Great post.

I just thought I’d add that theatrical distribution of PP here in the UK has been somewhat disastrous for this very reason, as projectionists across the board have been instructed by Tartan Films to screen the film exclusively in 1.85. Compounding the problem, both independent cinemas and those belonging to the pre-eminent City Screen arthouse chain have largely opted to project digital masters irreparably fixed in the widescreen ratio.

As Tartan have attempted to reach a wider ‘youth’ audience with PP, they have sent many prints to multiplex cinemas that can’t accomodate academy ratio (fair enough). Unfortunately though, they couldn’t be bothered to instruct rep/arthouse cinemas to project 35mm prints in academy ratio when they clearly were able to – in one instance, I desperately tried to convince a projectionist to screen their 35mm print in full-frame (the ‘big square’), but was eventually overridden by Tartan’s incorrect mandate. Also, the first time I saw the film was at the NFT in London, who checked the ratio with Tartan before the screening (remembering that ‘Elephant’ and ‘Last Days’ were 1.37), but were told to go with 1.85.

It’s a particularly galling situation. Although I appreciate that Tartan might have decided that a widescreen ratio would be more appealing to their target youth audience, the overall effect (as you’ve pointed out above) is far too damaging in terms of mise-en-scène to be overlooked. Perhaps unsurprisingly, they have not responded to any of my complaints.

Anybody looking to acquire the film on DVD should pick up the French mk2 edition, which presents two transfers of the film in 1.37 and 1.85. Tartan’s UK DVD release is, funnily enough, in the latter.

I must thank David Bordwell for linking to this post from his piece on aspect ratios in Godard’s cinema (a superb case study of just how to evaluate these situations).