The Resurgence of VistaVision: Paul Thomas Anderson‘s “One Battle After Another“

As the film industry grapples with the challenges posed by streaming services and dwindling theater attendance, a familiar yet innovative format is making a comeback. Paul Thomas Anderson, one of America’s most acclaimed filmmakers, is reviving VistaVision, a widescreen format that has not been widely used for new releases since the early 1960s. His upcoming film, “One Battle After Another,” is set to be released in this classic format, promising audiences a cinematic experience reminiscent of Hollywood’s golden age.

A Historical Context: The Rise and Fall of VistaVision

VistaVision was introduced by Paramount Pictures in 1954 as a response to the growing popularity of television. During the 1950s, Hollywood faced a significant threat from the small screen, prompting studios to innovate in order to draw audiences back to theaters. Formats like CinemaScope and Cinerama emerged, but VistaVision distinguished itself with its unique horizontal film running technique, which allowed for a larger negative size-twice that of standard 35mm film. This resulted in superior image quality, making it a favorite for special effects in iconic films like “Star Wars” and “Jurassic Park.”

Despite its advantages, VistaVision fell out of favor for feature film production by the late 1960s, primarily due to the industry’s shift towards more cost-effective formats. However, its legacy continued in the realm of visual effects, where its high resolution was invaluable.

The Return of VistaVision in Modern Cinema

Anderson’s decision to shoot “One Battle After Another” in VistaVision marks a significant moment in cinematic history. The film was shot using a combination of VistaVision and Super 35 formats, and it will be released in multiple formats, including a special VistaVision presentation. This is particularly noteworthy as it is the first new release to utilize true VistaVision prints since Marlon Brando‘s “One-Eyed Jacks” in 1961.

The excitement surrounding this revival is palpable among cinephiles and industry professionals alike. As Margaret Bodde from Martin Scorsese’s Film Foundation noted, the larger negative size of VistaVision-eight-perf compared to CinemaScope’s four-perf-results in a markedly superior image quality. This revival not only pays homage to the past but also offers a fresh perspective on how films can be experienced today.

The Technical Aspects of “One Battle After Another”

The film’s release is generating buzz not just for its nostalgic format but also for the technical complexities involved in its production. Anderson’s team has navigated the challenges of combining different formats, ensuring that the film maintains its visual integrity across various exhibition methods. The film will be available in at least seven formats, including IMAX and 70mm, each offering a unique viewing experience.

In an interview with IndieWire, members of Anderson’s post-production team explained the intricacies of preparing the film for its various formats. The film was shot with both VistaVision and Super 35 cameras, requiring careful planning to ensure that the final product would look consistent across all formats. The team utilized specialized equipment to create a VistaVision negative from the Super 35mm shots, a process that took over two years to perfect.

The Experience of Watching “One Battle After Another”

For audiences eager to experience “One Battle After Another,” the film will be screened in select theaters across major cities, including Los Angeles, New York, Boston, and London. These screenings will utilize refurbished VistaVision projectors, a rarity in today’s cinema landscape. According to VistaVision expert Charlotte Barker, the original projectors were first installed for commercial use in 1955, and the upcoming screenings will echo this historic rollout.

The film’s presentation in VistaVision allows for a direct projection from the original cut negative, a practice that has not been possible for over six decades. This means that viewers will have the opportunity to see the film as it was intended, with the highest possible image quality.

The Future of Film Formats

The revival of VistaVision raises important questions about the future of film formats in an era dominated by digital streaming. As audiences become accustomed to the convenience of home viewing, the cinematic experience must evolve to offer something unique. The return of VistaVision serves as a reminder of the artistry and craftsmanship that goes into filmmaking, encouraging audiences to return to theaters for an experience that cannot be replicated at home.

Anderson’s commitment to this format reflects a broader trend among filmmakers who are increasingly interested in exploring traditional techniques in a digital age. The success of “One Battle After Another” could pave the way for other directors to experiment with classic formats, potentially revitalizing interest in the theatrical experience.

Conclusion

Paul Thomas Anderson’s “One Battle After Another” is not just a film; it is a celebration of cinema’s rich history and a bold step into the future. By reviving VistaVision, Anderson is not only honoring the legacy of this iconic format but also challenging contemporary filmmakers to think creatively about how films are made and presented. As audiences prepare to experience this cinematic event, they are reminded of the magic that can only be found in a darkened theater, where stories come to life on the big screen. The film opens in theaters on September 26, and it promises to be a landmark moment in the ongoing evolution of cinema.