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First, apologies for a missed week in my “weekly” blog.  At times, the world throws a bit too much at you.  For me, that time was last week.  Now, onto this week’s restoration!

Fueled by glamor and immense spectacle, The Loves of Pharaoh (dir. Lubitsch, Germany, 1921) was at once the most expensive and one of the most visually striking German films of its time.  It was director Ernst Lubitsch‘s final feature before beginning his directorial career in Hollywood and, enjoyed a profitable and lengthy run in cinemas both in Europe and the United States.  Why, then, have so few people today heard of or seen the film?  Like so many films of the silent era, The Loves of Pharaoh was all but forgotten about with the coming of sound, and it took nearly a century for enough film material to be located to reconstruct the film once again.  In the late 1990s and mid 2000s prints of the film were found–where else?–in the world’s film archives.

An original German Poster for The Loves of Pharaoh

In true Lubitsch fashion, and with significant funding from Paramount Pictures in Hollywood, The Loves of Pharaoh displayed its grandeur with elaborate costumes and realistic sets.  The set designer Ernst Stern boasted that no miniatures were used for the film.  Instead, giant Egyptian palaces were built on the site of a sand mine in a suburb of Berlin.  To the unsuspecting viewer, it would have looked like the film was shot on location in northern Africa.

The most elaborate of the film’s sets.

The restoration project was coordinated by Bundesarchiv in Berlin, but involved the cooperation of a number of different archives.  A Russian release print which had been screening in Germany for years acted as the seed for the restoration project.  With only Russian intertitles and a significant amount of the film missing, the first break came in the discovery of a large portion of the film’s ending in a French film archive.  These fragments along with production stills, an original score composed by Eduard Künneke, and an original screenplay began to reveal the film’s original construction.  Unfortunately, much of the film was still missing completely, and the project seemed like it might have been a lost cause.

Then, in 2006, it was revealed that George Eastman House in Rochester, NY had received an Italian release print of the film as part of a large collection from Italian film collector Roberto Pallme.  While this print was also incomplete, it miraculously complemented the Russian print nearly shot for shot, leaving almost an entire film.

Thanks to digital technology, ALPHA-OMEGA digital was able to use the nitrate material and original score to re-introduce the film’s original tinted colors, in addition to digitally repairing film damage.

An example of a new, digitally-tinted frame.

Also remarkable about the restoration of The Loves of Pharaoh is that for the first time, the original score by German opera composer Eduard Künneke, which was an instrumental element in restoring the film in the first place, is available for audiences to hear.  On the forthcoming Blu-Ray and DVD release of the restored film, the re-recorded soundtrack will be available for the first time ever on recorded media.  And audiences seeing the film live can have the opportunity to see the film with a full orchestra, as it was originally intended.

To see The Loves of Pharaoh in all its restored glory, come out to the 17th Annual San Francisco Silent Film Festival.  In addition to seeing a long-lost Lubitsch classic, audiences will also get to see the director’s first use of key lighting, a technique he had discovered in Hollywood just before making The Loves of Pharaoh.  Key lighting is a technique whereby sets are lit from within, rather than just from the front.  At the time, lighting a set in this way was quite revolutionary.

The Loves of Pharaoh will screen Friday, July 13th at 4:00 PM.  See you at the Castro!

San Francisco Silent Film Festival