Pope Benedict XVI. Photograph: Getty Images
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Profile: Pope Benedict XVI

The Pope is emerging as an ultra-reactionary. First he antagonised Muslims. Now he has outraged Jewish groups by favouring a Holocaust denier.

Pope John Paul II contributed to the collapse of the Soviet system and pressed home spiritual values in a world he saw in steep moral decline. Papa Wojtyla castigated Reaganomics and Thatcherism even as the Berlin Wall fell. He followed John XXIII in extending the hand of friendship to the Jewish faith. When he died, in April 2005, John Paul bequeathed the more-than-billion-strong Catholic Church (16 per cent of the population of the planet) to a 78-year-old German theologian named Joseph Ratzinger.

Both men survived the Second World War, in strikingly different circumstances. Wojtyla was a slave worker in a Polish quarry. He directed and acted in anti-fascist plays in an underground theatre and attended a secret seminary. He helped Jewish refugees. Ratzinger was a member, albeit reluctantly, of the Hitler Youth, and served as an anti-aircraft gunner in the Wehrmacht, whiling away periods of inaction by reading Goethe and Schiller. He would look back nostalgically, as if through a mist of incense, on the rich Catholic liturgy and ornate vestments of churches in his Bavarian homeland.

He would never see the Third Reich as a German phenomenon. Preaching at Auschwitz many years later, he said he had come there as a son of "that people over which a ring of criminals rose to power by false promises . . . with the result that our people could be used and abused as an instrument of their thirst for destruction and power". In the 1950s he became a seminary student and rose, via academic theology, to the top Vatican job of protecting doctrinal orthodoxy. Finally, he was elected Pope Benedict XIV after a conclave of only two days.

Had John Paul II been alive today, as the global financial crisis unfolds, observers would praise him for his unique moral guidance. Benedict XVI, however, is embroiled in a squalid quarrel that has compromised his moral authority. On 24 January 2009, he rescinded the excommunication, imposed by John Paul II in June 1988, on four dissident Catholic bishops, one of whom is a blatant Holocaust denier. The men are members of a breakaway Catholic group known as the ­Society of Saint Pius X. They were illicitly raised to their bishoprics by the society's founder, the late Archbishop Marcel Lefebvre, also excommunicated in 1988.

The leader of the four is one Bernard Fellay, who has been negotiating reconciliation with Benedict for several years. Another, Bernard Tissier de Mallerais, has in the past, with consummate irony, accused Benedict himself of apostasy. A third, Bishop Richard Williamson, is the Holocaust denier. He is 68 and an Anglican convert to Catholicism under the influence of the late Malcom Muggeridge. He was rector of a seminary near Buenos Aires, but was dismissed from the post early this month. An old boy of Winchester public school and a Cambridge graduate, he was once a novice at the Catholic Oratory in the Brompton Road in London.

The raison d'être of the Society of Saint Pius X is to deplore the reforms of the Second Vatican Council (Vatican II) of the mid-1960s. Lefebvrists, as they are also known, have a long list of discontents: these include a loathing of equal status for women and a hatred of homosexuality. They are opposed to the Vatican II document that absolved contemporary Jews of responsibility for the crucifixion of Jesus. In particular, the society laments the virtual abolition of the Latin Mass by Paul VI in 1968, and its replacement with a modernised ritual in the vernacular.

The name of the society is significant. Pius X (pope from 1903-14), officially sainted by one of his keenest admirers, the wartime pope, Pius XII, did much to shape the Catholic Church from the first decade of the 20th century to the 1960s. Pius X initiated a campaign against what he called the "Modernists" - Catholic liberal teachers who appealed to historical criticism and non-literal interpretations of scripture ("They should be beaten with fists," he said). Pius presided over a worldwide witch-hunt for Modernists, or liberals, involving spies, denunciations without hearings, dismissals, excommunications and persecutions beyond the grave. Every priest was required to take an anti-Modernist oath at ordination. It was enough to be seen carrying a liberal newspaper to stand accused. When the English leader of the Modernists, Father George Tyrrell, died in 1909, he was refused burial in consecrated ground. The priest who said prayers over his grave was suspended. In the view of the late pope's followers today, the Church of Pius X - from their perspective the authentic Catholic Church - has been wrecked by the reforms of Vatican II.

Following Benedict's act of reconciliation, the German chancellor, Angela Merkel, was outraged and demanded "clarification" of the Vatican's position on the Holocaust. Holocaust denial in Germany is a crime punishable by five years' imprisonment. Shocked German-speaking cardinals have unprecedentedly criticised the pontiff and his advisers. Williamson's utterances, which include denial of al-Qaeda's involvement in the attacks of 11 September 2001 (usually a prelude to Jewish con­spiracy fantasies), have ignited anger throughout the Catholic and Jewish worlds. The secular media were equally astonished. An editorial in the Financial Times opined that Benedict was guilty of a "solipsism of cosmic proportions". The veteran BBC Rome correspondent, David Willey, commented in the Catholic weekly the Tablet: "In three decades of covering Vatican matters, I have never seen a communications debacle comparable to [this]." But was the Williamson affair just an unfortunate gaffe in an otherwise competent papacy? Or was there method in Benedict's blunder?

A spate of recent papal initiatives speaks for itself. In the same week as the Williamson debacle, Benedict (against the recommendations of the local hierarchy) personally honoured with a bishopric a right-wing Austrian priest who had publicly preached that Hurricane Katrina was a retribution for the abortionists, pros­titutes and homosexuals of New Orleans. Just before Christmas, Benedict delivered a global sermon on how gay lifestyle choices were as much a threat to God's creation as global warming. In October, he had announced his desire to make a saint of Pius XII, provoking the anger of Jewish groups, which maintain that Pius did not do enough to save Jewish lives during the war. In the previous year, Benedict had announced the reinstatement of the Latin Mass, devoutly hoped and prayed for by the Society of Saint Pius X. As Cardinal Ratzinger, he was on record as stating that Paul VI had exceeded his authority in replacing the old rite with modern versions. So where has Benedict's papacy been heading?

Benedict's election in April 2005 brought despondency to Catholic progressives, who feared the new pope would attempt to purge the Church of its "liberals". Benedict, they believed, would restore the Church shaped by Pius X, endorsed by Pius XI, and further espoused by Pius XII. The Church of the Piuses had rejected moves towards Christian unity, treasured ornate non-participatory liturgies, disdained democracy, kept women out of the Sanctuary, condemned liberalism, and drawn an equivalence between pluralism and relativism. It is no exaggeration to say that the Church of the Piuses colluded (if not actively collaborated) through the 1920s and 1930s with the regimes of Salazar, Franco and Mussolini. It was the future Pius XII, as Cardinal Pacelli, who in 1933 signed the Reichskonkordat (a bilateral agreement between Hitler and the Vatican). At the very outset of the regime, and in exchange for greater control over German Catholics, Pacelli negotiated the withdrawal of Catholics from social and political action. A feature of the deal was agreement that the Catholic Centre Party (the last democratic party under Nazism) would abolish itself after voting for the Enabling Act giving Hitler dictatorial powers.

Gleeful traditionalist Catholics confidently expected that Benedict’s election would signal the purging of Catholic liberalism and the revoking of the norms of Vatican II. As it happened, his first year brought no marked retrenchment: the reverse, in fact; or so it seemed. Benedict spent half a day with Father Hans Küng, the Swiss liberal theologian. He also gave a lengthy private audience to the late Oriana Fallaci, an Italian atheist, feminist and critic of Catholicism. Benedict found time to play the piano, and paced his workload.

He seemed comfortable with both sides of the progressive-traditionalist divide. In January 2006, he promulgated his first encyclical, God Is Love, the tone pastoral and irenic. Traditionalists were glum; the liberals relaxed. Then, in September 2006, Benedict set back Catholic-Islamic relations several eras with just two words. At his old university in Regensburg, Bavaria, he cited a 14th-century text referring to a debate between the Byzantine emperor Manuel II and a Persian Muslim. "Show me just what Muhammad brought that was new," he quoted the emperor as saying, "and there you will find things only evil and inhuman, such as his command to spread by the sword the faith he preached." That same day, an Islamist terror group sent death threats to the Vatican. Benedict did not repine.

It was now remembered that after his election he had sacked the brilliant Vatican Arabist Archbishop Michael Fitzgerald, responsible for fostering relations with Muslim leaders. Moreover, he had earlier humiliated the Jesuit theologian Jacques Dupuis, for striving to establish a basis for a workable religious pluralism. The extraordinary meeting with the journalist Oriana Fallaci now made sense. In addition to her feminist writing, she had conducted a virulent campaign against the Muslim religion and way of life.

The Catholic Church, and the papacy in particular, had long found problems with the mere existence, let alone tolerance, of other religions. A succession of pontiffs, and notably Pope Pius IX (1846-78), declared respect for other religions a form of "insanity". Pius X, Pius XI and Pius XII only acknowledged the importance of religious freedom in countries where Catholicism was not the majority faith.

In 1965 a historic U-turn had occurred at the Second Vatican Council. After a battle royal, the council endorsed a model of mutual respect for other faiths similar to that of the American constitution: religious freedom, it said, was a human right. In another council document, Nostra Aetate ("In Our Age"), the Church said it rejected nothing that was "true and holy" in other world religions. Pius X, buried in St Peter's Basilica, might well have stirred in his grave. The Lefebvrist Society of his name to this day harbours clerics who routinely insult other religions and turn their backs on Christian ecumenism.

Is it possible that Benedict is of the same stamp? It was Ratzinger who, in 2000, wrote a document entitled Dominus Iesus. This stated that other than the Catholic faith, all religions, and indeed Christian denominations, were "defective". The take-home message was that the Anglican Church, for example, is not a proper church, and the Archbishop of Canterbury is a mere layperson of dubious baptism.

Here then is the long-term antagonism towards other religions and Christian denominations that has been the undercurrent of Benedict's thinking, putting him closer to the Society of Saint Pius X than the Catholic majority that honours Vatican II. Yet there is another undercurrent, just as important: Benedict's deep Bavarian nostalgia for the Latin liturgy shelved by Vatican II has been staunchly preserved and promoted by the Society of Saint Pius X.

In July 2007 Benedict issued instructions on the Latin rite for the whole Church. They spoke of his desire to restore the old liturgy on an equal footing with the new, in order to come to "an interior reconciliation at the heart of the Church". In the view of most Catholic commentators, this was bizarre, because there were so few aficionados of the Latin Mass and, indeed, very few priests skilled in conducting the old rituals. What possible reconciliation could he mean? In the light of his lifting of the Lefebvrist excommunications, it is now clear that he meant the four dissident bishops and the half-million membership of the Society of Saint Pius X.

In his days as a cardinal in charge of Catholic theological orthodoxy, Joseph Ratzinger often spoke of the importance of the true “salt of the earth” Catholics who would preserve the Church in the coming dark age of wholesale relativism and atheism. His attitude has been that if this means a vast number of half-hearted liberal Catholics would be lost to the true Church, so be it. The faithful, diminished “remnant”, he has preached, will keep alive the true doctrine and the authentic liturgy to await better times. It is now clear that he sees the Society of Saint Pius X as a crucial part of his salt of the earth remnant.

Did Benedict know Williamson was a Holocaust denier? It is hard to believe he did not; it was his job, as cardinal in charge of orthodoxy, to keep files on every last detail of a supposed dissident's beliefs and actions. The alarming feature of the Williamson incident, then, is that Benedict was prepared to deem the Holocaust denials mere foibles in the interests of bringing the Lefebvrists back home. And yet, Benedict is not so much bringing the Lefebvrists back in line with Vatican II, as leading the Church in the direction of the Society of Saint Pius X.

As the Pope reassures Angela Merkel and Jewish people around the world of his opposition to Holocaust denial, the Williamson incident will nevertheless have far-reaching consequences. Any expectation that the Vatican might be called on to use its traditional diplomatic expertise to help resolve differences between Israel and Iran's president, Mahmoud Ahmadinejad (another Holocaust denier), or Hamas and Israel, is extremely optimistic.

The overall direction of Benedict's papacy is now apparent for all Catholics to see. It was customary to characterise Joseph Ratzinger as a "conservative" during the decades he served as the Vatican's theological watchdog. In the light of recent events, "ultra-reactionary" might be too tame an epithet to describe the alliances he is forming with a politically obnoxious group which, given half a chance, would return the Church to the authoritarian auspices of their sainted patron, Pius X.

In the aftermath of the Williamson affair, the papacy's spiritual capital, built up by John Paul II, is diminished. In the expanding global economic depression, it is hard to see how Benedict will have the moral authority to give ethical guidance to the developed world, or offer solace to the poor of the developing world where most Catholics live.

If ultra-right-wing movements should rise up to take advantage of social fragmentation and unrest, will Benedict's papacy staunchly repudiate their claims? Or will he turn by a process of reactionary heliotropism back to the example of the 20th-century Piuses?

John Cornwell is director of the Science and Human Dimension Project at Jesus College, Cambridge, and author of "Hitler's Pope: the Secret History of Pius XII" (Penguin, £9.99)

This article first appeared in the 16 February 2009 issue of the New Statesman, The New Depression

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Can celluloid lovers like Christopher Nolan stop a digital-only future for film?

Despite proponents like the Dunkirk director, physical film is finding it tough in the modern age. 

“Chris Nolan is one of the few producing and directing films right now who could open that film. He is one of the all-time great filmmakers.”

No prizes for guessing which new release Vue CEO Tim Richards is talking about. Aside from its box office success, aside from its filmmaking craft, aside even from its early reception as an Oscar favourite, Dunkirk sees Nolan doing what Nolan does best: he has used his latest film to reopen the debate about celluloid.

Until relatively recently all film was projected from that old, classic medium of the film reel - a spool of celluloid run in front of a projector bulb throwing images on to a screen. It comes mainly in two forms: 35mm (standard theatrical presentations) or 70mm (larger, more detailed presentations most popular in the 60s and 70s). Fans say it provides a “warmer” colour palette, with more depth and saturation than modern digital formats.

But now it’s hard to even see movies on film to make the comparison. After George Lucas, godfather of the Star Wars franchise, shot Star Wars Episode II: Attack of the Clones entirely in digital rather than on physical film, the rollout of digital progressed with clinical efficacy. Within ten years, film was almost wiped out, deemed to be impractical and irrelevant. Modern cinema, it was argued, could be stored in a hard drive.

Christopher Nolan set out to change all that. He championed film as a medium against the industry trend, producing (The Dark Knight, The Dark Knight Rises, Interstellar) in super-detailed, super-sized IMAX 70mm. With Dunkirk, Nolan has taken that further by screening the film in 35mm, 70mm and IMAX 70mm.

Nolan is not the medium's only poster boy – it is symbolic that the new Star Wars trilogy, 15 years on from Attack’s groundbreaking digital filming, is now being shot on film once more. This summer, Dunkirk may well be seeing the biggest rollout of a 70mm presentation in cinemas for 25 years, but in 2015 Quentin Tarantino’s The Hateful Eight saw chains and independent cinemas having to retrofit 21st Century cinemas for a 20th Century presentation style. It was a difficult process, with only a handful of screens able to show the film as Tarantino intended – but it was a start.

Today, celluloid is, ostensibly, looking healthier. A recent deal struck between Hollywood big wigs and Kodak has helped. Kodak will now supply celluloid to Twentieth Century Fox, Disney, Warner Bros., Universal, Paramount and Sony. It’s a deal which is not only helping keep Kodak afloat, but also film alive.

Kodak has also gone a step further, launching an app to help audiences find 35mm screenings in local cinemas. Called ‘Reel Film’, it endeavours to back Nolan and co in ensuring that celluloid is still a viable method of film projection in the 21st century.

Even so, whether Nolan’s film fightback has actually had any impact is unclear. Independent cinemas still screen in film, and certainly Vue and Odeon both have film projectors in some of their flagship screens, but digital dominates. Meanwhile, key creatives are pushing hard for a digital future: Peter Jackson, James Cameron and the creative teams at Marvel are all pioneering in digital fields. Whether or not film can survive after over a decade of effacement is a difficult – and surpisingly emotionally charged – question.

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Paul Vickery, Head of Programming at the Prince Charles Cinema in London, is the kind of person you might expect to talk all about how physical film is a beautiful medium, key for preserving the history of cinema. History, he tells me, is important to the Prince Charles, but it's a surprise when he saysfilm is actually more practical for their operation. Because not every film they screen has been digitised, access to old reels is essential for their business.

“If you completely remove film as an option for presentation as a cinema that shows older films,” he says, “you effectively cut 75 per cent of the films that you could possibly show out of your options, and you can only focus on those that have been digitised.”

Vickery says the debate around film and digital often neglects the practicality of film. “It's always focusing on the idea of the romance of seeing films on film, but as much as it is that, it's also to have more options, to present more films. You need to be able to show them from all formats.”

That’s a key part of what makes the Prince Charles Cinema special. Sitting in London's movie-premier hub Leicester Square, the Prince Charles is renowned for its celluloid presentations of older films and has made a successful business out of its 35mm and 70mm screenings of both classics and niche films.

“If there is the option to show film and digital, we tend to take film as the option because it's also something you can't replicate at home,” he explains. “It's also just the nature of how film is seen on screen: its image clarity, its colour palette, the sound is just something that's very different to digital, and I think that's something that's very worth saving.

“Not many people have 35mm projectors at home. If you have it on Blu-Ray or DVD, to see it on film is a way of dragging someone out from their house to come and see it at the cinema.”

Currently screening is Stanley Kubrick’s 1968 epic 2001: A Space Odyssey in 70mm. It’s an incredible presentation of what Vickery says is a seven or eight year-old print struck from the film’s original negatives: the colour of the picture is far richer, while the fine detail in some close-up shots is on par with modern movies. Even more impressive, though, is that the screening is packed. “Fifteen years ago, there would be cinemas where that would be almost on a circuit,” laments Vickery. “We've just stayed the course, and that's something that's just fallen away and we're one of the last, along with the BFI, to show films from film.

“There’s still a bit kicking around, but as we do more and more of it, we seem to be pulling out those people who are looking for that and they seem to be coming back again and again. The repertory side of our programme is more popular than ever.”

That popularity is seemingly reflected in its audiences’ passion for celluloid. Vickery tells me that the PCC’s suggestions board and social media are always filled with requests for film screenings, with specific questions about the way it’s being projected.

For Vickery, it’s a mark of pride. “It sounds like inflated ego almost,” he begins, as if providing a disclaimer, “but it's why I think the work we do and the BFI do and any cinema that shows films from film is about history. By us continuing to show film on film, studios will continue to make their film print available and keep them going out. If people stop showing films on film, they'd just get rid of them.

“Once they're all gone, they only way we're ever gonna be able to see them is if they're taking these films and digitising them, which as you imagine, is always going to be the classic set of films, and then there'll be very select ones will get picked, but it's not gonna be every film.

“You have to keep showing films from film to keep the history of cinema alive in cinemas.”

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History is something that the BFI is committed to preserving. 40 per cent of their annual programming is projected on celluloid, and they loan around 200 prints to venues each year. Their new “BFI 2022” initiative will produce 100 new film prints in the next five years.

Most recently they have focussed on safeguarding their archive, the BFI’s creative director Heather Stewart tells me when we meet her in her office in the BFI’s artsy offices just off Tottenham Court Road.

“We got money from the government to renew our storage which was a big deal because the national collection really wasn't safe,” she says  “There was work at risk because it was warm and humid and we have bought a fantastic, sub-zero state of the art storage facility in Warwickshire in our big site there and our negatives are there. So our master materials are all in there safe - all the nitrate negatives and all that. In 200 years, people will be able to come back and make materials from those, whether digitising or analogue.”

Stewart tells me that it’s important to do both: “Do we at the BFI think that audiences need to see films in the way the filmmaker intended? Yes. That's not going away - that's what we're here for. Do we want as many audiences as possible to see the film? Yes. So of course we're interested in digital.”

The restoration and printing project is attracting lots of “international interest” according to Stewart: just one example is that the BFI are looking into partnering with Warner Bros in their labs in Burbank, California.

“We're becoming the only place left that actually loans film prints around the world so that you can see the films the way they were intended,” she says. “So if you don't have any kind of renewal programme, you'll eventually just have blanked out, scratchy old prints and you can't see them."

They're getting financial support too, she says: “There are people like Christopher Nolan, Quentin Tarantino, Paul Thomas Anderson [director of Oscar-winner There Will Be Blood whose 2012 film The Master was shot and screened in 70mm], a lot of people who are very committed to film, and so there's conversations going on elsewhere and with the film foundation about bringing other investments in so we can really go for it and have a fantastic collection of great great 35mm prints for audiences to look at.”

As a fan of the film reel, Stewart is passionate about this. I put to her the common suggestion that lay audiences can’t tell the difference between screening on film, and digital. “I don't agree with that", she says. "If you sit with people and look at it, they feel something that you might not be able to articulate.

“It's the realism the film gives you - that organic thing, the light going through the film is not the same as the binary of 0s and 1s. It's a different sensation. Which isn't to say that digital is 'lesser than', but it's a different effect. People know. They feel it in their bodies, the excitement becomes more real. There's that pleasure of film, of course but I don't want to be too geeky about it.”

Yet not every film print available is in good condition. “There's a live discussion,” says Stewart. “Is it better to show a scratched 35mm print of some great film, or a really excellent digital transfer?”

There’s no neat answer.

But Stewart is certainly driven by the idea of presenting films as closely as possible to the filmmakers’ true vision. “If you're interested in the artwork,” she explains, “that's what the artwork has to look like, and digital will be an approximation of that. If you spend a lot of money, and I mean really a lot of money, it can be an excellent approximation of that. But lots of digital transfers are not great - they're cheap. They're fine, but they're never going to be like the original.”

The process of restoration doesn’t end with digitisation. Keeping film copies in order to have originals is hugely important given how quickly digital media change. Film is a constant form of storage which does not alter. As Stewart defiantly puts it, “all archives worldwide are on the same page and the plan is to continue looking after analogue, so it ain't going anywhere.”

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The BFI were kind enough put on a display of how film projection works in practice. Tina McFarling, Media Advisor, and Dominic Simmons, Head of Technical, provide a tour of two screens at BFI Southbank. Chatting in the projection room above the screen which hosted the 70mm première of Dunkirk, their passion for celluloid was on display.

Standing next to two mammoth 70mm projectors, Simmons talks through the real-terms use of film, and the technical expertise behind it. “It's a lot more labour intensive than sticking digital prints on, but it's something we want to do,” he says.

One of the projection booths at the BFI

During the visit, the team are prepping a rare 35mm screening of the documentary I Am Cuba to be shown that afternoon. Simmons says that operating a celluloid projector is a “more complex operation” than digital. Looking at the endless labyrinth of film and sprockets, it's easy to believe.

“If you're screening from film in a cinema,” he says, “then you need engineers, technicians who are capable of doing it, whereas a lot of multiplexes have deskilled their operation.”

Simmons says that, while larger chains have one engineer to oversee every screen with the actual process of running the films centralised with a centre loading playlists, the BFI has twenty-two technicians, each closely overseeing the projection of a film when on duty.

“There's so much about the different elements of the presentation that you need to know that all comes together with the sound, the lighting and the rest of it.

“When you're starting a film, it's more of a manual operation. Someone needs to be there to press the buttons at the right time, manage the sound, operate the curtains, and attach the trailers to the feature.”

Having skilled operators is all very well, but of course you need to have the equipment to operate in the first place. “We have to make sure that the equipment is kept and utilised as well as making sure the prints are available, and then the skills will follow”, he says.

Simmons says many are likening the film fight back to vinyl’s resurrection, but has a rueful smile when he talks about film being described as “hipsterish” and “boutiquey”.

He also points out that the quaint touches that make film attractive to this new, younger audience – blemishes, the occasional scratch – are a headache for projectionists. “For me,” he says, “that's quite difficult because a bad print of a film is never a good thing, but if it's a bad print of a film that can't be seen any other way...” He trails off sadly.

The threat of damage to film prints is constant, he says. “Every time you run a film print through a projector there is some element of damage done to it. You're running it over sprockets at loads of feet per second.”

He switches a nearby projector on – it’s loud, quick and, after leaning in to look more closely, it’s easy to see that it’s violent. “It's a really physical process,” Simmons continues. “The film is starting and stopping 24 times a second.”

The idea that shooting on film, for which the very raw material is in short and ever-decreasing supply, is endangered is a tragic one. “There's a finite amount,” Simmons says. “People aren't striking new prints, so if you damage a print, the damage is there forever.”

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The Prince Charles and the BFI are in a privileged position to protect endangered film stock. A friendly partnership between them, which sees the BFI lending reels to the Prince Charles, as well as benefitting from the business of London’s rabidly cinephile audience, allow them to prioritise screening on film the majority of the time. Not every cinema is so lucky.

While the historic Ultimate Picture Palace in Oxford does have a 35mm projector, owner Becky Hallsmith says that it’s mainly the digital projector in use “for all sorts of logistic reasons”.

Though Dunkirk’s push for film projection was a welcome one, it still didn’t make sense for the UPP to screen it. “Certainly we thought about it, but I felt that if you're going to see it on celluloid, you probably want to see it on 70mm, so we decided not to get it on 35mm.”

Economic factors come into effect here too – the UPP, based just out of the city centre in Cowley, vies for Oxford’s filmgoers’ love with the Phoenix Picturehouse in nearby Jericho. While they do have slightly different markets, Hallsmith was aware that the Picturehouse was already set to screen Dunkirk in 35mm, leading her to decide not to.

 “It's not like I'm saying we never do it” she clarifies. “But there are reasons I haven't this time.”

Hallsmith was also aware that not all of her projectionists are trained in screening film, saying that, by screening Dunkirk in digital, she was “taking that little headache out of the equation”.

For the UPP, practicality of this kind trumps sentiment, given the cinema’s small operation. “I'd love it if I had the time to work out what films had beautiful 35mm prints and programme accordingly,” she says, “but I just don't have the time to put that amount of thought into details of programming. We're tiny. I'm doing all sorts of different jobs around the cinema as well. The programming is by no means the least important - it's the most important part of the job - but there is a limit to how much one can do and how much research one can do.”

Despite the practical issues related to 35mm, Hallsmith is still glad to have the option available, saying that when the digital projector was installed in 2012, there was enough room for the installation to account for the 35mm one – and to revamp it.

Despite many 35mm projectors being sent to an unceremonious death in skips, some projectors that are replaced for digital successors are cannibalised for parts. Hallsmith was a beneficiary. “Most of the bits on our 35mm projector are quite new,” she explains, “because they had all this stuff that they were taking out of other cinemas, so they upgraded our 35mm for us because they had all the parts to do it with.”

But Hallsmith is grounded when I ask her if having both projectors in operation is important. “It's important for me,” she laughs. “One of my real pleasures in life is to sit at the back near the projection room and to hear the film going through the sprocket. It's one of the most magical sounds in the world and always will be for me.

“But I know that for a lot of our customers, it is neither here nor there, so I have mixed feelings about it. It's not like I think everything should be on 35mm. I love it, but I can see the practicalities.”

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It is certainly practicality that’s governing cinema chains. Cineworld, Odeon and Vue have all seen huge expansions in recent years. Vue chief Tim Richards, says celluloid is a “niche product”, but the admission is tinged with sadness.

“The problem that we had,” he says about the 70mm screenings of Dunkirk, “with the conversion to digital that happened globally, there are literally no projectors left anywhere, and it's very, very hard to get one. We managed to find a projector and then we couldn't find anybody who actually knew how to run it. There are very real practical issues with the medium.

“To reinforce that we have a new look and feel to our head office, and I really wanted to have an old analogue 35mm projector in our reception and we couldn't find one. We had thousands of these things, and we had none left. We couldn't even get one for our reception!”

Even with a working projector and a trained projectionist, Richards says the format has “very obvious issues” with mass consumption. Again on the subject of Dunkirk, this time in 35mm, he says, “One of the prints that arrived was scratched. It's something that's been in the industry for a long time. If you have a big scratch, you simply can't screen it. You've got to get another print, especially when it will run through part of the film.”

It’s something that saddens Richards, who still says that projecting on film forms part of the “philosophy” of Vue. “We’re all big supporters [of film] and we love it. We've all been in the industry for between 25 and 30 years, the whole senior team. We genuinely love what we do, we genuinely love movies.”

That said, Richards, who is a governor of the BFI, is firmly committed to refining digital, more practical for Vue’s multiplexes. “If you go down and look at what we opened up in Leicester Square, our new flagship site, it's a 100 year old building where we shoehorned in new technology so it's not perfect, but it gives you an idea of what we're doing."

The new site has two Sony Finity 4K resolution projectors working in tandem – as well as the brand new Dolby Atmos sound system. The dual projection gives the screen a brighter, deeper hue. From a digital perspective, it is bleeding edge, and the set up is being rolled out across the UK and Germany, with 44 sites and counting. Richards is, as you would expect, enamoured with the results, claiming “that screen stands up to anything in the world”. What might be more surprising are the reactions he claims that it has elicited from celluloid devotees.

“There were a lot of old hardcore film fans there who were pleasantly surprised at the quality” he says. “People think of digital as being that new, TV-at-home which has got that clinical feel to it, and they don't feel it's got that warmth and colour saturation. This [Finity presentation] has that warmth of an old 35mm or 70mm, so I don't think the future is going back.”

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For Richards and Vue, the future appears to be as bright as that 4K Sony Finity screen in Leicester Square - for celluloid, not so much. While the appetite for watching movies on film might be growing at a promising rate for indie exhibitors, the list of technical and logistical problems is still insurmountable for many smaller venues - saying nothing of the race against time to preserve easily-damaged prints.

The main concern is an ephemeral one: the preservation of the knowledge needed to run a film projection. When the BFI’s Dominic Simmons speaks about the skills of his team and the need to pass those skills on, it evokes near forgotten skills such as thatching and forging. If the BFI and the PCC have anything to say about it, those projection skills will live on, but it’s unclear how far their voices can carry in a digital multiplex age.

As for the voice of celluloid-lover-supreme Christopher Nolan, even he too is shouting down what seems to be an unstoppable march towards a convenient digital future. But in a groundswell of growing interest and passion for the film reel, it seems that a director so obsessed with playing with time in his films seems to have bought exactly that for celluloid. Time is running out on the film reel, but there might be more of it left than we thought.

This article first appeared in the 16 February 2009 issue of the New Statesman, The New Depression