This year’s IDFA makes a rousing return to in-person projections, following an online-only version in 2020 that fell at the mid-point of the nearly 18 months that saw Dutch screens go dark. As it p…
makes a rousing return to in-person projections, following an online-only version in 2020 that fell at the mid-point of the nearly 18 months that saw Dutch screens go dark.
In 1918, the three men set their sights on land in the heart of Amsterdam, and on Oct. 28, 1921, inaugurated a movie house unlike anything built before or since. “When you enter, it’s like walking into another world,” says Blokland-Wijchers. “There’s so much to see, so many details and ornaments. Tuschinski thought about everything, he thought about the doorknobs, the doors, and the tapestry on the floor, which was hand-made and imported from Morocco.
“[Like Tevye the milkman] Tuschinski was also a Jewish worker who left Eastern Europe to find fortune in the West,” says Blokland-Wijchers. “Director Norman Jewison chose the Tuschinski because he really wanted that story to be seen here.”keyed into the tragic aspects of this tale when he handpicked the cinema for the European premiere of “Schindler’s List,” hosting an event that left an indelible mark for all in attendance.
Indeed, 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 en masse to catch the new James Bond together. “Up until that point, we had never had such a premiere in Holland,” says Krabbé. “When I was a child, I would look at Tuschinski from the other side of the street, thinking maybe one day I’ll be a movie star and one day I’ll be there. So that night, when Rutger [Hauer] and I arrived on motorcycles, with a brass band playing, hundreds of people out there to celebrate, and the royal family there with us, I thought, okay, now I’ve made it.
“Also, the projector is quite high in the building, creating a slightly warped angle,” Blokland-Wijchers continues. “But it’s not possible to change. That’s just one of those quirks of Tuschinski – it’s not a perfect theater.”
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