Scorsese was at the time an avid fan of the films of Michael Powell and Emeric Pressburger, the British filmmaking duo known as Archers.
He considered Technicolor films such as The Red Shoes, The Life and Death of Colonel Blimp, and A Matter of Life and Death as masterpieces.
But he stopped watching the black and white 1945 Scottish romance, “I know where I’m going!” For fear of being “photo lighter”. something about this address. And besides, how many artworks could Powell and Pressburger make?
However, Scorsese was persuaded to propose to his friend Jay Cox the night before filming on “Raging Bull” began.
“I couldn’t have been more wrong,” Scorsese recalls in an email.
“It was funny, it was sexy, it was really mystical and it was so sexy. I saw I know where I’m going!” So many times since then–many times, in fact, I’ve almost lost count–and I’ve always been moved and surprised every time, and I’ve been in suspense until those wonderful last moments.”
On Monday, Scorsese and the film restoration nonprofit he founded, The Film Foundation, will launch a new virtual theater, the Film Foundation Restoration screening room.
Each month, for one night only, the films restored by the Film Foundation will be presented in free online screenings accompanied by discussions from Scorsese and other filmmakers.
The showroom begins, of course, with the “I know where I’m going!” renovation.
Since its release in the closing days of World War II, “I Know Where I’m Going!” She played a unique role in the hearts of moviegoers. It’s not Powell and Pressburger’s most popular movie, nor is it regularly included in all-time lists. Instead, it’s a movie that moviegoers tend to have in common with moviegoers, such as a cherished gift or family treasure. It is a buried gem that anyone who has seen it will want to tell everyone about it.
“You have to see this” is the bulk of the conversations about “I know where I’m going!” Started.
“At the end of the war, people suffered a lot,” says Schonmaker, speaking on the phone recently. “And here’s the movie that lifts your heart.”
Soon after seeing “I Know Where I’m Going,” Paul Scorsese, who encouraged Schonemaker to come to dinner, visited. They beat her up and by 1984 they were married.
Powell died in 1990. Pressburger in 1988. Since then, both Schoonmaker and Scorsese have devoted themselves – when not making films (they’re currently editing Killers of the Flower Moon, Apple’s full-scale crime thriller about 1920s murders). Past in Oklahoma (Osage Nation) – to recap the Powell and Pressburger films. Scorsese recently signed on to a documentary about their films.
For years, Schoonmaker has been combing Powell’s memoirs in hopes of publishing them.
“I inherited that,” says Schonemaker, the celebrity Scorsese editor. “Michael, when he died, left a little oven burning inside of me. What keeps me going is loving and trying to make others love his work.”
How much can love come from an old movie?
For Schoonmaker, the answer is just about everything. Schoonmaker inspired Scorsese’s passion for Archer films, which in turn led to the love of her life.
“It was Marty’s passion for film history that made all this happen,” she says with a laugh.
With financial assistance from the likes of the British Film Institute, Melody Hobson and George Lucas, the Film Foundation has restored more than 925 films, preserved large swathes of film history and scrapped the slack of many of today’s film studios, who have shown less interest in preserving the cinema’s past than in continuing the flow of The new ‘content’.
“At this point, there are no longer film companies, but huge media conglomerates. For them, old films are a small component of a wide range of properties and activities,” Scorsese says.
“The people who run it are several generations of cinema affair: the word has meaning only as a marketing term. Their interest is not in making good films, but in making their contributors richer. So, no, restoring Howard Hawks’ image is not high on their list of priorities.”
That it should be, for reasons unrelated to profits and losses, so as not to be entertained. In this atmosphere, the idea of art has no place. Casting a wrench in the works.”
However, the phrase “I know where I’m going!” Recklessness means the best laid plans. Powell and Pressburger made it in 1944 while waiting for the Technicolor cameras that Laurence Olivier was using to make “Henry V”. Pressburger is believed to have written it within days.
They presented it to the Ministry of Information, which controlled the wartime film industry, as an anti-materialistic fable. (Britain feared that the rush of consumerism would follow wartime rationing.)
In it, Joan Webster (Wendy Heller), a stubborn woman, travels to the Scots Herbrides (the film was shot on the picturesque Isle of Mull) to marry a wealthy lord. But inclement weather prevents her from crossing to Kiloran (Colonsay Island).
While waiting for her to pass, she meets a naval officer (Roger Livesey) from the area. They soon become so involved in local life that we feel fascinated by it. Joanne feels increasingly off track.
But summing up the delightful magic of “I know where I’m going!” Don’t ever do it again. It resonates with a warm lyrical spirit that feels a balance between past and present, between myth and reality. It’s a movie you can’t help falling into, just like Joan is.
The fans of the movie are a passionate tribe. Author of “The Big Sleep”
Chandler once wrote, “I’ve never seen a picture that has smelled so windy this way.”
Tilda Swinton, who has a family home in Colonsay, thinks “I know where I’m going!” It must be handed over by Scottish diplomats when they travel around the world.
“It’s like a confession,” Swinton says in a video made for the Film Foundation. “You come back to it every few years.”
I Know Where To Go is partly about reconnecting something – with nature and ancient ways – which makes it a particularly apt movie to start the restoration showroom. With set showtimes and powerful conversations about the movie, the virtual theater is set up in a way that is distinctly different from the standard streaming experience.
“We got used to watching and listening in our own time. We got something, but we also lost something,” Scorsese says. “We felt it was important to create a way of watching movies that ensures that there is a larger audience out there watching and interacting at the same time.”
While movie culture can be uncertain about its direction, the lovingly restored movie “I Know Where I’m Going!” It may help light the way. It is, however, a port to lift the soul in a storm.
“I’ve always felt that you can’t have a present or a future for cinema without its past. The movies I’ve seen, that I’ve rewatched and studied, and that I’ve discovered by myself or through a friend … enrich me, inspire me, support me,” says Scorsese.
“I suppose it’s possible to imagine someone making films without bothering to see anything that was produced ahead of their time. But the question is: Why? What’s the point? Why don’t you see what you’re getting out of it? Every film is in conversation with every film before it and all Who follows him. This is true of all arts. Isn’t that amazing?”