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The Flagship Theater in Amsterdam celebrates the Royal Decree

The Flagship Theater in Amsterdam celebrates the Royal Decree

In-person projections have been reversing to the online-only version in 2020 that fell at the mid-point of the nearly 18 months that saw Dutch screens go dark.

The 2021 doc fest has reserved most of its marquee events like live concerts, orchestral accompaniments, and a daily screening made available to online viewers in the country. The 750-seat Old World cinema has recently become the most beautiful in history: the Pathe Tuschinski.

For the first time in October, the Royal Theater was named Tuschinski, as its centenary birthday celebration this year, and now it is the only cinema to receive such an honor. Though for all its afflictions and heft, it also reflects a meticulous history and rich history.

The young man was born in 1886 to become a Polish tailor and was trained as he tailor to europe at the turn of the century - and managed to escape the old world without the promise of new.

The emigre and his family escaped the trap. After a long break in the port city of Rotterdam, Tuschinski partnered with his brother-in-law and hermann Ehrlich and opened countless business opportunities for the purpose of building four movie palaces.

In order to build a movie palace for regular people, he decided to go with the aim of the four converted theaters in Rotterdam.

The three men built a movie house in the heart of Amsterdam in 1918. It was opened on October 28, 1921, which was hardly built before, and was open to the public in 1914. When you enter, there is obscenely many things to see, so many details and ornaments. Tuschinski thought about everything, the doors, in which the tapestry on the floor, made and imported from Morocco, is as if he was to enter the world.

You are so amazed by everything you see, and it's almost a pity that the film starts, he continues. Your work is really quite amazing with all the Art Deco, Jugendstil and Amsterdam School styles, which is essentially shabby, but is beautiful. And that'll be what you do at this time, I think, in fact, is great, so it is very beautiful, says masked filmmaker.

Since the crash of 1929, Tuschinski would become a renowned public art ambassador for the second decades of the twentieth century, allowing him to be known as the art form itself, and to open more theaters in Amsterdam, Rotterdam and Schiedam. As an artist as an architect, to spend extravagantly presenting foreign stars, import luxury decorations and make sure each and every working-class filmgoer felt welcome. In addition to lowering the cost of admission, so that the big screen remained accessible to those hurt by

In May 1940, the Nazis destroyed all four of Tuschinskis Rotterdam theaters, and the destruction of its directors, while occupying forces demolished all Jewish employees, a result of the war, as for the entire family, in an orphanage, but for two cousins he died.

The movie, for example, celebrated its 50th anniversary by hosting the world premiere of Fiddler on the Roof in 1971 in a move that emphasized the founders biography and early glories - in the same way that the real-life figure and the characters in that movie were paralleled in parallel.

"Toyschinski is a Jewish worker, who left Eastern Europe to find fortune in the West," says Blokland-Wijchers. "The director of the Tuschisski chose because he really wanted the story to be seen here."

In a recent film, Steven Spielberg crafted the tragic effects of this story into ten decades later, allowing the cinema to produce 'Schindler's List', which was the European premiere of - with the opening ceremony of an event that left an indelible mark for everyone in attendance.

"Everybody who was there still remembers this feeling and the quiet during and after the film, so there were drinks and little snacks, but nobody touched them. "We just went home and experience the silence.

Five years after Max Gerschtanowitz took back his familys theater, a young boy walked through its doors, parents in tow, and filmed ABICI as he was in the house for the first time, then landed on bambi, 70 years ago. I still remember the story, but entered that building was like completing 'a fairy tale."

As the war years receded, the Tuschinski returned to its original goal: to serve as a high temple for cinema, as an area of rarity that transformed re-entry to the movies into eponymous events.

In fact, for millions of Dutch citizens, memories of Tuschinski come bathed in the warm glow of nostalgia; for it was the place where birthdays were celebrated, where families gathered together to catch the new James Bond bond.

The Dutch star would spend many hours sat behind his mother in the theaters intimate screening room, watching her work and deciding on the latest upcoming films from France, Italy and the U.S.

As soon as I saw the film, a man he was able to make 007 films, so dubbed the Living Daylights, I sat back at the theatre as if tucky, and naively walked into the movie theater. "I said that I would host 'a party' before the premiere, because Bond movies always happen to be based on it."

From the height of the Hollywood event, a decade earlier, the famous architect, Paul Verhoeven, produced hes famous film, and television, in which resemblance was celebrated, was the high watermark of his professional life, according to the 1977 premiere of The Soldier of Orange, which proved writ large the screening hosted the countryd royal family while the whole national cinema and entertainment industry celebrated.

I was totally moved, feeling like I reached my goal, and watched the music. Then, the year that we had never had such a premiere in Holland, says Krabbe. When I grew up, we were very close to the end of the day, then if I had waited for this to happen, I would be able to make sex with the band and watch the ball of tiger yelling, but then I got back to work. It was completely moved. I felt like

Since then, Krabbe has never stopped attending Tuschinski. He was there for the cinema's 100-year celebration in late October, and was here, weeks before, as a simple filmmaker, to catch (or rather) the latest James Bond.

I've been walking in for the first time over 70 years and still feel humble, to think OK, I will see something special. I hope that the movie is shit.

The Tuschinski palace was built to showcase the pearls of another age and remains a little more resistant to modern events.

The ceiling is decorated with a sling and is very tall. If the theater was founded, it was for silent films, then the sound remains an issue. Similarly, Dolby Atmos requires the installation of speakers in the ceiling, so it can't be done here. Because the wall is too high.

There are many aspects of Tuschinski it isnt a perfect theater, so it can be changed.

In practical terms, such limitations have caused problems for perfectionist directors. At the 2002 premiere of The Pianist, Roman Polanski drew out in a huff, scolding the projectionist and asking to stop destroying my movie.

To present a work in Tuschinski, it's not surprising that the theater itself will leave its own mark on the film.

Some of those scenarios have led to advantageous outcomes. When we started screening films in Tuschinski, we wanted to show that documentaries can reach a wider audience, says Cees vant Hullenaar, IDFA executive director.

IDFA proved it was possible. Using our partnership with Tuschinski, IDF became a bigger festival for broader audiences.

IDFA is continuing to earn a dividend. Today, already in its second decade, its partnership with Amsterdams flagship cinema continues to be profitable. We program it in Tuschinski when itd be possible to have something special attached to the film, says van 't Hullenaar. Weve made so many memories over the years.

As a result, when Variety talked to the festival director last week, he reminisced about the previous evenings Tuschinski events while tense in the century-old auditorium, an orchestra sang the film Dziga Vertovd "The Civil War" live.

It was wonderful, and she sang and recited poetry. The whole room was almost in tears. It is already a dear memory.