I saw this, not in Edinburgh or London, but in Barnsley at the Parkway Cinema. This is one of four Parkway Cinemas and it is sited right in the middle of town just opposite the Travel Hub. You can get there from Leeds in about 45 minutes [sometimes longer] by road and around the same amount of time by train and bus. The cinema was originally an Odeon outlet, and the interior architecture is recognisable. Now there are two screens. Screen 1 is the converted balcony. Screen 2 is the original auditorium and seats about 400. It is fairly spacious with comfortable seats and plenty of room.
The management, clearly possessing get up and go, arranged a booking with the Entertainment Distributors for the film and set about converting for 70mm. They even adjusted the masking to accommodate the 2.76:1 ratio of Ultra Panavision 70. In fact we had a short introduction before the feature explaining the conversion, lots of hard work. We also had a digital copy of an old Cinerama Trailer: nearly the same aspect ratio.
The 70mm print was in good condition with only a few scratches. It looked fabulous, especially the exterior shots. This really is the top end of cinema viewing with the highest resolution you can enjoy.
This is Quentin Tarantino’s eighth feature and it is the best since Kill Bill Vol 1 (2003) or even Jackie Brown (1997). It is typical in many ways of Tarantino’s work. So it has a host of references to earlier westerns, but at the same time there is an overlap with Reservoir Dogs (1992). This is both in terms of some of the casting but also of the plot. There are secrets and revelations and characters soon turn out to be rather different from how they appear. There is an amount of blood and gore, but mainly in the second part.
Tarantino and his team have produced a good facsimile of the classic Road Show presentations. There is an overture, and intermission and something like 20 more minutes of film than in the digital release. The first part sets up the characters and stories and runs just on a hundred minutes. The twelve minute intermission is followed by the final eighty minutes. Here there is not only more gore, but more action and some tricky plotting. It might seem a little convoluted, though less so than the review of the film in Sight & Sound.
The greatest pleasure in the film is the cinematography by Robert Richardson: think of The Aviator (2004). From comments I had supposed that the film was predominately interiors. However, there are frequent and beautifully composed landscapes. The snowy setting rivals The Revenant (2015). One has to think back five decades for earlier Ultra 70mm features: say The Fall of the Roman Empire (1964) or Khartoum (1966). It is a great format. Besides the quality of the image there is the width of the perspective. The opening shots as a coach ploughs through snow by a weather worn Crucifix looks great. But equally, interiors and close-ups, including one of Jennifer Jason Leigh, are terrific. At times it was a pleasure just watching the folds and hues of faces: the props and furnishings of the sets: and the wintry scapes.
The casting is good. I especially enjoyed Samuel Jackson’s ex-Major. The film is tricky with characters, as the plot progresses one has to revise one’s ideas of who are the key characters of the title. The whole production design and supporting crafts are excellent. And there is also the pleasures of a Morricone score: at times very familiar but also for certain sequences quite distinctive.
The film has been criticised for not being epic, and so not justifying the length or the format. I think this is a misnomer. It does not offer the gravitas of The Fall of the Roman Empire, but it has more character and more complexity than Khartoum. Black people and women do come off rather badly, especially on the receiving end of violence. But this is partly the period in which the story is set. I did think that the liberal use of ‘nigger’, [as in Django Unchained, 2012] was partly down to Tarantino’s delight in teasing/provoking the audience.
Anyway it is some time since I spent three hours in the cinema with so much pleasure. The good news is that The Parkway is providing additional screenings: on Sunday evening April 17th; then on Monday and Thursday evening and Wednesday afternoon. Worth the trip. Apparently they have had film buffs from as far afield as Bournemouth.