I agreeing that we would pursue this discovery, he had begun to hound me with a daily barrage of phone calls, begging me to take the film to a lab in order to confirm its authenticity. We needed to know if the films was original and uncut, and in what condition. It was imperative, and something that needed to be done. I needed to perform at least a preliminary film transfer, but of course this is something that needs to be done in a professional film lab, and one that is capable of handling archival film.

With a mix of caution, care, anxiety and reluctance I took the complete print, housed in the original two cans(2), a total of seven(7) reels to be transferred. I drove them approximately one hour and arrived around 11 am. I brought the films in for initial inspection and the owner of the lab and his technician were both in awe of the condition in which the film has been preserved. I was not totally surprised, as I knew it was in great shape, but I needed to see the condition…..the color, and damage, etc.

Lipsner-Smith Ultrasonic Film Cleaner, a key piece of equipment. Note: This is not Falstaff on the cleaner, but a 16 mm reel of a random film that was being cleaned.

We had decided that the best and most cost effective process for this short term goal, was to perform a one-light transfer on an HD Spirit Datacine. We proceeded to bring each reel into this amazing Lipsner-Smith film cleaner, where it would undergo a soothing ultrasonic film bath. As each film came off the cleaner we proceeded to bring it directly to the Datacine and would find a good balance of light levels, commit to a setting and run each reel in an open matt -HD transfer( full 1920×1080). Because the Datacine produces a video file, I was able to capture the film transfer in real time and actually leave with the film reels, captured on a hard drive that very same day.

HD Spirit Datacine, actual 35mm print of Falstaff, being transferred.

Check out some Full Frame -Raw HD Screengrabs imported out of Final Cut:

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.

Keep in mind, there was no restoration done and no timing work, this transfer was done to confirm that this find is real. I am happy to reveal that it is the real deal. I proceed to make a quick DVD sample in Final cut of the transfer and sent it to Joel on the west coast and 2 days later, I flew out there and we had out first meeting together in person. He had so much to share with me and was more than excited. He was able to briefly share the results with a few people as well.

The results of the initial transfer were so much greater than we could have imagined. It has now given us the confirmation that this now exists and should be the subject of a major preservation and restoration. It is just coincidence that this happens to be a print that was played a few times before it was pulled and returned to the lab, and left to stay in almost perfect condition. The 35mm print is in such great condition that it is begging for a full 4k scan restoration, along with scene by scene timing and a hard level 3 digital scratch removal (meaning hundreds of hours of frame by frame dirt and damage removal). This would at least guarantee a viable digital archive and one that can stand for future generations of cinema lovers. And on the higher end of the film preservation, it might even be able to be used to strike new elements.

Complete 35mm print of Falstaff, on 7 full reels. Actual Print.

But these seven(7) 35mm reels stand for more than just a print of Falstaff, for it is symbolic on a few levels. First, the discovery of this almost MINT print had prompted us to do some major research into the exact elements and with almost forensic precision, we have traced this films life and the results are note worthy. Secondly, the story of how we actually discovered the print and the characters involved in this saga, is possibly equally as exciting as the print discovery itself, and there has even been talk of a short, independent film, based on this real story.

For those of you who have no clue about this film, here is the basic layout. = ( Chimes at Midnight) was shot in 1967 and directed by Orson Welles. The film’s plot revolves around many parts taken from Shakespeare’s various works, so it is like a grand compilation. The film was produced by Harry Saltzman, shot in Spain, starred Orson Welles and other famous actors and players, like assistant director Jess Franco, to name just one. This info was easily found on the internet. And since the dawn of the internet, articles began to circulate about this mysterious film……..Who owns the rights? Why has there been no definitive film restoration? Who has the original negative? Why was it pulled after a few play dates in New York City. The questions go on and on, visit a few web forums and see for yourself.

This discovery in itself is very significant. The films holds a great deal of history and all that is connected, and most people who have spent significant time researching this film over the years, are more than curious, how we came across this print.

Where did you find this 35mm print of Falstaff, Chimes at Midnight……..

I own a semi-large collection of film elements. Many of these films elements have been on the West Coast of the United States and I am located on the East Coast. There are also elements scattered from NYC, to Long Island, LA, Seattle and more. Part of my job over the past 5 or 6 years, has been to clean up loose ends in the collection of the films that I own, fill gaps in the archive, consolidate random elements, take proper inventory, try and find more elements, etc. In this process I have personally moved tens of thousands of pounds of film elements, truckloads, and sometimes, trunk-loads.

My films come from many places, like most collections. It’s make up is a mix of abandoned archives/labs, like Movie Lab, Bonded,  or the purchase of the Sam Lake Enterprise archive. There are also many original Distribpix film elements, some private film collections, a very kool collection of 35mm cartoons, television shows, and lots of others. There are so many odds and ends and some great titles in the mix. Many of these titles became the property of Distribpix in the early part of the 1990’s, when a few major labs in the New York area went out of business and many film elements that were left behind needed a home. Distribpix Inc, became that home. While there are some elements that we can’t account for, we are doing our best to make sure everything from this point on is saved.

35mm Technicolor Cartoon Prints–Looney Tunes. These originated partially from the Same Lake Collection, and the forensic trail of the elements leads us all the way back to the Viet Nam War era. These are the actual prints that were sent to troops for entertainment at outposts and bases. Pretty kool!I love these and the color never fades. I have approximately 60 different episodes.

With so much in any collection, it can be very difficult to identify every single film element. And the only way to do it correctly, is to open up each and every can, to see what is inside, its condition, and where it belongs. With thousands of random cans and reels in this collection, it is not that uncommon to occasionally come across some really interesting film finds, some are very newsworthy.

About 2 years ago, I became aware of several pallets of miscellaneous 35mm film elements that were in NYC. I knew they were there and on a few occasions, I sort of dipped into them to take a look. They were situated across from a spot, that I have adopted as my makeshift NYC shooting studio. So each time I would conduct an interview or commentary in NYC, I would find myself staring at these elements. Some 35mm adult features, and many more mainstream titles. Cans from Paramount can be easily identified, as well as other major studios and labs. There are some unique film prints, mainly misc American Cinema, and some kool titles, like Naked Prey, No Way Out, Lord of the Flies and many more.  But no find is more kool than, Falstaff.

Actual 35mm Print of Falstaff, notice the Grove Press labeling on both cans.

Falstaff print can, notice the Peppercorn-Wermser label. This is the key to identifying where this print originated from and where it was screened.

After originally re-discovering these, I was able to confirm that they had been in this spot for approximately the past 20 plus years. I had opened them up at one point and the film not only seemed to be complete upon visual inspection of the reels, but it seemed to be in impeccably amazing condition, no vinegar smell and that good ‘film’ smell. I thought to myself there must be a mistake. They were labeled correctly and rewinding a bit revealed a pristine picture. A film friend of mine, even told me to just sell it on the internet for a $1000, etc. I just felt it was worth more than that and all I knew was that it had to do with Orson Welles. Because things can be so hectic in life, I just left the cans where they were, knowing they would be safe. Another 2 years had gone by and this past summer, the reality of what was actually in my possession had hit home!!

It was in late August of 2014 and as I prepared to do an interview with Joel Bender, director of a feature film in my archive called Joy. I flew him into NYC from LA, where he was the guest for a 35mm screening of his film Joy at Anthology Film Archives, followed by Q/A, along with several of the cast and crew. He did not shoot that film under his real name, but used the name Harley Mansfield.

You may also know of some of his other mainstream films, like Gas Pump Girls in the late 70’s and in the early 2000’s, he directed Karla, a masterfully done film, based on the true story of a pair of Canadian serial killers. The bottom line is that I had 2 directors chairs for the interview and as Joel prepared to take the seat, he noticed the cans labeled Falstaff and what came next leads us up to this moment. I want you to get his perspective on this brand new discovery and the best way to do this was to have Joel summarize his experience:

Joel Bender, 1977( aka Harley Mansfield).

Falstaff Chimes at Midnight – a brief history and love for a lost classic…….

(Part 2 by Joel Bender)

For me, Falstaff takes second place only to Citizen Kane in Welles body of work, or maybe its equal. The richness of style, the extraordinary photography and editing – the grandness of its execution and imagination on a paper-thin budget – this is a rich emotional story that hits on all cylinders and an astounding creative use of Shakespeare’s plays. It is actually a new Shakespearean play created by Welles.

It is a delight for me and my partner, Steven,  to attempt to bring this film back out and into the light of day for all to see. The film speaks volumes on the question of what happened to Orson Welles? His final feature speaks of his vision that belongs near the top of a list of best films of all time. For this film to finally find an audience that will grow as more people see this masterpiece of visionary talent. The question will be answer whatever happened to Orson Welles? He made magic out of thin air.

I first saw FALSTAFF/CHIMES AT MIDNIGHT at its first official screening in 1966 at a theatre on 57th Street in New York . I was still in film school at the time (School of the Visual Arts). I was a fan of all of Welles’ previous films especially The Trial, and of course Citizen Kane and Touch of Evil. As I sat in the audience I felt I was in for something special. The film on the screen was dazzling, funny, sad, beautifully photographed and performed and Shakespearean prose was spoken in a way that conveyed the real emotion of the situation. As in everyday speech. I felt that I was transported back in time. It was real entertainment with the most unique battle sequence or the Battle of Shrewsberry. I recognized this as a work of genius that could stand up to his Citizen Kane and rest of his best films.

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.

After the screening I wandered out of the theater reliving all the great images, feats of acting and scenes that I had just seen. There I bumped into the head of the film department at my school. He looked at me, shook his head from left-to-right and said “That’s the best filmed Shakespeare of all time. What a great movie.” I agreed.

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.

But a dark cloud would come. Although the film was hailed in Europe it was not that in America. Falstaff got some disheartening reviews from the New York press and pulled by distribution after a disastrous review by New York Times film critic Bosley Crowther, who even mad e a mockery of Wells’ performance calling his Falstaff “a bumbling street corner Santa Claus”. And the film a “mish mash of unrelated scenes”. Also, that “Welles was the first actor to be too fat for the role”. This was a crime. Amid some minor technical inadequacies because of the small budget, one cannot disregard the beauty of its images the fine-tuned story telling, the great originality of its conception and the use of several plays to make one play. Crowther’s review caused the distributor Peppercorn- Wormser, to withdraw his backing and to pull the film from exhibition and distribution in the United States even as the awards were piling up in Europe.

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.

The film FALSTAFF/CHIMES AT MIDNIGHT is based on the character of Sir John Falstaff. Orson Welles thought this was Shakespear’s greatest creation. Sections of several Shakespearean plays were used to create a new story. Welles said the core of the film was the betrayal of friendship. Sir John Falstaff is a running character in Shakespear’s plays.

Here, from a script that focuses on several sections from Shakespeare’s plays, Henry the 4th – Parts I and II, Richard the II, Henry the 4th. The central issue it dramatizes is the choice offered to Prince Hal between the values embodied by Falstaff which include gentleness and friendship, as well as bawdiness and deception – and self-denial and submission to higher interests of the Kingdom demanded by the exercise of power after his father’s death. There is a father/son relationship between Hal and Falstaff.

Over the years I tried to find a really good copy of Falstaff. I bought several imports but nothing came close to looking like the presentation I saw in 1966.

In August 2014 I went to New York to attend a film festival at the Anthology Film Archives where one of my early films was screening. After the festival was over I was taken to a warehouse/studio in midtown, by my very good friend, Steven Morowitz, who was going to do a filmed interview with me. As I sat down, I noticed a huge pile of loose film cans and carrying cases. I scanned the pile and I couldn’t believe what I saw. One of the cans at the bottom on the pile said “Falstaff”. The camera was just getting to roll on the interview when I got up and walked across the floor. Indeed, it said “Falstaff” with the  distributor’s name “Grove Press”. I knew that name from the first day I saw the film, 49 years ago. Low and behold, I turned to Steven and said “That must be the Orson Welles’ film.” It was – perfectly preserved. A great find for any film preservationist.

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.

Always a Welles’ fan, I went with my wife to a screening of Chuck Workman’s new documentary “Magician” about the life of Orson Welles presented at the AFI film festival, at the Egyptian Theatre in Hollywood. After the screening, when the lights went up and applause subsided I headed over to speak to Peter Bogdonvich who was seated across the aisle. I said “My name is Joel Bender. I am a director. Just a few weeks ago I discovered with an associate of mine a pristine print of Chimes/Falstaff under a pile of film cans at this fellow’s warehouse. My associate didn’t know the value of what he had. We both descended on the cases of film, opened it up to find seven reels with the beautiful smell of film.” Peter was listening intently. I continued “We unrolled a little and knew we found something precious.” Peter called over entrepreneur Charles Cohen from the Cohen Group and pointed at me. Peter said “This guys says he has a great print of Chimes at Midnight.” When Mr. Cohen express interest, we exchanged business cards. I also spoke to Chuck Workman about it and we agreed to stay in touch about the film. When I got back to Peter I told him that the print I had was probably the same print I had seen in New York City in 1966.

SPECIAL THANKS: to Harrison Engle of Signal Hill Entertainment, Chuck Workman and Joseph McBride, Welles biographer.

___________________________

In conclusion, we are both very proud of this discovery and all of the work we have put into this venture. We are pleased and yet cautious. Being aware of all of the rights’ issues and other obstacles, this is not an easy undertaking. We both feel that it is way too important of a cinematic discovery to simply ignore. With some hesitation Joel has shown one of the major releasing studios the sample DVD that we have.  This new discovery, can easily provide me and anyone involved with an unforgettable and epic film restoration project.

I hope you have enjoyed our article and the details within. There really are many angles to this and many roads in which we can travel. So far we have been contacted by a few theaters, looking to screen the print, but there is still some work needed to be done, clearing rights, etc. The element is simply too rare and has not yet been digitally archived properly, and without that, we can’t risk sending the print out to any theaters that still project 35mm. It would be great to be able to make this the subject of a crowd sourced, film restoration campaign. It would allow the community to speak and tell us what they want, and also support the project. With a film like Falstaff and a platform like Kickstarter, the possibilities can be endless. It would be amazing to be able to have the financing to do such a high level restoration, and film release. DCP’s can be provided to theaters and educational outlets. Who knows? But for now, please send us any feedback and advice that you may have. If you are a film or Orson Welles enthusiast, reach out to us and feel free to educate us and give us direction. This is news worthy, a major discovery!

Steven Morowitz and Joel Bender, August 2014.

About Steven and Joel:

We hope you enjoyed our article, and please feel free to contact us with any questions or comments: distribpix@gmail.com OR you can respond to the post directly on the blog!!

Some of the greatest adult legends of all time and some of the best X rated films of all time!!

Playing on Showtime :

Is it the best documentary ever made on the topic, NO.

Is it a great documentary, NO.

Are these really the best adult films of all time, NO.

BUT, it is a good documentary. And yes, some of these films are very famous. For those of us who are not die hard fans or do not work in and around the adult biz, this is sometimes the closest that many people will ever come to being exposed to a world that so man of us love and find to be normal. It is generally a good thing, when a taboo oriented topic can be so easily accessible with a cable service. Whenever networks like HBO and SHOWTIME are able to obtain  sex oriented programming something magical happens, for when the logos of these big networks show up at the bottom of  an episode it is magical, as if the footage is now safe and cool to view by millions and they get great ratings. Sex sells, it always will sell, and these networks know it, and at the same time, they can’t become the next playboy channel, or they would lose all their subscriptions, and have picket lines outside their headquarters.LOL!

I am happy to have been a part of this doc and it was an honor to work on it.  Congrats to Showtime on the success and Plausible Films, the show’s producer for being able to create this on such a short time frame and budget. As for the actual show, I am much more partial to the first 25 minutes, as the classic stuff is what interests me most. Four films from the Distribpix Archive were featured, The Opening of Misty Beethoven, Barbara Broadcast, Roommates and Blonde Ambition. To be able to see some of these films and figures get the broad exposure that they so deserve, is amazing.

Blogs, Forums, and Social Networks are a great way to keep the genre alive. But to bring these niche into millions of viewers living rooms via cable network is bigger than big, it is HUGE. Along with footage I licensed for the show, I produced 2 interviews as well. One was with Gloria Leonard( her last video interview) and one with Constance Money(her first video interview), with special thanks to Lisa Petrucci and Something Weird Video, who were the most gracious hosts. I must say the best thing is the exposure, as since the show aired, sales of the featured titles are off the charts. I just goes to show what I already knew, this is the kind of exposure this niche needs!

Both of these interviews will be available as extras on upcoming Distribpix releases and via the web as special video features. I look forward to working with Showtime and Plausible Films again in the near future.

Constance Money ( Susan Jensen). Interview July 1,2014. On Location in Seattle Washington. Her first ever recorded interview.

Gloria Leonard Interview. On Location, Kona Hawaii, 2012.

Desperately Seeking Susan- Constance Found

Constance Money, aka Susan Jensen. The Opening of Misty Beethoven, directed by Radley Metzger.

Unforgettable in her starring role in the classic 1975 erotic film ‘The Opening of Misty Beethoven,’ Constance Money is an iconic figure of adult film’s golden age who continues to fascinate all those who see her films.

Piastro Cruiso, writer of one of her later films, “Anna Obsessed,” said of Constance: “She was different from anyone else in the business: innocent, distracted, unaffected, friendly, a natural beauty—many of us fell in love with her (or at least felt protective of her), and she made us all think we had a chance.”

If Money’s performance in a handful of golden-age classics made her famous, her subsequent disappearance made her a legend.

From 1985 on, she appeared in no films, gave no press appearances or interviews, attended no more parties at the Playboy Mansion. Like Bambi Woods and Nancy Suiter before her, it was as if Constance Money had simply ceased to exist.

So who was Constance Money? How did she come to be an icon of the Porno Chic movement? And why did she leave it all behind?

Thankfully, over the past few years I have been staying in touch with Susan.  While I wanted to have her involved in our actual re-release of The Opening of Misty Beethoven, she was just not ready. But we stayed in touch and thankfully we finally got to meet up last summer in Seattle, where we were able to sit down for a heartfelt interview(location courtesy of SWV). We will post some snippets from the B roll camera and the full interview will be released in the near future.

Special Thanks to Susan Jensen, Plausible Films, Something Weird Video

Original Camera Negative for Jeff Lieberman’s, 1978, Blue Sunshine, FOUND!!

Anyway, for those of you who don’t have much time, I will first skip all the bullshit! I just wanted to confirm the rumors that have been circulating, although I have not been able to get on Facebook or the blog as much lately, I have gotten some email and a few calls regarding this. I think it is a rather awesome film discovery and worthy of some major press and fan satisfaction. Recently, I have discovered the original Picture Negative to Jeff Lieberman’s, 1978, Blue Sunshine. There has not been a physical transfer or scan, but based on the actual elements, they look absolutely great, which is a huge start. This is a famous and sought after film, and one that the horror community has embraced as sort of a cult classic. The bottom line is that film is set in LA, it has murderous maniacs, caused by some LSD they took, need I say more! Combine that with this brand new find and were talking a serious Blu Ray Release!!

So,”YES”!… The Original Camera Negative for Jeff Lieberman’s, 1978, Blue Sunshine, has been FOUND, alive and well and heading to the lab for a truly glorious restoration project. Details will follow when finalized, but the simple approach is a 4k scan, followed by Davinci timing, which it will need plenty of and then after we complete the timing, we can decide on what levels of digital restoration we need to perform, like scratch and dirt removal. It is something we need to think about before we even start the scan because today, many of the higher end scanners have a technology from Kodak called DICE, and this is a very expensive and even a complex addition to the scanners, and it basically enables the scanner to effectively remove dirt, scratches and other flaws during the actual scanning process(I think of it like a digital wet gate). You can search “film scanning DICE technology” and learn more about it. But essentially, when this option used, the scanner automatically slows down and adjusts the rate that the film goes across the gate. During this slower scan, much of the flaw that would take weeks to remove manually with digital software, can now be done with DICE. Of course, this can add anywhere from $10-20 dollars to each minute of scan time, so it is a very expensive option, so we have not yet decided if this negative will be scanned that way.

Blue Sunshine, 1978, Original Camera Negative.

Well, “when it rains it pours”, is how the saying goes and for my small and rather intimate archival efforts, I can admit that this is true. These past 6 months have been amazing, from discovering a crisp 35mm print of an American literary and cinematic classic like Orson Welle’s, Falstaff(1965) to the negative of an American underground-cult classic like Jeff Lieberman’s, Blue Sunshine(1978), at Distribpix Inc we are certainly doing something right and that is literally unearthing some of cinema’s lost film treasures and elements.

Always traveling all over the place to retrieve film elements, look at new ones and archive collections takes a toll on the body and mind. It is like going on a scavenger hunt and if your successful , you need a 56 foot trailer truck, fork lift, 5 thousand dollars and a bottle of Advil, to simply ‘move it out’. Unlike many other worthy and valuable hobbies, like stamp collecting, where an entire collection of rare value can be carried in a briefcase and stored in a safe, a film collection needs a large space, a warehouse, a film storage facility, it’s a lot, and by film collecting standards I am rather small potatoes, housing much of a 3000 square foot warehouse with random films element and always convincing myself that I have room for me( which I do)!

And what is great, which is not that uncommon in film discoveries from the Distribpix archive, is that most of the time we are able to track down the origin of the films elements and find out where they originated (mainly through files, record and research) and how they ended up where they are. In most cases, it can be it’s own show or episode, it can be that amazing and detailed, other times its rather simple and straightforward. This is exactly the case with the negative for Blue Sunshine. For me, this was a simple forensic analysis and the determination was made through files that were from my private records, but after through research, the same info was also found to be easily available on the internet.

Blue Sunshine, 1978, Original Camera Negative.

Analysis of the discovery of the Film Elements for Blue Sunshine (Original Picture Negative):

Here is what I can tell you about the life of the original picture negative for Blue Sunshine. Again, this is concise and to the point, but the actual story like many, is packed with details. In the late 1970’s when Jeff Leiberman had the original film negatives, he had utilized the services of Movie Lab in NYC to not only strike prints, but also store and ship prints. Movie Lab was one of the major go to labs of the day, and provided services to almost every film company during the 70’s and 80’s, from Hollywood to New York.

Their bicoastal location allowed prolific producers and directors on both coasts to more easily churn out pictures in the booming exploitation market. In many cases, these local labs thrived on the business of exploitation filmmakers(more on the cheaper, action style films and X-rated adult features), as the demand for this niche and theatrical prints was at it’s peek, as grindhouse after grindhouse dotted the streets of NYC and many other cities across America. America wanted it’s filth and they needed it quickly and easily, the only way to make it accessible was to have prints struck and in some cases hundreds of them for theaters all over the world! Today, we take for granted that much of the HD quality video we all watch on our tablets and mobile devices is streaming from some invisible Cloud that lingers in the atmosphere, of course I am speaking of cloud based servers and storage. But, back in the 70’s and 80s’s, if you want to see the shit, if you wanted anything to do with it, you went to the theaters. It was an experience. It was a way of life, this was just before and during the infancy of the home video revolution(VHS). This is how America and most viewed films, it was a place for the commoner and the cinephile, the raincoated-pervert or the business man. If you wanted it, you came out to see it, no way around!! I was fortunate enough to be a youngster around it, I saw it and experienced NYC and Times Square in the late 70’s and early 80’s, man it was incredible. Anyway, there is no way of getting around technology, don’t fight it, embrace it.

Back to the story……so while the labs were always busy the began to  depend more and more on the success of the filmmakers and producers, and as these filmmakers would move on from one project to another, it was not uncommon to have original elements either stored or held at specialty film labs. Movie Lab was that place for Blue Sunshine, as well as literally thousands of other films elements from studios big and small, from around the world.

In the early 90’s, when Movie Lab had gone out of business, which is it’s own story, there were still thousands of film elements that were either abandoned, not claimed, unknown or just not identified correctly and became the property of Movie Lab and/or their responsibly to get rid of it, as they space the inhabited for so long was now to be vacated.  So in the early 90’s, after a business deal was made between Distribix Inc. and Movie Lab, all of these various film elements were brought by trailer trucks to a warehouse in New Jersey, owned by Distribpix. These elements were stored for a while and eventually ended up in some different areas, some stayed in NYC, and many went to Los Angeles and then we followed the paper the trail to Seattle’s, Something Weird Video, where they would stay for approximately 25 years, hidden and tucked away with thousands of other boxes in storage areas, filled with film elements, ranging from negatives, to prints, mag tracks, trailers, work prints, etc.

The simple reason they ended up in Seattle, at SWV, was due to the fact that in the early 1990’s a young and aggressive businessman( as well as cinephile, professional collector, comic book hound, punk rock expert, and well known video bootlegger) by the name of Mike Vraney had contacted Arthur, the owner of Distribpix Inc, as Mike wanted to distribute some of the early Distribpix sex exploitation films, as well as try and exploit the new Movie Lab acquisitions as well. While I was just getting out of junior high school around that time, I was still aware of what was going on, to a degree, now my tenure and files can confirm everything. Anyway, Mike Vraney and Distribpix had a very pleasant relationship, and I remember times when Mike, Dave Friedman and my father and brother, would often all rendevoux once a year in the Big Apple, where they would romp around, eat and drink. Mike was a true character and I have thought about him so much since his passing just over 15 months ago. He leaves behind an amazing legacy and film collection, and a good portion of those elements are owned by Distribpix Inc. Anyway, after Mike’s passing I had spent almost a year going back and forth to Seattle every 6 weeks or so, to spend time with Lisa, Mike’s wife and owner of SWV, as well as Tim Lewis, the head of operations. We had some great times. I also got to be at Mike’s memorial and oother events to remember his life. While in Seattle this past summer, I had also been looking through elements and gathering films as well. In July of 2014, after spending 3-4 consecutive days on my hands and knees, I was elated to find a box that was labeled with Blue Sunshine.

Blue Sunshine, 1978, Original Camera Negative.

I don’t exactly recall why I was looking for it or why it was on my ‘keep an eye out for” list, maybe because Jeff had mentioned it to a friend of mine, as he knew I would be scouring through the Movie Lab elements with a fine tooth comb, but Lisa was also aware of the fact that they might be there. I mean Jeff Leiberman even had a hunch, as he would know best and he was right. I immediately brought the box to Lisa where it was locked away in her office until I was able to have it securely package and shipped to the east coast. Where is sits beside me and awaits a 2 hour drive too the lab in just over 48 hours! That is the life line of these elements, I hope you enjoyed this story. I am want to thank Mike/Lisa/Tim from SWV for always being such solid people to me and great hosts and I want to thank and congratulate Jeff Lieberman on the confirmation that his original negative not only exists, but will be getting a grand restoration and one done with love, passion and care to detail.

While this is a great find and the elements are now safe with me they will be going home to daddy!! After the restoration, which is complete I will personally drive the negatives back to Jeff’s home, where the reels can live with Jeff, sandwiched between some of his other prized elements he owns. I just hope his film elements for Remote Control, will not be too jealous of his brand new and gorgeous looking 35mm-celluloid addition to the family!

More details to follow. Thank you for reading.

http://www.distribpix.com

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Introducing, the brand new DVD Release of the The Billy Bagg Double Feature: The Adult Films of Bill Lustig, is now available for pre-order on many online sites, or directly for retail from Distribpix.com. The package contains both of Bill Lustig’s early X rated features, The Violation of Claudia and Hot Honey. Both films haven been restored in 2k from their original negatives. Color correction and digital scratch removal software was used to help restore the image and bring the films back to life. They now exits for the first time ever on home video in their original aspect ratios of 1.85:1. Besides both UNCUT features, original theatrical trailers, and an exclusive slide and ephemera gallery, there are 2 stellar audio commentaries with director Bill Lustig(Maniac Cop, Vigilante), one for each film. Each commentary is moderated by super famous, Danish Filmmaker, Nicolas Winding Refn(Drive, Bronson, Valhalla Rising).

Nicolas Winding Refn and Bill Lustig, Audio Commentary

I truly feel that these commentaries are very special. They were recorded while Nicolas was in Hollywood filming Drive, he was gracious enough to take 3 hours out of his day and meet with Bill, in a Burbank Sound studio. What came from that recording session was magical. The sessions were not only incredibly entertaining, but full of facts and tidbits about Bill Lustig’s early days of filmmaking. For any fan of Bill Lustig or Nicolas Winding Refn, this package is a must have.

Here is the reversible box art for this release, which is also the first edition of the Sweetheart Theatres, line of DVD’s, now available at www.distribpix.com

Full DVD Box Cover, Front Side (Clear Case)

Full DVD Box Cover- Reverse Side(Clear Case)

DVD Main Menu, The Billy Bagg Double Feature

Here are a variety of screen grabs taken from each feature:

In VIOLATION OF CLAUDIA (1977), the incredible Sharon Mitchell stars as Claudia, a beautiful, wealthy housewife who enters the seedy and bizarre world of prostitution with the help of her manipulative tennis coach (Jamie Gillis).Also starring Crystal Sync, Long Jeane Silvers and Don Peterson.(63min)

Sharon Mitchell, 1977

In HOT HONEY (1978), young Honey (Heather Young) refuses to put out for her boyfriend,preferring to tend for her wheelchair bound brother (Jamie Gillis). But soon, Honey begins a strange sexual awakening, seducing menand women alike! Co-starring Serenaand Robin Byrd.(71 min)

Check out some really kool ads/reviews and other rare ephemera:

Original records for Theatrical Distribution

Original Playdate and Records for The Violation of Claudia

PODCAST: The Films of Billy Bagg…. Why did they call him Billy Bagg? How did he even end up making these films?  What kind of upbringing did he have? The answers to those question and many others are all contained within a concise podcast, between myself (Steven Morowitz) and Bill Lustig, it is very informative and descriptive. You can check it out, by clicking the link: BILL LUSTIG PODCAST.

The Distribpix Podcast Episode #2- Bill Lustig and the films of Billy Bagg

If you live in LA, or your going to be in LA tomorrow night, May 15, you got to come and check this out. The bottom line is that these guys over at Westgate Gallery love their cult, exploitation/sexploitation and vintage X rated posters. Christian and I have been friends for many years and he has been a huge supporter of the Distribpix Archive and the artwork of the films as well. From what I have seen so far online, I am so excited for this event. I am flying all the way across the country, so I can be there and be surrounded by amazing art. One thing I love most about the organizers of Westgate is their passion and commitment!! That is what makes this so exciting. Lots of guests and events surrounding this. Tons of original posters and artwork.

I hope to see all of you tomorrow night and congratulations to the team at Westgate Galleries, a job well done!

DETAILS:

What:   WESTGATE GALLERY PRESENTS:  THE DEVILS PLAYGROUND 

A  Classic Exploitation Movie Art show.

When:  FRIDAY MAY 15^TH 8.00pm

Where: LETHAL AMOUNTS GALLERY, 1226 WEST 7^TH STREET, DOWNTOWN LOS ANGELES 90017

Who:    Mink Stole,  X-rated Royalty Serena, Jeanne Silver,and Annie Sprinkle; adult film historian/performer/screenwriter/agent Bill Margold, 2015 XRCO Hall of Fame actress Karen Summer, cult film favorites Holly Woodlawn and Kitten Natividad (all confirmed); erotic filmmakers/photographers Suze & Holly Randall and XXX superstar Kelly Nichols (schedules permitting)

Westgategallery.com  is an online original movie poster boutique specializing in rare & outrageous Classic, Cult, Exploitation, Giallo, Golden Age XXX & Horror, with one of the largest selections of painted/illustrated porno 1 sheets and Italian subway posters you’ll ever find.

This is a section of exclusive artwork, from Distribpix( not included in the show)

Here are some images to get you excited about seeing the art of cult films!!!

The Nesting, By A.W.

Original art for Joy.

Scorpio 70.

Did you ever hear the words  ‘BLUE SUNSHINE’

Try and Remember…. your life may depend on it!

HD Screen Grab from Blue Sunshine.

Blue Sunshine – 4k Restoration Project and Release update:

Its been a long time coming and we want to send out a project update regarding the 4k restoration of Jeff Lieberman’s, Blue Sunshine. First of all, the actual restoration of the picture is complete, and simply put, its wonderful. The 4k scan was performed on the Arriscan 6k film scanner, and I chose to utilize the Kodak Dice technology. For the post color work, Davinci’s Resolve was the software of choice and the best colorist I know handled the work.  Phoenix Finish Software was used for the digital restoration, removing thousands of instances of dirt, scratches and other damage, that remained. Overall, the digital restoration took me approximately 40 hours.

Director Approved!!! Jeff Lieberman has been very hands on through this entire restoration. Jeff doing QC on the color correction.

Digital Restoration, removing defects, like large dirt marks, emulsion scratches and water spots.

Digital Restoration, removing defects, like large dirt marks, emulsion scratches and water spots.

This total scanning and restoration process on the whole, took quite a bit longer than most of the other completed projects we have done, simply due to the fact that this was a true 4 k restoration. So everything takes longer to do, it is essentially double the size of 2k, and nothing plays back at real time, so you have to be patient, especially while changes are rendering. All in all, the final product looks clean. Color is very consistent as well.

Blue Sunshine, Nitehawk Cinema, Brooklyn , NY. Screening of the 2k DCP.

We had already created a few DCP’s and back up Blu-ray’s for a few of the theaters that have begun to screen the new restoration. It has been screened in Brooklyn at Nitehawk Cinema, and upstate NY at Proctor’s Theater and headed out west in November, for its LA premiere at Cinefamily. Its been a great experience so far and the last few weeks have been a bit hectic as we are beginning to ramp up the last phase; preparing the Blu-ray and media packages.

The discovery of the negative was a surprise for all of us and especially Jeff, who assumed it was lost forever. These incredibly preserved elements proved to be key for such a smooth restoration process. Out of literally hundreds of films scanned at the lab, it was unanimous that these elements were among the nicest they have ever seen. After the scan, I was able to return the long-thought lost negative back to Jeff.

Director Jeff Lieberman, reunites with his Negative elements for Blue Sunshine. A happy man!

So as a standalone film, it would probably still be an amazing seller, simply because the legions of fans around the world want to see this how it was meant to be seen, with crisp color and grain, and in the proper aspect ratio. We are well aware of that, and it might be available like that in the future. Our goal all along, has been to commemorate this special project with a spectacular Blu Ray/DVD release and one in which the true fans and collectors would want to cherish. The film has become a cult classic of the horror community around the world and this brand new edition, needs to be given some serious attention.

Now for the fun stuff, some of the extras and bonus material that we have been working on for several months. In order to make the project as good as it can be I have hired Elijah Drenner,  a veteran producer of DVD features and docs. We have been working closely together on this project and we have also been friends for several years, which makes this much more special. I have also been working with Jim Kunz, another very well-known producer and director, and no stranger to Blue Sunshine. Together, we have begun to assemble what we think will be the ultimate edition for fans.

Blue Sunshine package Features:

•Brand new and director approved 4k scan and restoration from the original negative elements

•Brand new HD scan of original theatrical trailer from negative

•Brand New Full-Length Audio Commentary with Director Jeff Lieberman, moderated by Elijah Drenner

•Locations Featurette : Then and Now

•Q/A from ‘Jumpcut Cafe’ screening in LA

•From The Archives: The Fantasy Film Festival interview with Mick Garris and Jeff Lieberman

•Brand New Interviews with co-stars Robert Walden, Richard Crystal, script supervisor Sandy King and writer/director Jeff Lieberman.

•Exclusive CD Soundtrack with music composed by Charles Gross

•Slideshow and Ephemera Gallery

•Illustrative Liner Notes Book

•Subtitles

Plus more to be announced!

We want to thank everyone in advance for all the strong support. We are very anxious to push this through this last phase and delivery something that we can all be very proud of. For now, please check out some of the mouth watering images!

Here are some screen grabs from our recent interviews to be included exclusively in the upcoming deluxe package:

Blue Sunshine-Writer and Director, Jeff Lieberman.

Actor, Robert Walden, who plays Dr. David Blume in Blue Sunshine.

Blue Sunshine- Script Supervisor, Sandy King.

Director Jeff Lieberman, revisiting the original shooting locations, Summer 2015.

In the meantime, please check out some of these final HD screen grabs from the final version of Blue Sunshine:

Dr. David Blume, played by actor Robert Walden

Opening Credits.

Wendy Fleming, played by Ann Cooper.

John O’malley, played by Bill Cameron.

Zalman King, plays Jerry Zipkin.

Ed Fleming, played by Marc Goddard.

O’Malleys neighbor, played by Alice Ghostly.

Alicia Sweeny, played by Deborah Winters.

Wayne Mulligan, played by Ray Young.

CALLING ALL FANBOYS, FILM BUFFS & HORROR HOUNDS…….BLUE SUNSHINE MATERIALS WANTED!!!

For the slideshow we are creating, we are making one last call out for Blue Sunshine materials!! We are looking for any movie related artifacts, like paper materials, news articles, literature, posters, one sheets, ad mats, etc. We do have some great stuff, but if you have anything that you would like to share, to be included on the Blu Ray, please let me know by sending me an email at distribpix@gmail.com. Let me know what you have and we can see if it is something we can use, if so we would need a digital copy. If we use your materials, we will send you a free contributors copy of the Blu Ray, as a huge thanks.

ALSO : We are looking for a handful of Blue Sunshine Polyglots who may want to do some foreign language transcribing, in return for credits, and of course a free copy of the Blu Ray, and even some awesome movie posters and other goodies from the archive. Again, anyone interested in contributing to the project should reach out to us via email at distribpix@gmail.com.

Thank you all very much. More to come!!

Cecil Howard’s, Scoundrels getting full 4k restoration and deluxe Blu Ray treatment!!!

It’s time for an update on the restoration of Cecil Howard’s, Scoundrels…..it’s definitely already in progress and I am sort of in awe that this is actually happening. It took a long time, I mean a long time, for the legendary director of erotica to finally take that last step into the brand new digital era. His recent decision to take a huge leap from his analog comfort zone, and team up with me to bring his films to the 4k future, has been monumental. It’s a dream come true and to all who have helped along the way, it will prove to be a major milestone.

This first restoration project has proven to be a bit challenging on a few levels, which is good, as it is our first time working together and finding the flow is half the battle. We are both particular when it comes to details and Cecil is very hands on, so this means that we have spent quite a bit of time together since we have begun to restore Scoundrels. We drove to his archive together and retrieved the negatives, we traveled to the lab together, we have spent countless hours discussing new technology, and he has been amazing in sharing details with me, about his films and love for the genre. It has been a once in a lifetime experience.

Considering how private Cecil prefers to be, I feel even more lucky that we are spending so much quality time together. In the past month, we have really ramped up the production of quality bonus features for the upcoming release, and in many cases working closely together. The actual 4k scan is complete, and the next steps are color correction and some digital restoration. Besides the film and trailers being included in stunning HD, we now will have an entertaining and exclusive director commentary to go along with the film as well. Howard also gave me a wonderful and touching audio interview, which may be included on the DVD or possibly used for promotion. If that wasn’t enough, Cecil has been gracious enough to allow me to molest, hand pick and digitize a good portion of his image archive, which includes stellar 35mm chromes, press books, ads, original art , and more. Much of this will be used to create a slideshow and gallery for the Blu Ray. (On a side note, Cecil has one of the most well kept archives, from films to files, it is very organized and impressive. It reminds me very much of the way Radley Metzger keeps his archive and files, which were always well kept and detailed).

Oh, and did I mention that Ron Jeremy also gives an awesome lead actor commentary!! Its going to be a great little package, I mean quality all the way. It is clear that Cecil and Ron have a great fondness toward each other, and I wanted to include some of that essence in this package.

The film package will not be ready for release until shortly after the new year, but it will be worth the wait. Stay tuned for more details and more surprises.

The Naughty Nurses Double Feature

The incredibly long wait is soon over, as dozens and dozens of the original Distribpix Inc. productions and releases will be hitting home video on DVD and choice VOD platforms. These lost sexploitation gems will be packaged as double features with a common theme, by director, actor, genre, etc. Each film is transferred in High Definition and each original trailer is also included, as well as other extras, depending on each release. The films are being revived and released for the first time ever on home video, under the umbrella of the Distribpix Archive Collection (DAC).

The Distribpix films themselves are incredibly important to sex film history, as they fueled the grind-houses as Americans were thirsting for more filth. These sex exploitation films bridged the gap and filled that temporary void, between the pre-white coaters and all out X rated fare! Although one can argue that these films in our collection are hokey and downright bad, all I can say is that they would be dam right!!!! Well, not really. They might be some of the most entertaining, and in some ways groundbreaking erotic films of the modern day. I was really alluding to the fact that many of these are at the very low end of the spectrum as far as production value is concerned, even though they were shot in 35mm, they are bad in almost every way. Fingers seen in the frame, poor lighting, and even worse acting are a few of the dead giveaways. But keep in mind, that even with that said, many of these are still among the best sexploitation films ever made, like ones produced by the late and great Joe Sarno, as well as the Amero Brothers, the Findlays, Ron Sullivan,  and so many more.  The collection as a whole is invaluable and stands for a vital part of American sexploitation history and over the next few years, we hope to be able to bring all of these into your living rooms, as gorgeous, remastered films in HD, 2k, or even 4k.

Ladies and Gentlemen, the first installment of the Distribpix Archive Collection!! Enjoy.

The Naughty Nurses Double Feature- Distribpix Archive Collection.

Head Nurse, 1972 Kirt Films International

In Head Nurse, director Tim Davies takes us on a tour of NYC’s most bizarre hospital. While there are similarities to a “white coater”, it is clear that producer Jones Gregor, had other ideas…gorgeous nurses, crazed doctors, test tubes and corpses! Not too mention, one of the most unforgettable scenes involving a human skull, ever captured on film. Starring a moustache-free Harry Reems, a young Marc Stevens, and rare sex appearance by disco superstar, Andrea True. With original music by the Bushels.

Marc Stevens, Head Nurse, 1972.

Andrea True, Head Nurse, 1972.

Head Nurse, 1972.

Harry Reems, Head Nurse, 1972.

Nurse-Made, 1971 Mansfield Ltd.

Some early sex-exploitation films have a cheap and amateurish look. Low quality audio dubbing, sloppy edits and poor lighting are just a few of the signs. Nurse-Made is the epitome of a NYC sexploitation film. Written, directed and produced by Robert B. Mansfield, this film explores a unique relationship between an ailing patient and his young nurse. Starring Jean Ashley, Lee Tucker, Dick Baker. Original music by Bob Mann. Assistant director, Gary Kahn.

Nurse-Made, 1971.

Nurse-Made, 1971.

Nurse-Made, 1971.

Nurse-Made, 1971.

http://www.distribpix.com

FALSTAFF CHIMES AT MIDNIGHT

by Steven Morowitz and Joel Bender

(Part 1 by Steven Morowitz)

Distribpix Inc. discovers a hidden cinema treasure……

New York/Los Angeles for immediate release/Feb. 9,2015

Film enthusiast and archivist, Steven Morowitz, and veteran film director Joel Bender, unearth a rare and almost pristine 35mm print of Falstaff, Chimes at Midnight. This is one of the most important discoveries for us to date, at least regarding a mainstream film and one of such historical importance. Not that the film does not exist, and not that there are many experts already on the case, but from the bootleg versions and web clips available that we have seen over the years, it seems that the source material that people have been using is in very poor shape, and or put together from various prints. Maybe not doing proper film restorations or not having proper film elements has been the biggest obstacle for most, as we know that people have film elements. One thing is for sure and that is that the world wants a gorgeous and definitive release of Falstaff.

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.

I was very happy to see that there are literally hundreds of thousands of film fans, fans of Orson Welles, fans of Shakespeare, history buffs, literary buffs, institutions, etc. that have been waiting decades for a proper release(restoration/preservation) of this film. There are people already dedicated to finding the best elements and assembling the best prints, there are dozens of articles on the film and it’s short theatrical life in the United States. You don’t need to go far, just google Falstaff, and see for yourself.

And most recently, the Film Forum in NYC had hosted a Welles retrospective, where it seems that a DCP of Falstaff was presented and with Beatrice Welles , as a guest for the Q/A. Of course, we are anxious to find out more about the event, as we were unable to make the event, due to the inclement weather.

The print we obtain is complete, and totally uncut, and takes up a full 7 reels. How do I know? That is a great question, with a complete and definitive answer. Literally within just a few weeks of Joel and I agreeing that we would pursue this discovery, he had begun to hound me with a daily barrage of phone calls, begging me to take the film to a lab in order to confirm its authenticity. We needed to know if the films was original and uncut, and in what condition. It was imperative, and something that needed to be done. I needed to perform at least a preliminary film transfer, but of course this is something that needs to be done in a professional film lab, and one that is capable of handling archival film.

With a mix of caution, care, anxiety and reluctance I took the complete print, housed in the original two cans(2), a total of seven(7) reels to be transferred. I drove them approximately one hour and arrived around 11 am. I brought the films in for initial inspection and the owner of the lab and his technician were both in awe of the condition in which the film has been preserved. I was not totally surprised, as I knew it was in great shape, but I needed to see the condition…..the color, and damage, etc.

Lipsner-Smith Ultrasonic Film Cleaner, a key piece of equipment. Note: This is not Falstaff on the cleaner, but a 16 mm reel of a random film that was being cleaned.

We had decided that the best and most cost effective process for this short term goal, was to perform a one-light transfer on an HD Spirit Datacine. We proceeded to bring each reel into this amazing Lipsner-Smith film cleaner, where it would undergo a soothing ultrasonic film bath. As each film came off the cleaner we proceeded to bring it directly to the Datacine and would find a good balance of light levels, commit to a setting and run each reel in an open matt -HD transfer( full 1920×1080). Because the Datacine produces a video file, I was able to capture the film transfer in real time and actually leave with the film reels, captured on a hard drive that very same day.

HD Spirit Datacine, actual 35mm print of Falstaff, being transferred.

Check out some Full Frame -Raw HD Screengrabs imported out of Final Cut:

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.

Keep in mind, there was no restoration done and no timing work, this transfer was done to confirm that this find is real. I am happy to reveal that it is the real deal. I proceed to make a quick DVD sample in Final cut of the transfer and sent it to Joel on the west coast and 2 days later, I flew out there and we had out first meeting together in person. He had so much to share with me and was more than excited. He was able to briefly share the results with a few people as well.

The results of the initial transfer were so much greater than we could have imagined. It has now given us the confirmation that this now exists and should be the subject of a major preservation and restoration. It is just coincidence that this happens to be a print that was played a few times before it was pulled and returned to the lab, and left to stay in almost perfect condition. The 35mm print is in such great condition that it is begging for a full 4k scan restoration, along with scene by scene timing and a hard level 3 digital scratch removal (meaning hundreds of hours of frame by frame dirt and damage removal). This would at least guarantee a viable digital archive and one that can stand for future generations of cinema lovers. And on the higher end of the film preservation, it might even be able to be used to strike new elements.

Complete 35mm print of Falstaff, on 7 full reels. Actual Print.

But these seven(7) 35mm reels stand for more than just a print of Falstaff, for it is symbolic on a few levels. First, the discovery of this almost MINT print had prompted us to do some major research into the exact elements and with almost forensic precision, we have traced this films life and the results are note worthy. Secondly, the story of how we actually discovered the print and the characters involved in this saga, is possibly equally as exciting as the print discovery itself, and there has even been talk of a short, independent film, based on this real story.

For those of you who have no clue about this film, here is the basic layout. = ( Chimes at Midnight) was shot in 1967 and directed by Orson Welles. The film’s plot revolves around many parts taken from Shakespeare’s various works, so it is like a grand compilation. The film was produced by Harry Saltzman, shot in Spain, starred Orson Welles and other famous actors and players, like assistant director Jess Franco, to name just one. This info was easily found on the internet. And since the dawn of the internet, articles began to circulate about this mysterious film……..Who owns the rights? Why has there been no definitive film restoration? Who has the original negative? Why was it pulled after a few play dates in New York City. The questions go on and on, visit a few web forums and see for yourself.

This discovery in itself is very significant. The films holds a great deal of history and all that is connected, and most people who have spent significant time researching this film over the years, are more than curious, how we came across this print.

Where did you find this 35mm print of Falstaff, Chimes at Midnight……..

I own a semi-large collection of film elements. Many of these films elements have been on the West Coast of the United States and I am located on the East Coast. There are also elements scattered from NYC, to Long Island, LA, Seattle and more. Part of my job over the past 5 or 6 years, has been to clean up loose ends in the collection of the films that I own, fill gaps in the archive, consolidate random elements, take proper inventory, try and find more elements, etc. In this process I have personally moved tens of thousands of pounds of film elements, truckloads, and sometimes, trunk-loads.

My films come from many places, like most collections. It’s make up is a mix of abandoned archives/labs, like Movie Lab, Bonded,  or the purchase of the Sam Lake Enterprise archive. There are also many original Distribpix film elements, some private film collections, a very kool collection of 35mm cartoons, television shows, and lots of others. There are so many odds and ends and some great titles in the mix. Many of these titles became the property of Distribpix in the early part of the 1990’s, when a few major labs in the New York area went out of business and many film elements that were left behind needed a home. Distribpix Inc, became that home. While there are some elements that we can’t account for, we are doing our best to make sure everything from this point on is saved.

35mm Technicolor Cartoon Prints–Looney Tunes. These originated partially from the Same Lake Collection, and the forensic trail of the elements leads us all the way back to the Viet Nam War era. These are the actual prints that were sent to troops for entertainment at outposts and bases. Pretty kool!I love these and the color never fades. I have approximately 60 different episodes.

With so much in any collection, it can be very difficult to identify every single film element. And the only way to do it correctly, is to open up each and every can, to see what is inside, its condition, and where it belongs. With thousands of random cans and reels in this collection, it is not that uncommon to occasionally come across some really interesting film finds, some are very newsworthy.

About 2 years ago, I became aware of several pallets of miscellaneous 35mm film elements that were in NYC. I knew they were there and on a few occasions, I sort of dipped into them to take a look. They were situated across from a spot, that I have adopted as my makeshift NYC shooting studio. So each time I would conduct an interview or commentary in NYC, I would find myself staring at these elements. Some 35mm adult features, and many more mainstream titles. Cans from Paramount can be easily identified, as well as other major studios and labs. There are some unique film prints, mainly misc American Cinema, and some kool titles, like Naked Prey, No Way Out, Lord of the Flies and many more.  But no find is more kool than, Falstaff.

Actual 35mm Print of Falstaff, notice the Grove Press labeling on both cans.

Falstaff print can, notice the Peppercorn-Wermser label. This is the key to identifying where this print originated from and where it was screened.

After originally re-discovering these, I was able to confirm that they had been in this spot for approximately the past 20 plus years. I had opened them up at one point and the film not only seemed to be complete upon visual inspection of the reels, but it seemed to be in impeccably amazing condition, no vinegar smell and that good ‘film’ smell. I thought to myself there must be a mistake. They were labeled correctly and rewinding a bit revealed a pristine picture. A film friend of mine, even told me to just sell it on the internet for a $1000, etc. I just felt it was worth more than that and all I knew was that it had to do with Orson Welles. Because things can be so hectic in life, I just left the cans where they were, knowing they would be safe. Another 2 years had gone by and this past summer, the reality of what was actually in my possession had hit home!!

It was in late August of 2014 and as I prepared to do an interview with Joel Bender, director of a feature film in my archive called Joy. I flew him into NYC from LA, where he was the guest for a 35mm screening of his film Joy at Anthology Film Archives, followed by Q/A, along with several of the cast and crew. He did not shoot that film under his real name, but used the name Harley Mansfield.

You may also know of some of his other mainstream films, like Gas Pump Girls in the late 70’s and in the early 2000’s, he directed Karla, a masterfully done film, based on the true story of a pair of Canadian serial killers. The bottom line is that I had 2 directors chairs for the interview and as Joel prepared to take the seat, he noticed the cans labeled Falstaff and what came next leads us up to this moment. I want you to get his perspective on this brand new discovery and the best way to do this was to have Joel summarize his experience:

Joel Bender, 1977( aka Harley Mansfield).

Falstaff Chimes at Midnight – a brief history and love for a lost classic…….

(Part 2 by Joel Bender)

For me, Falstaff takes second place only to Citizen Kane in Welles body of work, or maybe its equal. The richness of style, the extraordinary photography and editing – the grandness of its execution and imagination on a paper-thin budget – this is a rich emotional story that hits on all cylinders and an astounding creative use of Shakespeare’s plays. It is actually a new Shakespearean play created by Welles.

It is a delight for me and my partner, Steven,  to attempt to bring this film back out and into the light of day for all to see. The film speaks volumes on the question of what happened to Orson Welles? His final feature speaks of his vision that belongs near the top of a list of best films of all time. For this film to finally find an audience that will grow as more people see this masterpiece of visionary talent. The question will be answer whatever happened to Orson Welles? He made magic out of thin air.

I first saw FALSTAFF/CHIMES AT MIDNIGHT at its first official screening in 1966 at a theatre on 57th Street in New York . I was still in film school at the time (School of the Visual Arts). I was a fan of all of Welles’ previous films especially The Trial, and of course Citizen Kane and Touch of Evil. As I sat in the audience I felt I was in for something special. The film on the screen was dazzling, funny, sad, beautifully photographed and performed and Shakespearean prose was spoken in a way that conveyed the real emotion of the situation. As in everyday speech. I felt that I was transported back in time. It was real entertainment with the most unique battle sequence or the Battle of Shrewsberry. I recognized this as a work of genius that could stand up to his Citizen Kane and rest of his best films.

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.

After the screening I wandered out of the theater reliving all the great images, feats of acting and scenes that I had just seen. There I bumped into the head of the film department at my school. He looked at me, shook his head from left-to-right and said “That’s the best filmed Shakespeare of all time. What a great movie.” I agreed.

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.

But a dark cloud would come. Although the film was hailed in Europe it was not that in America. Falstaff got some disheartening reviews from the New York press and pulled by distribution after a disastrous review by New York Times film critic Bosley Crowther, who even mad e a mockery of Wells’ performance calling his Falstaff “a bumbling street corner Santa Claus”. And the film a “mish mash of unrelated scenes”. Also, that “Welles was the first actor to be too fat for the role”. This was a crime. Amid some minor technical inadequacies because of the small budget, one cannot disregard the beauty of its images the fine-tuned story telling, the great originality of its conception and the use of several plays to make one play. Crowther’s review caused the distributor Peppercorn- Wormser, to withdraw his backing and to pull the film from exhibition and distribution in the United States even as the awards were piling up in Europe.

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.

The film FALSTAFF/CHIMES AT MIDNIGHT is based on the character of Sir John Falstaff. Orson Welles thought this was Shakespear’s greatest creation. Sections of several Shakespearean plays were used to create a new story. Welles said the core of the film was the betrayal of friendship. Sir John Falstaff is a running character in Shakespear’s plays.

Here, from a script that focuses on several sections from Shakespeare’s plays, Henry the 4th – Parts I and II, Richard the II, Henry the 4th. The central issue it dramatizes is the choice offered to Prince Hal between the values embodied by Falstaff which include gentleness and friendship, as well as bawdiness and deception – and self-denial and submission to higher interests of the Kingdom demanded by the exercise of power after his father’s death. There is a father/son relationship between Hal and Falstaff.

Over the years I tried to find a really good copy of Falstaff. I bought several imports but nothing came close to looking like the presentation I saw in 1966.

In August 2014 I went to New York to attend a film festival at the Anthology Film Archives where one of my early films was screening. After the festival was over I was taken to a warehouse/studio in midtown, by my very good friend, Steven Morowitz, who was going to do a filmed interview with me. As I sat down, I noticed a huge pile of loose film cans and carrying cases. I scanned the pile and I couldn’t believe what I saw. One of the cans at the bottom on the pile said “Falstaff”. The camera was just getting to roll on the interview when I got up and walked across the floor. Indeed, it said “Falstaff” with the  distributor’s name “Grove Press”. I knew that name from the first day I saw the film, 49 years ago. Low and behold, I turned to Steven and said “That must be the Orson Welles’ film.” It was – perfectly preserved. A great find for any film preservationist.

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.

Always a Welles’ fan, I went with my wife to a screening of Chuck Workman’s new documentary “Magician” about the life of Orson Welles presented at the AFI film festival, at the Egyptian Theatre in Hollywood. After the screening, when the lights went up and applause subsided I headed over to speak to Peter Bogdonvich who was seated across the aisle. I said “My name is Joel Bender. I am a director. Just a few weeks ago I discovered with an associate of mine a pristine print of Chimes/Falstaff under a pile of film cans at this fellow’s warehouse. My associate didn’t know the value of what he had. We both descended on the cases of film, opened it up to find seven reels with the beautiful smell of film.” Peter was listening intently. I continued “We unrolled a little and knew we found something precious.” Peter called over entrepreneur Charles Cohen from the Cohen Group and pointed at me. Peter said “This guys says he has a great print of Chimes at Midnight.” When Mr. Cohen express interest, we exchanged business cards. I also spoke to Chuck Workman about it and we agreed to stay in touch about the film. When I got back to Peter I told him that the print I had was probably the same print I had seen in New York City in 1966.

SPECIAL THANKS: to Harrison Engle of Signal Hill Entertainment, Chuck Workman and Joseph McBride, Welles biographer.

___________________________

In conclusion, we are both very proud of this discovery and all of the work we have put into this venture. We are pleased and yet cautious. Being aware of all of the rights’ issues and other obstacles, this is not an easy undertaking. We both feel that it is way too important of a cinematic discovery to simply ignore. With some hesitation Joel has shown one of the major releasing studios the sample DVD that we have.  This new discovery, can easily provide me and anyone involved with an unforgettable and epic film restoration project.

I hope you have enjoyed our article and the details within. There really are many angles to this and many roads in which we can travel. So far we have been contacted by a few theaters, looking to screen the print, but there is still some work needed to be done, clearing rights, etc. The element is simply too rare and has not yet been digitally archived properly, and without that, we can’t risk sending the print out to any theaters that still project 35mm. It would be great to be able to make this the subject of a crowd sourced, film restoration campaign. It would allow the community to speak and tell us what they want, and also support the project. With a film like Falstaff and a platform like Kickstarter, the possibilities can be endless. It would be amazing to be able to have the financing to do such a high level restoration, and film release. DCP’s can be provided to theaters and educational outlets. Who knows? But for now, please send us any feedback and advice that you may have. If you are a film or Orson Welles enthusiast, reach out to us and feel free to educate us and give us direction. This is news worthy, a major discovery!

Steven Morowitz and Joel Bender, August 2014.

About Steven and Joel:

We hope you enjoyed our article, and please feel free to contact us with any questions or comments: distribpix@gmail.com OR you can respond to the post directly on the blog!!

Some of the greatest adult legends of all time and some of the best X rated films of all time!!

Playing on Showtime :

Is it the best documentary ever made on the topic, NO.

Is it a great documentary, NO.

Are these really the best adult films of all time, NO.

BUT, it is a good documentary. And yes, some of these films are very famous. For those of us who are not die hard fans or do not work in and around the adult biz, this is sometimes the closest that many people will ever come to being exposed to a world that so many of us love and find to be normal. It is generally a good thing, when a taboo oriented topic can be so easily accessible with a cable service. Whenever networks like HBO and SHOWTIME are able to obtain  sex oriented programming something magical happens, for when the logos of these big networks show up at the bottom of  an episode it is magical, as if the footage is now safe and cool to view by millions and they get great ratings. Sex sells, it always will sell, and these networks know it, and at the same time, they can’t become the next playboy channel, or they would lose all their subscriptions, and have picket lines outside their headquarters.LOL!

I am happy to have been a part of this doc and it was an honor to work on it.  Congrats to Showtime on the success and Plausible Films, the show’s producer for being able to create this on such a short time frame and budget. As for the actual show, I am much more partial to the first 25 minutes, as the classic stuff is what interests me most. Four films from the Distribpix Archive were featured, The Opening of Misty Beethoven, Barbara Broadcast, Roommates and Blonde Ambition. To be able to see some of these films and figures get the broad exposure that they so deserve, is amazing.

Blogs, Forums, and Social Networks are a great way to keep the genre alive. But to bring these niche into millions of viewers living rooms via cable network is bigger than big, it is HUGE. Along with footage I licensed for the show, I produced 2 interviews as well. One was with Gloria Leonard( her last video interview) and one with Constance Money(her first video interview), with special thanks to Lisa Petrucci and Something Weird Video, who were the most gracious hosts. I must say the best thing is the exposure, as since the show aired, sales of the featured titles are off the charts. I just goes to show what I already knew, this is the kind of exposure this niche needs!

Both of these interviews will be available as extras on upcoming Distribpix releases and via the web as special video features. I look forward to working with Showtime and Plausible Films again in the near future.

Constance Money ( Susan Jensen). Interview July 1,2014. On Location in Seattle Washington. Her first ever recorded interview.

Gloria Leonard Interview. On Location, Kona Hawaii, 2012.

Desperately Seeking Susan- Constance Found

Constance Money, aka Susan Jensen. The Opening of Misty Beethoven, directed by Radley Metzger.

Unforgettable in her starring role in the classic 1975 erotic film ‘The Opening of Misty Beethoven,’ Constance Money is an iconic figure of adult film’s golden age who continues to fascinate all those who see her films.

Piastro Cruiso, writer of one of her later films, “Anna Obsessed,” said of Constance: “She was different from anyone else in the business: innocent, distracted, unaffected, friendly, a natural beauty—many of us fell in love with her (or at least felt protective of her), and she made us all think we had a chance.”

If Money’s performance in a handful of golden-age classics made her famous, her subsequent disappearance made her a legend.

From 1985 on, she appeared in no films, gave no press appearances or interviews, attended no more parties at the Playboy Mansion. Like Bambi Woods and Nancy Suiter before her, it was as if Constance Money had simply ceased to exist.

So who was Constance Money? How did she come to be an icon of the Porno Chic movement? And why did she leave it all behind?

Thankfully, over the past few years I have been staying in touch with Susan.  While I wanted to have her involved in our actual re-release of The Opening of Misty Beethoven, she was just not ready. But we stayed in touch and thankfully we finally got to meet up last summer in Seattle, where we were able to sit down for a heartfelt interview(location courtesy of SWV). We will post some snippets from the B roll camera and the full interview will be released in the near future.

Special Thanks to Susan Jensen, Plausible Films, Something Weird Video

Original Camera Negative for Jeff Lieberman’s, 1978, Blue Sunshine, FOUND!!

Anyway, for those of you who don’t have much time, I will first skip all the bullshit! I just wanted to confirm the rumors that have been circulating, although I have not been able to get on Facebook or the blog as much lately, I have gotten some email and a few calls regarding this. I think it is a rather awesome film discovery and worthy of some major press and fan satisfaction. Recently, I have discovered the original Picture Negative to Jeff Lieberman’s, 1978, Blue Sunshine. There has not been a physical transfer or scan, but based on the actual elements, they look absolutely great, which is a huge start. This is a famous and sought after film, and one that the horror community has embraced as sort of a cult classic. The bottom line is that film is set in LA, it has murderous maniacs, caused by some LSD they took, need I say more! Combine that with this brand new find and were talking a serious Blu Ray Release!!

So,”YES”!… The Original Camera Negative for Jeff Lieberman’s, 1978, Blue Sunshine, has been FOUND, alive and well and heading to the lab for a truly glorious restoration project. Details will follow when finalized, but the simple approach is a 4k scan, followed by Davinci timing, which it will need plenty of and then after we complete the timing, we can decide on what levels of digital restoration we need to perform, like scratch and dirt removal. It is something we need to think about before we even start the scan because today, many of the higher end scanners have a technology from Kodak called DICE, and this is a very expensive and even a complex addition to the scanners, and it basically enables the scanner to effectively remove dirt, scratches and other flaws during the actual scanning process(I think of it like a digital wet gate). You can search “film scanning DICE technology” and learn more about it. But essentially, when this option used, the scanner automatically slows down and adjusts the rate that the film goes across the gate. During this slower scan, much of the flaw that would take weeks to remove manually with digital software, can now be done with DICE. Of course, this can add anywhere from $10-20 dollars to each minute of scan time, so it is a very expensive option, so we have not yet decided if this negative will be scanned that way.

Blue Sunshine, 1978, Original Camera Negative.

Well, “when it rains it pours”, is how the saying goes and for my small and rather intimate archival efforts, I can admit that this is true. These past 6 months have been amazing, from discovering a crisp 35mm print of an American literary and cinematic classic like Orson Welle’s, Falstaff(1965) to the negative of an American underground-cult classic like Jeff Lieberman’s, Blue Sunshine(1978), at Distribpix Inc we are certainly doing something right and that is literally unearthing some of cinema’s lost film treasures and elements.

Always traveling all over the place to retrieve film elements, look at new ones and archive collections takes a toll on the body and mind. It is like going on a scavenger hunt and if your successful , you need a 56 foot trailer truck, fork lift, 5 thousand dollars and a bottle of Advil, to simply ‘move it out’. Unlike many other worthy and valuable hobbies, like stamp collecting, where an entire collection of rare value can be carried in a briefcase and stored in a safe, a film collection needs a large space, a warehouse, a film storage facility, it’s a lot, and by film collecting standards I am rather small potatoes, housing much of a 3000 square foot warehouse with random films element and always convincing myself that I have room for me( which I do)!

And what is great, which is not that uncommon in film discoveries from the Distribpix archive, is that most of the time we are able to track down the origin of the films elements and find out where they originated (mainly through files, record and research) and how they ended up where they are. In most cases, it can be it’s own show or episode, it can be that amazing and detailed, other times its rather simple and straightforward. This is exactly the case with the negative for Blue Sunshine. For me, this was a simple forensic analysis and the determination was made through files that were from my private records, but after through research, the same info was also found to be easily available on the internet.

Blue Sunshine, 1978, Original Camera Negative.

Analysis of the discovery of the Film Elements for Blue Sunshine (Original Picture Negative):

Here is what I can tell you about the life of the original picture negative for Blue Sunshine. Again, this is concise and to the point, but the actual story like many, is packed with details. In the late 1970’s when Jeff Leiberman had the original film negatives, he had utilized the services of Movie Lab in NYC to not only strike prints, but also store and ship prints. Movie Lab was one of the major go to labs of the day, and provided services to almost every film company during the 70’s and 80’s, from Hollywood to New York.

Their bicoastal location allowed prolific producers and directors on both coasts to more easily churn out pictures in the booming exploitation market. In many cases, these local labs thrived on the business of exploitation filmmakers(more on the cheaper, action style films and X-rated adult features), as the demand for this niche and theatrical prints was at it’s peek, as grindhouse after grindhouse dotted the streets of NYC and many other cities across America. America wanted it’s filth and they needed it quickly and easily, the only way to make it accessible was to have prints struck and in some cases hundreds of them for theaters all over the world! Today, we take for granted that much of the HD quality video we all watch on our tablets and mobile devices is streaming from some invisible Cloud that lingers in the atmosphere, of course I am speaking of cloud based servers and storage. But, back in the 70’s and 80s’s, if you want to see the shit, if you wanted anything to do with it, you went to the theaters. It was an experience. It was a way of life, this was just before and during the infancy of the home video revolution(VHS). This is how America and most viewed films, it was a place for the commoner and the cinephile, the raincoated-pervert or the business man. If you wanted it, you came out to see it, no way around!! I was fortunate enough to be a youngster around it, I saw it and experienced NYC and Times Square in the late 70’s and early 80’s, man it was incredible. Anyway, there is no way of getting around technology, don’t fight it, embrace it.

Back to the story……so while the labs were always busy the began to  depend more and more on the success of the filmmakers and producers, and as these filmmakers would move on from one project to another, it was not uncommon to have original elements either stored or held at specialty film labs. Movie Lab was that place for Blue Sunshine, as well as literally thousands of other films elements from studios big and small, from around the world.

In the early 90’s, when Movie Lab had gone out of business, which is it’s own story, there were still thousands of film elements that were either abandoned, not claimed, unknown or just not identified correctly and became the property of Movie Lab and/or their responsibly to get rid of it, as they space the inhabited for so long was now to be vacated.  So in the early 90’s, after a business deal was made between Distribix Inc. and Movie Lab, all of these various film elements were brought by trailer trucks to a warehouse in New Jersey, owned by Distribpix. These elements were stored for a while and eventually ended up in some different areas, some stayed in NYC, and many went to Los Angeles and then we followed the paper the trail to Seattle’s, Something Weird Video, where they would stay for approximately 25 years, hidden and tucked away with thousands of other boxes in storage areas, filled with film elements, ranging from negatives, to prints, mag tracks, trailers, work prints, etc.

The simple reason they ended up in Seattle, at SWV, was due to the fact that in the early 1990’s a young and aggressive businessman( as well as cinephile, professional collector, comic book hound, punk rock expert, and well known video bootlegger) by the name of Mike Vraney had contacted Arthur, the owner of Distribpix Inc, as Mike wanted to distribute some of the early Distribpix sex exploitation films, as well as try and exploit the new Movie Lab acquisitions as well. While I was just getting out of junior high school around that time, I was still aware of what was going on, to a degree, now my tenure and files can confirm everything. Anyway, Mike Vraney and Distribpix had a very pleasant relationship, and I remember times when Mike, Dave Friedman and my father and brother, would often all rendevoux once a year in the Big Apple, where they would romp around, eat and drink. Mike was a true character and I have thought about him so much since his passing just over 15 months ago. He leaves behind an amazing legacy and film collection, and a good portion of those elements are owned by Distribpix Inc. Anyway, after Mike’s passing I had spent almost a year going back and forth to Seattle every 6 weeks or so, to spend time with Lisa, Mike’s wife and owner of SWV, as well as Tim Lewis, the head of operations. We had some great times. I also got to be at Mike’s memorial and oother events to remember his life. While in Seattle this past summer, I had also been looking through elements and gathering films as well. In July of 2014, after spending 3-4 consecutive days on my hands and knees, I was elated to find a box that was labeled with Blue Sunshine.

Blue Sunshine, 1978, Original Camera Negative.

I don’t exactly recall why I was looking for it or why it was on my ‘keep an eye out for” list, maybe because Jeff had mentioned it to a friend of mine, as he knew I would be scouring through the Movie Lab elements with a fine tooth comb, but Lisa was also aware of the fact that they might be there. I mean Jeff Leiberman even had a hunch, as he would know best and he was right. I immediately brought the box to Lisa where it was locked away in her office until I was able to have it securely package and shipped to the east coast. Where is sits beside me and awaits a 2 hour drive too the lab in just over 48 hours! That is the life line of these elements, I hope you enjoyed this story. I am want to thank Mike/Lisa/Tim from SWV for always being such solid people to me and great hosts and I want to thank and congratulate Jeff Lieberman on the confirmation that his original negative not only exists, but will be getting a grand restoration and one done with love, passion and care to detail.

While this is a great find and the elements are now safe with me they will be going home to daddy!! After the restoration, which is complete I will personally drive the negatives back to Jeff’s home, where the reels can live with Jeff, sandwiched between some of his other prized elements he owns. I just hope his film elements for Remote Control, will not be too jealous of his brand new and gorgeous looking 35mm-celluloid addition to the family!

More details to follow. Thank you for reading.

http://www.distribpix.com

If you live in LA, or your going to be in LA tomorrow night, May 15, you got to come and check this out. The bottom line is that these guys over at Westgate Gallery love their cult, exploitation/sexploitation and vintage X rated posters. Christian and I have been friends for many years and he has been a huge supporter of the Distribpix Archive and the artwork of the films as well. From what I have seen so far online, I am so excited for this event. I am flying all the way across the country, so I can be there and be surrounded by amazing art. One thing I love most about the organizers of Westgate is their passion and commitment!! That is what makes this so exciting. Lots of guests and events surrounding this. Tons of original posters and artwork.

I hope to see all of you tomorrow night and congratulations to the team at Westgate Galleries, a job well done!

DETAILS:

What:   WESTGATE GALLERY PRESENTS:  THE DEVILS PLAYGROUND 

A  Classic Exploitation Movie Art show.

When:  FRIDAY MAY 15^TH 8.00pm

Where: LETHAL AMOUNTS GALLERY, 1226 WEST 7^TH STREET, DOWNTOWN LOS ANGELES 90017

Who:    Mink Stole,  X-rated Royalty Serena, Jeanne Silver,and Annie Sprinkle; adult film historian/performer/screenwriter/agent Bill Margold, 2015 XRCO Hall of Fame actress Karen Summer, cult film favorites Holly Woodlawn and Kitten Natividad (all confirmed); erotic filmmakers/photographers Suze & Holly Randall and XXX superstar Kelly Nichols (schedules permitting)

Westgategallery.com  is an online original movie poster boutique specializing in rare & outrageous Classic, Cult, Exploitation, Giallo, Golden Age XXX & Horror, with one of the largest selections of painted/illustrated porno 1 sheets and Italian subway posters you’ll ever find.

This is a section of exclusive artwork, from Distribpix( not included in the show)

Here are some images to get you excited about seeing the art of cult films!!!

The Nesting, By A.W.

Original art for Joy.

Scorpio 70.

Did you ever hear the words  ‘BLUE SUNSHINE’

Try and Remember…. your life may depend on it!

HD Screen Grab from Blue Sunshine.

Blue Sunshine – 4k Restoration Project and Release update:

Its been a long time coming and we want to send out a project update regarding the 4k restoration of Jeff Lieberman’s, Blue Sunshine. First of all, the actual restoration of the picture is complete, and simply put, its wonderful. The 4k scan was performed on the Arriscan 6k film scanner, and I chose to utilize the Kodak Dice technology. For the post color work, Davinci’s Resolve was the software of choice and the best colorist I know handled the work.  Phoenix Finish Software was used for the digital restoration, removing thousands of instances of dirt, scratches and other damage, that remained. Overall, the digital restoration took me approximately 40 hours.

Director Approved!!! Jeff Lieberman has been very hands on through this entire restoration. Jeff doing QC on the color correction.

Digital Restoration, removing defects, like large dirt marks, emulsion scratches and water spots.

Digital Restoration, removing defects, like large dirt marks, emulsion scratches and water spots.

This total scanning and restoration process on the whole, took quite a bit longer than most of the other completed projects we have done, simply due to the fact that this was a true 4 k restoration. So everything takes longer to do, it is essentially double the size of 2k, and nothing plays back at real time, so you have to be patient, especially while changes are rendering. All in all, the final product looks clean. Color is very consistent as well.

Blue Sunshine, Nitehawk Cinema, Brooklyn , NY. Screening of the 2k DCP.

We had already created a few DCP’s and back up Blu-ray’s for a few of the theaters that have begun to screen the new restoration. It has been screened in Brooklyn at Nitehawk Cinema, and upstate NY at Proctor’s Theater and headed out west in November, for its LA premiere at Cinefamily. Its been a great experience so far and the last few weeks have been a bit hectic as we are beginning to ramp up the last phase; preparing the Blu-ray and media packages.

The discovery of the negative was a surprise for all of us and especially Jeff, who assumed it was lost forever. These incredibly preserved elements proved to be key for such a smooth restoration process. Out of literally hundreds of films scanned at the lab, it was unanimous that these elements were among the nicest they have ever seen. After the scan, I was able to return the long-thought lost negative back to Jeff.

Director Jeff Lieberman, reunites with his Negative elements for Blue Sunshine. A happy man!

So as a standalone film, it would probably still be an amazing seller, simply because the legions of fans around the world want to see this how it was meant to be seen, with crisp color and grain, and in the proper aspect ratio. We are well aware of that, and it might be available like that in the future. Our goal all along, has been to commemorate this special project with a spectacular Blu Ray/DVD release and one in which the true fans and collectors would want to cherish. The film has become a cult classic of the horror community around the world and this brand new edition, needs to be given some serious attention.

Now for the fun stuff, some of the extras and bonus material that we have been working on for several months. In order to make the project as good as it can be I have hired Elijah Drenner,  a veteran producer of DVD features and docs. We have been working closely together on this project and we have also been friends for several years, which makes this much more special. I have also been working with Jim Kunz, another very well-known producer and director, and no stranger to Blue Sunshine. Together, we have begun to assemble what we think will be the ultimate edition for fans.

Blue Sunshine package Features:

•Brand new and director approved 4k scan and restoration from the original negative elements

•Brand new HD scan of original theatrical trailer from negative

•Brand New Full-Length Audio Commentary with Director Jeff Lieberman, moderated by Elijah Drenner

•Locations Featurette : Then and Now

•Q/A from ‘Jumpcut Cafe’ screening in LA

•From The Archives: The Fantasy Film Festival interview with Mick Garris and Jeff Lieberman

•Brand New Interviews with co-stars Robert Walden, Richard Crystal, script supervisor Sandy King and writer/director Jeff Lieberman.

•Exclusive CD Soundtrack with music composed by Charles Gross

•Slideshow and Ephemera Gallery

•Illustrative Liner Notes Book

•Subtitles

Plus more to be announced!

We want to thank everyone in advance for all the strong support. We are very anxious to push this through this last phase and delivery something that we can all be very proud of. For now, please check out some of the mouth watering images!

Here are some screen grabs from our recent interviews to be included exclusively in the upcoming deluxe package:

Blue Sunshine-Writer and Director, Jeff Lieberman.

Actor, Robert Walden, who plays Dr. David Blume in Blue Sunshine.

Blue Sunshine- Script Supervisor, Sandy King.

Director Jeff Lieberman, revisiting the original shooting locations, Summer 2015.

In the meantime, please check out some of these final HD screen grabs from the final version of Blue Sunshine:

Dr. David Blume, played by actor Robert Walden

Opening Credits.

Wendy Fleming, played by Ann Cooper.

John O’malley, played by Bill Cameron.

Zalman King, plays Jerry Zipkin.

Ed Fleming, played by Marc Goddard.

O’Malleys neighbor, played by Alice Ghostly.

Alicia Sweeny, played by Deborah Winters.

Wayne Mulligan, played by Ray Young.

CALLING ALL FANBOYS, FILM BUFFS & HORROR HOUNDS…….BLUE SUNSHINE MATERIALS WANTED!!!

For the slideshow we are creating, we are making one last call out for Blue Sunshine materials!! We are looking for any movie related artifacts, like paper materials, news articles, literature, posters, one sheets, ad mats, etc. We do have some great stuff, but if you have anything that you would like to share, to be included on the Blu Ray, please let me know by sending me an email at distribpix@gmail.com. Let me know what you have and we can see if it is something we can use, if so we would need a digital copy. If we use your materials, we will send you a free contributors copy of the Blu Ray, as a huge thanks.

ALSO : We are looking for a handful of Blue Sunshine Polyglots who may want to do some foreign language transcribing, in return for credits, and of course a free copy of the Blu Ray, and even some awesome movie posters and other goodies from the archive. Again, anyone interested in contributing to the project should reach out to us via email at distribpix@gmail.com.

Thank you all very much. More to come!!

Cecil Howard’s, Scoundrels getting full 4k restoration and deluxe Blu Ray treatment!!!

It’s time for an update on the restoration of Cecil Howard’s, Scoundrels…..it’s definitely already in progress and I am sort of in awe that this is actually happening. It took a long time, I mean a long time, for the legendary director of erotica to finally take that last step into the brand new digital era. His recent decision to take a huge leap from his analog comfort zone, and team up with me to bring his films to the 4k future, has been monumental. It’s a dream come true and to all who have helped along the way, it will prove to be a major milestone.

This first restoration project has proven to be a bit challenging on a few levels, which is good, as it is our first time working together and finding the flow is half the battle. We are both particular when it comes to details and Cecil is very hands on, so this means that we have spent quite a bit of time together since we have begun to restore Scoundrels. We drove to his archive together and retrieved the negatives, we traveled to the lab together, we have spent countless hours discussing new technology, and he has been amazing in sharing details with me, about his films and love for the genre. It has been a once in a lifetime experience.

Considering how private Cecil prefers to be, I feel even more lucky that we are spending so much quality time together. In the past month, we have really ramped up the production of quality bonus features for the upcoming release, and in many cases working closely together. The actual 4k scan is complete, and the next steps are color correction and some digital restoration. Besides the film and trailers being included in stunning HD, we now will have an entertaining and exclusive director commentary to go along with the film as well. Cecil also gave me a wonderful and touching audio interview, which may be included on the DVD or possibly used for promotion. If that wasn’t enough, Cecil has been gracious enough to allow me to molest, hand pick and digitize a good portion of his image archive, which includes stellar 35mm chromes, press books, ads, original art , and more. Much of this will be used to create a slideshow and gallery for the Blu Ray. (On a side note, Cecil has one of the most well kept archives, from films to files, it is very organized and impressive. It reminds me very much of the way Radley Metzger keeps his archive and files, which were always well kept and detailed).

Oh, and did I mention that Ron Jeremy also gives an awesome lead actor commentary!! Its going to be a great little package, I mean quality all the way. It is clear that Cecil and Ron have a great fondness toward each other, and I wanted to include some of that essence in this package.

The film package will not be ready for release until shortly after the new year, but it will be worth the wait. Stay tuned for more details and more surprises.

The Naughty Nurses Double Feature

The incredibly long wait is soon over, as dozens and dozens of the original Distribpix Inc. productions and releases will be hitting home video on DVD and choice VOD platforms. These lost sexploitation gems will be packaged as double features with a common theme, by director, actor, genre, etc. Each film is transferred in High Definition and each original trailer is also included, as well as other extras, depending on each release. The films are being revived and released for the first time ever on home video, under the umbrella of the Distribpix Archive Collection (DAC).

The Distribpix films themselves are incredibly important to sex film history, as they fueled the grind-houses as Americans were thirsting for more filth. These sex exploitation films bridged the gap and filled that temporary void, between the pre-white coaters and all out X rated fare! Although one can argue that these films in our collection are hokey and downright bad, all I can say is that they would be dam right!!!! Well, not really. They might be some of the most entertaining, and in some ways groundbreaking erotic films of the modern day. I was really alluding to the fact that many of these are at the very low end of the spectrum as far as production value is concerned, even though they were shot in 35mm, they are bad in almost every way. Fingers seen in the frame, poor lighting, and even worse acting are a few of the dead giveaways. But keep in mind, that even with that said, many of these are still among the best sexploitation films ever made, like ones produced by the late and great Joe Sarno, as well as the Amero Brothers, the Findlays, Ron Sullivan,  and so many more.  The collection as a whole is invaluable and stands for a vital part of American sexploitation history and over the next few years, we hope to be able to bring all of these into your living rooms, as gorgeous, remastered films in HD, 2k, or even 4k.

Ladies and Gentlemen, the first installment of the Distribpix Archive Collection!! Enjoy.

The Naughty Nurses Double Feature- Distribpix Archive Collection.

Head Nurse, 1972 Kirt Films International

In Head Nurse, director Tim Davies takes us on a tour of NYC’s most bizarre hospital. While there are similarities to a “white coater”, it is clear that producer Jones Gregor, had other ideas…gorgeous nurses, crazed doctors, test tubes and corpses! Not too mention, one of the most unforgettable scenes involving a human skull, ever captured on film. Starring a moustache-free Harry Reems, a young Marc Stevens, and rare sex appearance by disco superstar, Andrea True. With original music by the Bushels.

Marc Stevens, Head Nurse, 1972.

Andrea True, Head Nurse, 1972.

Head Nurse, 1972.

Harry Reems, Head Nurse, 1972.

Nurse-Made, 1971 Mansfield Ltd.

Some early sex-exploitation films have a cheap and amateurish look. Low quality audio dubbing, sloppy edits and poor lighting are just a few of the signs. Nurse-Made is the epitome of a NYC sexploitation film. Written, directed and produced by Robert B. Mansfield, this film explores a unique relationship between an ailing patient and his young nurse. Starring Jean Ashley, Lee Tucker, Dick Baker. Original music by Bob Mann. Assistant director, Gary Kahn.

Nurse-Made, 1971.

Nurse-Made, 1971.

Nurse-Made, 1971.

Nurse-Made, 1971.

http://www.distribpix.com

FALSTAFF CHIMES AT MIDNIGHT

by Steven Morowitz and Joel Bender

(Part 1 by Steven Morowitz)

Distribpix Inc. discovers a hidden cinema treasure……

New York/Los Angeles for immediate release/Feb. 9,2015

Film enthusiast and archivist, Steven Morowitz, and veteran film director Joel Bender, unearth a rare and almost pristine 35mm print of Falstaff, Chimes at Midnight. This is one of the most important discoveries for us to date, at least regarding a mainstream film and one of such historical importance. Not that the film does not exist, and not that there are many experts already on the case, but from the bootleg versions and web clips available that we have seen over the years, it seems that the source material that people have been using is in very poor shape, and or put together from various prints. Maybe not doing proper film restorations or not having proper film elements has been the biggest obstacle for most, as we know that people have film elements. One thing is for sure and that is that the world wants a gorgeous and definitive release of Falstaff.

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.

I was very happy to see that there are literally hundreds of thousands of film fans, fans of Orson Welles, fans of Shakespeare, history buffs, literary buffs, institutions, etc. that have been waiting decades for a proper release(restoration/preservation) of this film. There are people already dedicated to finding the best elements and assembling the best prints, there are dozens of articles on the film and it’s short theatrical life in the United States. You don’t need to go far, just google Falstaff, and see for yourself.

And most recently, the Film Forum in NYC had hosted a Welles retrospective, where it seems that a DCP of Falstaff was presented and with Beatrice Welles , as a guest for the Q/A. Of course, we are anxious to find out more about the event, as we were unable to make the event, due to the inclement weather.

The print we obtain is complete, and totally uncut, and takes up a full 7 reels. How do I know? That is a great question, with a complete and definitive answer. Literally within just a few weeks of Joel and I agreeing that we would pursue this discovery, he had begun to hound me with a daily barrage of phone calls, begging me to take the film to a lab in order to confirm its authenticity. We needed to know if the films was original and uncut, and in what condition. It was imperative, and something that needed to be done. I needed to perform at least a preliminary film transfer, but of course this is something that needs to be done in a professional film lab, and one that is capable of handling archival film.

With a mix of caution, care, anxiety and reluctance I took the complete print, housed in the original two cans(2), a total of seven(7) reels to be transferred. I drove them approximately one hour and arrived around 11 am. I brought the films in for initial inspection and the owner of the lab and his technician were both in awe of the condition in which the film has been preserved. I was not totally surprised, as I knew it was in great shape, but I needed to see the condition…..the color, and damage, etc.

Lipsner-Smith Ultrasonic Film Cleaner, a key piece of equipment. Note: This is not Falstaff on the cleaner, but a 16 mm reel of a random film that was being cleaned.

We had decided that the best and most cost effective process for this short term goal, was to perform a one-light transfer on an HD Spirit Datacine. We proceeded to bring each reel into this amazing Lipsner-Smith film cleaner, where it would undergo a soothing ultrasonic film bath. As each film came off the cleaner we proceeded to bring it directly to the Datacine and would find a good balance of light levels, commit to a setting and run each reel in an open matt -HD transfer( full 1920×1080). Because the Datacine produces a video file, I was able to capture the film transfer in real time and actually leave with the film reels, captured on a hard drive that very same day.

HD Spirit Datacine, actual 35mm print of Falstaff, being transferred.

Check out some Full Frame -Raw HD Screengrabs imported out of Final Cut:

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.

Keep in mind, there was no restoration done and no timing work, this transfer was done to confirm that this find is real. I am happy to reveal that it is the real deal. I proceed to make a quick DVD sample in Final cut of the transfer and sent it to Joel on the west coast and 2 days later, I flew out there and we had out first meeting together in person. He had so much to share with me and was more than excited. He was able to briefly share the results with a few people as well.

The results of the initial transfer were so much greater than we could have imagined. It has now given us the confirmation that this now exists and should be the subject of a major preservation and restoration. It is just coincidence that this happens to be a print that was played a few times before it was pulled and returned to the lab, and left to stay in almost perfect condition. The 35mm print is in such great condition that it is begging for a full 4k scan restoration, along with scene by scene timing and a hard level 3 digital scratch removal (meaning hundreds of hours of frame by frame dirt and damage removal). This would at least guarantee a viable digital archive and one that can stand for future generations of cinema lovers. And on the higher end of the film preservation, it might even be able to be used to strike new elements.

Complete 35mm print of Falstaff, on 7 full reels. Actual Print.

But these seven(7) 35mm reels stand for more than just a print of Falstaff, for it is symbolic on a few levels. First, the discovery of this almost MINT print had prompted us to do some major research into the exact elements and with almost forensic precision, we have traced this films life and the results are note worthy. Secondly, the story of how we actually discovered the print and the characters involved in this saga, is possibly equally as exciting as the print discovery itself, and there has even been talk of a short, independent film, based on this real story.

For those of you who have no clue about this film, here is the basic layout. = ( Chimes at Midnight) was shot in 1967 and directed by Orson Welles. The film’s plot revolves around many parts taken from Shakespeare’s various works, so it is like a grand compilation. The film was produced by Harry Saltzman, shot in Spain, starred Orson Welles and other famous actors and players, like assistant director Jess Franco, to name just one. This info was easily found on the internet. And since the dawn of the internet, articles began to circulate about this mysterious film……..Who owns the rights? Why has there been no definitive film restoration? Who has the original negative? Why was it pulled after a few play dates in New York City. The questions go on and on, visit a few web forums and see for yourself.

This discovery in itself is very significant. The films holds a great deal of history and all that is connected, and most people who have spent significant time researching this film over the years, are more than curious, how we came across this print.

Where did you find this 35mm print of Falstaff, Chimes at Midnight……..

I own a semi-large collection of film elements. Many of these films elements have been on the West Coast of the United States and I am located on the East Coast. There are also elements scattered from NYC, to Long Island, LA, Seattle and more. Part of my job over the past 5 or 6 years, has been to clean up loose ends in the collection of the films that I own, fill gaps in the archive, consolidate random elements, take proper inventory, try and find more elements, etc. In this process I have personally moved tens of thousands of pounds of film elements, truckloads, and sometimes, trunk-loads.

My films come from many places, like most collections. It’s make up is a mix of abandoned archives/labs, like Movie Lab, Bonded,  or the purchase of the Sam Lake Enterprise archive. There are also many original Distribpix film elements, some private film collections, a very kool collection of 35mm cartoons, television shows, and lots of others. There are so many odds and ends and some great titles in the mix. Many of these titles became the property of Distribpix in the early part of the 1990’s, when a few major labs in the New York area went out of business and many film elements that were left behind needed a home. Distribpix Inc, became that home. While there are some elements that we can’t account for, we are doing our best to make sure everything from this point on is saved.

35mm Technicolor Cartoon Prints–Looney Tunes. These originated partially from the Same Lake Collection, and the forensic trail of the elements leads us all the way back to the Viet Nam War era. These are the actual prints that were sent to troops for entertainment at outposts and bases. Pretty kool!I love these and the color never fades. I have approximately 60 different episodes.

With so much in any collection, it can be very difficult to identify every single film element. And the only way to do it correctly, is to open up each and every can, to see what is inside, its condition, and where it belongs. With thousands of random cans and reels in this collection, it is not that uncommon to occasionally come across some really interesting film finds, some are very newsworthy.

About 2 years ago, I became aware of several pallets of miscellaneous 35mm film elements that were in NYC. I knew they were there and on a few occasions, I sort of dipped into them to take a look. They were situated across from a spot, that I have adopted as my makeshift NYC shooting studio. So each time I would conduct an interview or commentary in NYC, I would find myself staring at these elements. Some 35mm adult features, and many more mainstream titles. Cans from Paramount can be easily identified, as well as other major studios and labs. There are some unique film prints, mainly misc American Cinema, and some kool titles, like Naked Prey, No Way Out, Lord of the Flies and many more.  But no find is more kool than, Falstaff.

Actual 35mm Print of Falstaff, notice the Grove Press labeling on both cans.

Falstaff print can, notice the Peppercorn-Wermser label. This is the key to identifying where this print originated from and where it was screened.

After originally re-discovering these, I was able to confirm that they had been in this spot for approximately the past 20 plus years. I had opened them up at one point and the film not only seemed to be complete upon visual inspection of the reels, but it seemed to be in impeccably amazing condition, no vinegar smell and that good ‘film’ smell. I thought to myself there must be a mistake. They were labeled correctly and rewinding a bit revealed a pristine picture. A film friend of mine, even told me to just sell it on the internet for a $1000, etc. I just felt it was worth more than that and all I knew was that it had to do with Orson Welles. Because things can be so hectic in life, I just left the cans where they were, knowing they would be safe. Another 2 years had gone by and this past summer, the reality of what was actually in my possession had hit home!!

It was in late August of 2014 and as I prepared to do an interview with Joel Bender, director of a feature film in my archive called Joy. I flew him into NYC from LA, where he was the guest for a 35mm screening of his film Joy at Anthology Film Archives, followed by Q/A, along with several of the cast and crew. He did not shoot that film under his real name, but used the name Harley Mansfield.

You may also know of some of his other mainstream films, like Gas Pump Girls in the late 70’s and in the early 2000’s, he directed Karla, a masterfully done film, based on the true story of a pair of Canadian serial killers. The bottom line is that I had 2 directors chairs for the interview and as Joel prepared to take the seat, he noticed the cans labeled Falstaff and what came next leads us up to this moment. I want you to get his perspective on this brand new discovery and the best way to do this was to have Joel summarize his experience:

Joel Bender, 1977( aka Harley Mansfield).

Falstaff Chimes at Midnight – a brief history and love for a lost classic…….

(Part 2 by Joel Bender)

For me, Falstaff takes second place only to Citizen Kane in Welles body of work, or maybe its equal. The richness of style, the extraordinary photography and editing – the grandness of its execution and imagination on a paper-thin budget – this is a rich emotional story that hits on all cylinders and an astounding creative use of Shakespeare’s plays. It is actually a new Shakespearean play created by Welles.

It is a delight for me and my partner, Steven,  to attempt to bring this film back out and into the light of day for all to see. The film speaks volumes on the question of what happened to Orson Welles? His final feature speaks of his vision that belongs near the top of a list of best films of all time. For this film to finally find an audience that will grow as more people see this masterpiece of visionary talent. The question will be answer whatever happened to Orson Welles? He made magic out of thin air.

I first saw FALSTAFF/CHIMES AT MIDNIGHT at its first official screening in 1966 at a theatre on 57th Street in New York . I was still in film school at the time (School of the Visual Arts). I was a fan of all of Welles’ previous films especially The Trial, and of course Citizen Kane and Touch of Evil. As I sat in the audience I felt I was in for something special. The film on the screen was dazzling, funny, sad, beautifully photographed and performed and Shakespearean prose was spoken in a way that conveyed the real emotion of the situation. As in everyday speech. I felt that I was transported back in time. It was real entertainment with the most unique battle sequence or the Battle of Shrewsberry. I recognized this as a work of genius that could stand up to his Citizen Kane and rest of his best films.

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.

After the screening I wandered out of the theater reliving all the great images, feats of acting and scenes that I had just seen. There I bumped into the head of the film department at my school. He looked at me, shook his head from left-to-right and said “That’s the best filmed Shakespeare of all time. What a great movie.” I agreed.

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.

But a dark cloud would come. Although the film was hailed in Europe it was not that in America. Falstaff got some disheartening reviews from the New York press and pulled by distribution after a disastrous review by New York Times film critic Bosley Crowther, who even mad e a mockery of Wells’ performance calling his Falstaff “a bumbling street corner Santa Claus”. And the film a “mish mash of unrelated scenes”. Also, that “Welles was the first actor to be too fat for the role”. This was a crime. Amid some minor technical inadequacies because of the small budget, one cannot disregard the beauty of its images the fine-tuned story telling, the great originality of its conception and the use of several plays to make one play. Crowther’s review caused the distributor Peppercorn- Wormser, to withdraw his backing and to pull the film from exhibition and distribution in the United States even as the awards were piling up in Europe.

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.

The film FALSTAFF/CHIMES AT MIDNIGHT is based on the character of Sir John Falstaff. Orson Welles thought this was Shakespear’s greatest creation. Sections of several Shakespearean plays were used to create a new story. Welles said the core of the film was the betrayal of friendship. Sir John Falstaff is a running character in Shakespear’s plays.

Here, from a script that focuses on several sections from Shakespeare’s plays, Henry the 4th – Parts I and II, Richard the II, Henry the 4th. The central issue it dramatizes is the choice offered to Prince Hal between the values embodied by Falstaff which include gentleness and friendship, as well as bawdiness and deception – and self-denial and submission to higher interests of the Kingdom demanded by the exercise of power after his father’s death. There is a father/son relationship between Hal and Falstaff.

Over the years I tried to find a really good copy of Falstaff. I bought several imports but nothing came close to looking like the presentation I saw in 1966.

In August 2014 I went to New York to attend a film festival at the Anthology Film Archives where one of my early films was screening. After the festival was over I was taken to a warehouse/studio in midtown, by my very good friend, Steven Morowitz, who was going to do a filmed interview with me. As I sat down, I noticed a huge pile of loose film cans and carrying cases. I scanned the pile and I couldn’t believe what I saw. One of the cans at the bottom on the pile said “Falstaff”. The camera was just getting to roll on the interview when I got up and walked across the floor. Indeed, it said “Falstaff” with the  distributor’s name “Grove Press”. I knew that name from the first day I saw the film, 49 years ago. Low and behold, I turned to Steven and said “That must be the Orson Welles’ film.” It was – perfectly preserved. A great find for any film preservationist.

Falstaff, Chimes at Midnight, HD Screengrab, from 35mm Print. Check Transfer was done on Sprit HD Datacine, with one light pass and NO Restoration. Full 1920×1080.

Always a Welles’ fan, I went with my wife to a screening of Chuck Workman’s new documentary “Magician” about the life of Orson Welles presented at the AFI film festival, at the Egyptian Theatre in Hollywood. After the screening, when the lights went up and applause subsided I headed over to speak to Peter Bogdonvich who was seated across the aisle. I said “My name is Joel Bender. I am a director. Just a few weeks ago I discovered with an associate of mine a pristine print of Chimes/Falstaff under a pile of film cans at this fellow’s warehouse. My associate didn’t know the value of what he had. We both descended on the cases of film, opened it up to find seven reels with the beautiful smell of film.” Peter was listening intently. I continued “We unrolled a little and knew we found something precious.” Peter called over entrepreneur Charles Cohen from the Cohen Group and pointed at me. Peter said “This guys says he has a great print of Chimes at Midnight.” When Mr. Cohen express interest, we exchanged business cards. I also spoke to Chuck Workman about it and we agreed to stay in touch about the film. When I got back to Peter I told him that the print I had was probably the same print I had seen in New York City in 1966.

SPECIAL THANKS: to Harrison Engle of Signal Hill Entertainment, Chuck Workman and Joseph McBride, Welles biographer.

___________________________

In conclusion, we are both very proud of this discovery and all of the work we have put into this venture. We are pleased and yet cautious. Being aware of all of the rights’ issues and other obstacles, this is not an easy undertaking. We both feel that it is way too important of a cinematic discovery to simply ignore. With some hesitation Joel has shown one of the major releasing studios the sample DVD that we have.  This new discovery, can easily provide me and anyone involved with an unforgettable and epic film restoration project.

I hope you have enjoyed our article and the details within. There really are many angles to this and many roads in which we can travel. So far we have been contacted by a few theaters, looking to screen the print, but there is still some work needed to be done, clearing rights, etc. The element is simply too rare and has not yet been digitally archived properly, and without that, we can’t risk sending the print out to any theaters that still project 35mm. It would be great to be able to make this the subject of a crowd sourced, film restoration campaign. It would allow the community to speak and tell us what they want, and also support the project. With a film like Falstaff and a platform like Kickstarter, the possibilities can be endless. It would be amazing to be able to have the financing to do such a high level restoration, and film release. DCP’s can be provided to theaters and educational outlets. Who knows? But for now, please send us any feedback and advice that you may have. If you are a film or Orson Welles enthusiast, reach out to us and feel free to educate us and give us direction. This is news worthy, a major discovery!

Steven Morowitz and Joel Bender, August 2014.

About Steven and Joel:

We hope you enjoyed our article, and please feel free to contact us with any questions or comments: distribpix@gmail.com OR you can respond to the post directly on the blog!!

Some of the greatest adult legends of all time and some of the best X rated films of all time!!

Playing on Showtime :

Is it the best documentary ever made on the topic, NO.

Is it a great documentary, NO.

Are these really the best adult films of all time, NO.

BUT, it is a good documentary. And yes, some of these films are very famous. For those of us who are not die hard fans or do not work in and around the adult biz, this is sometimes the closest that many people will ever come to being exposed to a world that so many of us love and find to be normal. It is generally a good thing, when a taboo oriented topic can be so easily accessible with a cable service. Whenever networks like HBO and SHOWTIME are able to obtain  sex oriented programming something magical happens, for when the logos of these big networks show up at the bottom of  an episode it is magical, as if the footage is now safe and cool to view by millions and they get great ratings. Sex sells, it always will sell, and these networks know it, and at the same time, they can’t become the next playboy channel, or they would lose all their subscriptions, and have picket lines outside their headquarters.LOL!

I am happy to have been a part of this doc and it was an honor to work on it.  Congrats to Showtime on the success and Plausible Films, the show’s producer for being able to create this on such a short time frame and budget. As for the actual show, I am much more partial to the first 25 minutes, as the classic stuff is what interests me most. Four films from the Distribpix Archive were featured, The Opening of Misty Beethoven, Barbara Broadcast, Roommates and Blonde Ambition. To be able to see some of these films and figures get the broad exposure that they so deserve, is amazing.

Blogs, Forums, and Social Networks are a great way to keep the genre alive. But to bring these niche into millions of viewers living rooms via cable network is bigger than big, it is HUGE. Along with footage I licensed for the show, I produced 2 interviews as well. One was with Gloria Leonard( her last video interview) and one with Constance Money(her first video interview), with special thanks to Lisa Petrucci and Something Weird Video, who were the most gracious hosts. I must say the best thing is the exposure, as since the show aired, sales of the featured titles are off the charts. I just goes to show what I already knew, this is the kind of exposure this niche needs!

Both of these interviews will be available as extras on upcoming Distribpix releases and via the web as special video features. I look forward to working with Showtime and Plausible Films again in the near future.

Constance Money ( Susan Jensen). Interview July 1,2014. On Location in Seattle Washington. Her first ever recorded interview.

Gloria Leonard Interview. On Location, Kona Hawaii, 2012.