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 | The examples and perspective in this articledeal primarily with the United States and do not represent aworldwide view of the subject. You mayimprove this article, discuss the issue on thetalk page, orcreate a new article, as appropriate.(May 2012) (Learn how and when to remove this message) |
Alost film is afeature film orshort film that is no longer known to exist in studio archives, private collections or public archives such as the U.S.Library of Congress.[1] The terms "lost film" and "partially lost film" can be used for instances where only incomplete versions of a film exist, or when footage ofdeleted scenes, unedited and alternative versions of feature films are known to have been created but can no longer be accounted for.
Most lost films are from thesilent film andearly talkie era, from about 1894 to 1930.[2]Martin Scorsese'sFilm Foundation estimates that over 90 percent of American films made before 1929 are lost.[3] These films were once thought by their owners to have little or no value once public tastes turned to "talkies". Film decomposition and combustion of flammable nitrate film have taken a toll on silent andsound films alike. Of American sound films made from 1927 to 1950, it has been estimated that half have been lost.[4]
Sometimes a copy of a lost film is rediscovered. A film that has not been recovered in its entirety is called a partially lost film. For example, the 1922 filmSherlock Holmes was eventually discovered but some of the footage is still missing.
Most film studios routinely had a "still" photographer with a large-format camera working on the set during production, taking pictures for potential later publicity use. The high-quality photographic paper prints that resulted, some produced in quantity for display use by theaters, others in smaller numbers for distribution to newspapers and magazines, have preserved imagery from many otherwise lost films. In some cases, the surviving coverage is so extensive that an entire lost film can be reconstructed scene by scene in the form of still photographs. Stills have been used to stand in for missing footage when making new preservation prints of partially lost films.
Many early motion pictures are lost because thenitrate film used for nearly all35 mmnegatives andprints made before 1952 is highly flammable. When in very badly deteriorated condition and improperly stored, it canspontaneously combust. Fires have destroyed entire archives of films. For example, a storage vault fire in 1937 destroyed all of the original negatives ofFox Pictures' pre-1935 movies.[5] Nitrate film is chemically unstable and over time can decay into a sticky mass or a powder akin togunpowder. This process can be very unpredictable: some nitrate film from the 1890s is still in good condition today, while some much later nitrate had to be scrapped as unsalvageable when it was barely twenty years old. Much depends on the environment in which it is stored. Ideal conditions of low temperature, low humidity and adequate ventilation can preserve nitrate film for centuries, but in practice the storage conditions were usually far from ideal. When a film on nitrate base is said to have been "preserved", this almost always means simply that it has been copied ontosafety film or, more recently,digitized; both methods result in some loss of quality.
Eastman Kodak introduced a nonflammable35 mm film stock in spring 1909. However, theplasticizers used to make the film flexible evaporated too quickly, making the film dry and brittle, causing splices to part and perforations to tear. By 1911 the major American film studios were back to using nitrate stock.[6] "Safety film" was relegated to sub-35 mm formats such as16 mm and8 mm until improvements were made in the late 1940s.
The largest cause of silent film loss was intentional destruction, as silent films were perceived as having little or no commercial value after the end of the silent era by 1930. Film preservationistRobert A. Harris has said, "Most of the early films did not survive because of wholesale junking by the studios. There was no thought of ever saving these films. They simply needed vault space and the materials were expensive to house."[7]
Some pre-1931 sound films made byWarner Bros. andFirst National have been lost because they used asound-on-disc system with a separate soundtrack on special phonograph records. If some of a film's soundtrack discs could not be found when16 mmsound-on-filmreduction prints of early "talkies" were being made for television use in the 1950s, that film's chances of survival plummeted: many sound-on-disc films have survived only by way of those 16 mm prints.
Before the eras oftelevision and laterhome video, films were viewed as having little future value when their theatrical runs ended. Thus, again, many were deliberately destroyed to save the space and cost of storage; many were recycled for theirsilver content. ManyTechnicolor two-color negatives from the 1920s and 1930s were thrown out when the studios refused to reclaim their films, still being held by Technicolor in its vaults. Some prints were sold either intact or broken into short clips to individuals who bought early novelty home projection machines and wanted scenes from their favorite movies to play for guests or family members.
As a consequence of this widespread lack of care, the work of many early filmmakers and performers has made its way to the present in fragmentary form. In the case ofTheda Bara, who was one of the best-known actresses of the early silent era: of the 40 films she made, only three and a half are now known to exist. However, this was still better than the fate ofValeska Suratt, not one of whose films survives. Likewise stage actresses such asPauline Frederick andElsie Ferguson who made the jump to silent films and became more popular have large caches of lost films. Frederick has about seven films that survive from the years 1915-1928 and Ferguson has one from 1919 that survives from her entire silent career 1917-1925. More typical is the case ofClara Bow: of her 57 movies, 20 are completely lost and five more are incomplete.[8]
There are occasional exceptions. Almost all ofCharlie Chaplin's films from his entire career have survived as well as extensive amounts of unused footage dating back to 1916. The exceptions areA Woman of the Sea (which he destroyed himself as a tax writeoff) and one of his early Keystone films,Her Friend the Bandit (seeUnknown Chaplin). The filmography ofD.W. Griffith is nearly complete as many of his earlyBiograph films were deposited by the company inpaper print form at theLibrary of Congress. Much of Griffith's feature film work, of the 1910s and 1920s, found their way to the film collection at theMuseum of Modern Art in the 1930s and were preserved under the auspices of curatorIris Barry.Mary Pickford's filmography is very much complete being that her early years were spent with Griffith and especially films produced later after she gained control of her own productions in the late 1910s and early 1920s. She also backtracked to as many of her Zukor controlled earlyFamous Players films that were salvageable. Stars like Chaplin andDouglas Fairbanks enjoyed stupendous popularity and their films were reissued over and over throughout the silent era, meaning prints of their films were likely to surface decades later. Pickford, Chaplin,Harold Lloyd andCecil B. DeMille were early champions of film preservation. Lloyd lost a good deal of his silent work in a vault fire in the early 1940s.
Another remarkable case was the 1919 German filmDifferent from the Others (Anders als die Andern), starringConrad Veidt. A striking plea for tolerance forhomosexuality, produced in collaboration with Dr.Magnus Hirschfeld, it was targeted for destruction by the Nazis, with many prints of the film burned as decadent. However, a 50-minute fragment survived the censorship attempt.
An improved 35 mmsafety film was introduced in 1949. Since safety film is much more stable than nitrate film, there are comparatively few lost films after about 1950. However, color fading of certain color stocks andvinegar syndrome threaten the preservation of films made since about this time.
Most mainstream movies from the 1950s onwards survive today, but several earlypornographic films and someB-Movies are lost. In most cases these obscure films go unnoticed and unknown, but some films by notedcult directors have been lost as well:
Some films produced in 1926–1930 insound-on-disc systems such asVitaphone, where the sound discs are separate from the film element, are now considered lost because the sound discs were damaged or destroyed, while the picture element was not. Conversely, some Vitaphone films survive only as sound, with the film missing (such as 1930'sThe Man from Blankley's, starringJohn Barrymore).
Manystereophonic soundtracks from the early-to-mid 1950s that were either played in interlock on a 35 mm fullcoat magnetic reel or single-strip magnetic film (such as Fox's four-track magnetic, which became the standard of mag stereophonic sound) are now lost. Films such asHouse of Wax,The Caddy,The War of the Worlds,The 5,000 Fingers of Dr. T, andFrom Here to Eternity that were originally available with 3-track, magnetic sound are now available only with a monophonic optical soundtrack. The chemistry behind adhering magnetic particles to the tri-acetate film base eventually caused theautocatalytic breakdown of the film (vinegar syndrome). As long as studios had a monaural optical negative that could be printed, studio executives felt no need to preserve the stereophonic versions of the soundtracks.
Occasionally, prints of films considered lost have been rediscovered. An example is the 1910 version ofFrankenstein which was believed lost for decades until the existence of a print (which had been in the hands of an unwitting collector for years) was discovered in the 1970s. A print ofRichard III (1912) was found in 1996 and restored by theAmerican Film Institute.
Beyond the Rocks (1922) withGloria Swanson andRudolph Valentino was considered a lost film for several decades. Swanson lamented the loss of this and other films in her 1980 memoirs, but optimistically concluded, "I do not believe these films are gone forever". In 2000, a print was found in the Netherlands and restored by the Nederlands Filmmuseum and the Haghefilm Conservation. It turned up among about 2000 rusty film canisters donated by an eccentric Dutch collector, Joop van Liempd, of Haarlem. It was given its first modern screening in 2005, and has since been aired onTurner Classic Movies.
In the early 2000s, the 1927 German filmMetropolis—which had been distributed in many different edits over the years—was restored to as close to the original version as possible by reinstating edited footage and using computer technology to repair damaged footage. At that point, however, approximately a quarter of the original film footage was considered lost, according toKino Video's DVD release of the restored film. On July 1, 2008Berlin film experts announced that a copy of the film had been discovered in the archives of the film museum Museo del Cine inBuenos Aires, Argentina, which contained all but one of the scenes still missing from the 2002 restoration.[10][11] The film now has been restored very close to its premiere version.
In 2010, digital copies of ten early American films were presented to theLibrary of Congress by theBoris Yeltsin Presidential Library, the first film installment from the Russian state archives to be repatriated.[12]
Television material existing on film has sometimes been recovered. The 1951 pilot ofI Love Lucy was long believed lost, but in 1990 the widow of one of the actors, Pepito Pérez (who played Pepito the Clown), found a copy. It has since been shown on television. Sometimes a film believed lost in its original state has been restored, either through the process ofcolorization, or other restoration methods.The Cage, the original 1964pilot film forStar Trek, survived only in a black-and-white print until 1987, when a film archivist found an unmarked (mute) 35mm reel in a Hollywood film laboratory with the negative trims of the unused scenes.[13]
Similarly, a number of videotaped television programmes, previously thought lost (seewiping) have been recovered as overseasKinescope film prints from private collectors and various other sources over the years.
Several films have been made with lost film fragments incorporated into the work.Decasia (2002) used nothing but decaying film footage as an abstract tone poem of light and darkness, much like Peter Delpeut's more historicalLyrisch Nitraat (Lyrical Nitrate, 1990) which contained only footage from canisters found stored in an Amsterdam cinema. In 1993, Delpeut releasedThe Forbidden Quest, combining early film footage and archival photographs with new material to tell the fictional story of an ill-fated Antarctic expedition.
TheUniversal Pictures feature filmThe Cat Creeps (1930) is a lost film with the only now-extant footage included in a Universalshort film calledBoo! (1932). UCLA still has a copy of the soundtrack. TheFox Film Corporation featureCharlie Chan Carries On (1930) only exists in atrailer made to promote the film, and in aSpanish language versionEran Trece (There were thirteen [people]).
TheJames Cagney filmWinner Take All (1932) used scenes from the early talkieQueen of the Night Clubs (1929) starringTexas Guinan. WhileQueen of the Night Clubs was not a lost film in 1932, no prints of the film have survived through the decades since then. But the Cagney movie still is extant along with the selected footage taken fromQueen of the Night Clubs.
Peter Jackson'smockumentaryForgotten Silver purports to show recovered footage of early films. Instead, the filmmakers used newly shot film sequences treated to look like lost film.
InRobert Rodriguez andQuentin Tarantino'sGrindhouse double feature, both thePlanet Terror andDeath Proof segments have references to missing reels, used asplot devices.
John Carpenter'sMasters of Horror episodeCigarette Burns deals with the search for a fictional lost film,La Fin Absolue Du Monde (The Absolute End of the World).
Actress turned gossip columnistHedda Hopper made her screen debut in a Fox Film calledBattle of Hearts (1916). The star of the film wasWilliam Farnum, then at the beginning of his long Fox contract. 26 years later in 1942 Hopper produced her documentary seriesHedda Hopper's Hollywood #2. In the documentary, Hopper, Farnum, her sonWilliam Hopper, and Hopper's wife Jane Gilbert view portions ofBattle of Hearts. These brief portions of that movie survive within the Hopper documentary. More than likely Hopper had an entire print of the movie in 1942. However, like many early Fox films,Battle of Hearts is now lost or missing.
It's bad enough, to cite a common estimate, that 90 percent of all American silent films and 50 percent of American sound films made before 1950 appear to have vanished forever.
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| The examples and perspective in this articledeal primarily with the United States and do not represent aworldwide view of the subject. You mayimprove this article, discuss the issue on thetalk page, orcreate a new article, as appropriate.(May 2012) (Learn how and when to remove this message) |
Alost film is afeature film orshort film that is no longer known to exist in studio archives, private collections or public archives such as theLibrary of Congress, where at least one copy of all American films are deposited and catalogued for copyright reasons.[1] Of Americansilent films far more have been lost than have survived, and of Americansound films made from 1927 to 1950, perhaps half have been lost.[2] The phrase "lost film" can also be used in a literal sense for instances where footage ofdeleted scenes, unedited and alternative versions of feature films are known to have been created but can no longer be accounted for. Sometimes a copy of a lost film is rediscovered. A film that has not been recovered in its entirety is called a partially lost film. For example, the 1922 filmSherlock Holmes was eventually discovered but some of the footage is still missing.
Most film studios routinely had a "still" photographer with a large-format camera working on the set during production, taking pictures for potential later publicity use. The high-quality photographic paper prints that resulted, some produced in quantity for display use by theaters, others in smaller numbers for distribution to newspapers and magazines, have preserved imagery from many otherwise lost films. In some cases, the surviving coverage is so extensive that an entire lost film can be reconstructed scene by scene in the form of still photographs. Stills have been used to stand in for missing footage when making new preservation prints of partially lost films.
Most lost films are from thesilent film andearly talkie era, from about 1894 to 1930.[3]Martin Scorsese'sFilm Foundation estimates that over 90 percent of American films made before 1929 are lost.[4]
Many early motion pictures are lost because thenitrate film used for nearly all35 mmnegatives andprints made before 1952 is highly flammable. When in very badly deteriorated condition and improperly stored, it canspontaneously combust. Fires have destroyed entire archives of films. For example, a storage vault fire in 1937 destroyed all of the original negatives ofFox Pictures' pre-1935 movies.[5] Nitrate film is chemically unstable and over time can decay into a sticky mass or a powder akin togunpowder. This process can be very unpredictable: some nitrate film from the 1890s is still in good condition today, while some much later nitrate had to be scrapped as unsalvageable when it was barely twenty years old. Much depends on the environment in which it is stored. Ideal conditions of low temperature, low humidity and adequate ventilation can preserve nitrate film for centuries, but in practice the storage conditions were usually far from ideal. When a film on nitrate base is said to have been "preserved", this almost always means simply that it has been copied ontosafety film or, more recently,digitized; both methods result in some loss of quality.
Eastman Kodak introduced a nonflammable35 mm film stock in spring 1909. However, theplasticizers used to make the film flexible evaporated too quickly, making the film dry and brittle, causing splices to part and perforations to tear. By 1911 the major American film studios were back to using nitrate stock.[6] "Safety film" was relegated to sub-35 mm formats such as16 mm and8 mm until improvements were made in the late 1940s.
The largest cause of silent film loss was intentional destruction, as silent films were perceived as having little or no commercial value after the end of the silent era by 1930. Film preservationistRobert A. Harris has said, "Most of the early films did not survive because of wholesale junking by the studios. There was no thought of ever saving these films. They simply needed vault space and the materials were expensive to house."[7]
Some pre-1931 sound films made byWarner Bros. andFirst National have been lost because they used asound-on-disc system with a separate soundtrack on special phonograph records. If some of a film's soundtrack discs could not be found when16 mmsound-on-filmreduction prints of early "talkies" were being made for television use in the 1950s, that film's chances of survival plummeted: many sound-on-disc films have survived only by way of those 16 mm prints.
Before the eras oftelevision and laterhome video, films were viewed as having little future value when their theatrical runs ended. Thus, again, many were deliberately destroyed to save the space and cost of storage; many were recycled for theirsilver content. ManyTechnicolor two-color negatives from the 1920s and 1930s were thrown out when the studios refused to reclaim their films, still being held by Technicolor in its vaults. Some prints were sold either intact or broken into short clips to individuals who bought early novelty home projection machines and wanted scenes from their favorite movies to play for guests or family members.
As a consequence of this widespread lack of care, the work of many early filmmakers and performers has made its way to the present in fragmentary form. In the case ofTheda Bara, who was one of the best-known actresses of the early silent era: of the 40 films she made, only three and a half are now known to exist. However, this was still better than the fate ofValeska Suratt, not one of whose films survives. Likewise stage actresses such asPauline Frederick andElsie Ferguson who made the jump to silent films and became more popular have large caches of lost films. Frederick has about seven films that survive from the years 1915-1928 and Ferguson has one from 1919 that survives from her entire silent career 1917-1925. More typical is the case ofClara Bow: of her 57 movies, 20 are completely lost and five more are incomplete.[8]
There are occasional exceptions. Almost all ofCharlie Chaplin's films from his entire career have survived as well as extensive amounts of unused footage dating back to 1916. The exceptions areA Woman of the Sea (which he destroyed himself as a tax writeoff) and one of his early Keystone films,Her Friend the Bandit (seeUnknown Chaplin). The filmography ofD.W. Griffith is nearly complete as many of his earlyBiograph films were deposited by the company inpaper print form at theLibrary of Congress. Much of Griffith's feature film work, of the 1910s and 1920s, found their way to the film collection at theMuseum of Modern Art in the 1930s and were preserved under the auspices of curatorIris Barry.Mary Pickford's filmography is very much complete being that her early years were spent with Griffith and especially films produced later after she gained control of her own productions in the late 1910s and early 1920s. She also backtracked to as many of her Zukor controlled earlyFamous Players films that were salvageable. Stars like Chaplin andDouglas Fairbanks enjoyed stupendous popularity and their films were reissued over and over throughout the silent era, meaning prints of their films were likely to surface decades later. Pickford, Chaplin,Harold Lloyd andCecil B. DeMille were early champions of film preservation. Lloyd lost a good deal of his silent work in a vault fire in the early 1940s.
Another remarkable case was the 1919 German filmDifferent from the Others (Anders als die Andern), starringConrad Veidt. A striking plea for tolerance forhomosexuality, produced in collaboration with Dr.Magnus Hirschfeld, it was targeted for destruction by the Nazis, with many prints of the film burned as decadent. However, a 50-minute fragment survived the censorship attempt.
An improved 35 mmsafety film was introduced in 1949. Since safety film is much more stable than nitrate film, there are comparatively few lost films after about 1950. However, color fading of certain color stocks andvinegar syndrome threaten the preservation of films made since about this time.
Most mainstream movies from the 1950s onwards survive today, but several earlypornographic films and someB-Movies are lost. In most cases these obscure films go unnoticed and unknown, but some films by notedcult directors have been lost as well:
Some films produced in 1926–1930 insound-on-disc systems such asVitaphone, where the sound discs are separate from the film element, are now considered lost because the sound discs were damaged or destroyed, while the picture element was not. Conversely, some Vitaphone films survive only as sound, with the film missing (such as 1930'sThe Man from Blankley's, starringJohn Barrymore).
Manystereophonic soundtracks from the early-to-mid 1950s that were either played in interlock on a 35 mm fullcoat magnetic reel or single-strip magnetic film (such as Fox's four-track magnetic, which became the standard of mag stereophonic sound) are now lost. Films such asHouse of Wax,The Caddy,The War of the Worlds,The 5,000 Fingers of Dr. T, andFrom Here to Eternity that were originally available with 3-track, magnetic sound are now available only with a monophonic optical soundtrack. The chemistry behind adhering magnetic particles to the tri-acetate film base eventually caused theautocatalytic breakdown of the film (vinegar syndrome). As long as studios had a monaural optical negative that could be printed, studio executives felt no need to preserve the stereophonic versions of the soundtracks.
Occasionally, prints of films considered lost have been rediscovered. An example is the 1910 version ofFrankenstein which was believed lost for decades until the existence of a print (which had been in the hands of an unwitting collector for years) was discovered in the 1970s. A print ofRichard III (1912) was found in 1996 and restored by theAmerican Film Institute.
Beyond the Rocks (1922) withGloria Swanson andRudolph Valentino was considered a lost film for several decades. Swanson lamented the loss of this and other films in her 1980 memoirs, but optimistically concluded, "I do not believe these films are gone forever". In 2000, a print was found in the Netherlands and restored by the Nederlands Filmmuseum and the Haghefilm Conservation. It turned up among about 2000 rusty film canisters donated by an eccentric Dutch collector, Joop van Liempd, of Haarlem. It was given its first modern screening in 2005, and has since been aired onTurner Classic Movies.
In the early 2000s, the 1927 German filmMetropolis—which had been distributed in many different edits over the years—was restored to as close to the original version as possible by reinstating edited footage and using computer technology to repair damaged footage. At that point, however, approximately a quarter of the original film footage was considered lost, according toKino Video's DVD release of the restored film. On July 1, 2008Berlin film experts announced that a copy of the film had been discovered in the archives of the film museum Museo del Cine inBuenos Aires, Argentina, which contained all but one of the scenes still missing from the 2002 restoration.[10][11] The film now has been restored very close to its premiere version.
In 2010, digital copies of ten early American films were presented to theLibrary of Congress by theBoris Yeltsin Presidential Library, the first film installment from the Russian state archives to be repatriated.[12]
Television material existing on film has sometimes been recovered. The 1951 pilot ofI Love Lucy was long believed lost, but in 1990 the widow of one of the actors, Pepito Pérez (who played Pepito the Clown), found a copy. It has since been shown on television. Sometimes a film believed lost in its original state has been restored, either through the process ofcolorization, or other restoration methods.The Cage, the original 1964pilot film forStar Trek, survived only in a black-and-white print until 1987, when a film archivist found an unmarked (mute) 35mm reel in a Hollywood film laboratory with the negative trims of the unused scenes.[13]
Similarly, a number of videotaped television programmes, previously thought lost (seewiping) have been recovered as overseasKinescope film prints from private collectors and various other sources over the years.
Several films have been made with lost film fragments incorporated into the work.Decasia (2002) used nothing but decaying film footage as an abstract tone poem of light and darkness, much like Peter Delpeut's more historicalLyrisch Nitraat (Lyrical Nitrate, 1990) which contained only footage from canisters found stored in an Amsterdam cinema. In 1993, Delpeut releasedThe Forbidden Quest, combining early film footage and archival photographs with new material to tell the fictional story of an ill-fated Antarctic expedition.
TheUniversal Pictures feature filmThe Cat Creeps (1930) is a lost film with the only now-extant footage included in a Universalshort film calledBoo! (1932). UCLA still has a copy of the soundtrack. TheFox Film Corporation featureCharlie Chan Carries On (1930) only exists in atrailer made to promote the film, and in aSpanish language versionEran Trece (There were thirteen [people]).
TheJames Cagney filmWinner Take All (1932) used scenes from the early talkieQueen of the Night Clubs (1929) starringTexas Guinan. WhileQueen of the Night Clubs was not a lost film in 1932, no prints of the film have survived through the decades since then. But the Cagney movie still is extant along with the selected footage taken fromQueen of the Night Clubs.
Peter Jackson'smockumentaryForgotten Silver purports to show recovered footage of early films. Instead, the filmmakers used newly shot film sequences treated to look like lost film.
InRobert Rodriguez andQuentin Tarantino'sGrindhouse double feature, both thePlanet Terror andDeath Proof segments have references to missing reels, used asplot devices.
John Carpenter'sMasters of Horror episodeCigarette Burns deals with the search for a fictional lost film,La Fin Absolue Du Monde (The Absolute End of the World).
Actress turned gossip columnistHedda Hopper made her screen debut in a Fox Film calledBattle of Hearts (1916). The star of the film wasWilliam Farnum, then at the beginning of his long Fox contract. 26 years later in 1942 Hopper produced her documentary seriesHedda Hopper's Hollywood #2. In the documentary, Hopper, Farnum, her sonWilliam Hopper, and Hopper's wife Jane Gilbert view portions ofBattle of Hearts. These brief portions of that movie survive within the Hopper documentary. More than likely Hopper had an entire print of the movie in 1942. However, like many early Fox films,Battle of Hearts is now lost or missing.
It's bad enough, to cite a common estimate, that 90 percent of all American silent films and 50 percent of American sound films made before 1950 appear to have vanished forever.
{{cite news}}:Cite has empty unknown parameter:|coauthors= (help){{cite news}}:Check date values in:|date= (help)| Lists | |
|---|---|
| Fires | |