Maryland Film Festival Notes

04.25.99
Gabe's Notes:
Day Three Part I
Part II

04.25.99 - Gabe's Notes: Day Three

Part II

The next screening to introduce is All Quiet on the Western Front. The print of this film comes from the Library of Congress and we have invited David Parker (now retired), the gentleman who oversaw the restoration of the film to discuss the fine points of supervising such a project. During my brief introduction (the film is three hours long!), the microphone cuts out. This has been happening all weekend. For whatever reason, whenever I speak into a mic, it drops out. Most times I give up fiddling with the tool and I reach deep down to deliver my introduction from the diaphragm. But in the large auditorium, I need the mic. I move around up front searching for the signal--and there it is. "Film festivals are so glamorous," I joke, striking a faux pose, before launching into my introduction to thank the staff and volunteers for all of their hard work. Given the comments Paget left me with moments before, I make an extra effort to impress upon the audience all the time and energy it takes to put on such an event and how grateful we are for all of their support.

Mr. Parker begins his introduction with a slew of details and anecdotes about the production and restoration of the film. Given the running time of the film, the lengthy (albeit detailed) introduction has many in the house shifting in their seats. But Parker is determined to complete his opening thoughts. And they finally settle after about fifteen to twenty minutes.

After the never-ending introduction I see that Reed's Amerikan Passport Question and Answer session has spilled over into the lobby, where a small group of fans are continuing to discuss the film with him. The screening let out well over a half hour ago. Perhaps someone will manage to get a dinner out of the deal.

In the projection booth a catch a few seconds of the Orioles game on television. Jed Dietz has taken a bunch of the visiting filmmakers and speakers are there in person, spending the afternoon in one of the deluxe luxury boxes. The Orioles have managed to overcome a nine run deficit to take the lead. But at this particular moment, "closer" Mike Timlin is poised to blow it again in the late innings. A joke of a game for the Orioles, in a season that promises to deliver many more. I am glad that I am watching it on TV.

With everything in hand at the Charles, I head over to the National Aquarium to help set up for the closing night screening and party. The closing night screening at the Aquarium is the world premiere of a jazz film entitled Jazzman.

David Murray

David Murray

David Murray, jazz saxophonist sensation will be there. As will director Alan Collins and his wife, Violet. The National Aquarium is a true Baltimore landmark, designed by internationally renowned architect I.M. Pei, the building is characterized by trademark pyramid glasswork. Like any aquarium, it is filled with all manner of aquatic life. Having visited the landmark a few times in my life to watch the fish, I had never been in the auditorium. I duly impressed with its state-of-the-art video projection system. Jazzman is shot and edited on Beta and looks great on the new equipment.

A house full of jazz fans eagerly await the screening and they are not disappointed. The performance sequences in the film often draw characteristic applause from the fans who appreciate the craftsmanship of Murray's solos, even on tape. But the highlight of the evening is yet to come. As director

Alan Collins

Alan Collins

Alan Collins begins to field questions for his Q&A, Murray steals himself to a green room to warm up. In a few minutes he emerges at the back of the auditorium, saxes in hand. A Collins is in the middle of an answer, but the audience can't be contained and applause rings out. Collins gestures for Murray to come down and yields the stage. What follows is thirty minutes of aural delight. Murray delivers three solos that fill the room with a cacophony of sounds and rhythms. A true, "you had to be there" kind of experience. As he wails away, I breathe a sigh of relief. "The festival is over," I think to myself. The audience applauds wildly, inviting Murray to play more, but there is the matter of the party out in the aquarium.

Film-goers from the Charles begin to arrive for the Aquarium for the party. (Concurrent to the Murray screening, we screened the Baltimore theatrical premiere of Baltimore native Dan Rosen's The Curve.) It is a great event--people are mingling, the DJ (Shark!) is spinning, and the party is jumping. Just as things are really getting underway, we are asked by the Aquarium to disperse. It seems the fish need their sleep. People hours and fish hours are decidedly different.

No one wants it to end. Not surprisingly, a group, led by Dan Rosen, makes its way over to the Club Charles for an after party party.

Gabe and David

After Party Party: Gabe & David Murray

Even David Murray shows up to Baltimore's landmark bar to make the scene. On little sleep, and with the four day adrenaline rush coming to an end, the beers I am drinking go straight to my head. We close the place and Dan leads an excursion to an all night diner, promising that I'll pick up the tab. "I'll be there!" I promise. On second thought, someone had better drive me home.