Yale Film Archive Goes On Surreal ​“Picnic”

The 50th anniversary of a Francis Ford Coppola classic, a historic documentary set in 1970s New Haven, and The Bride of Frankenstein screened on Halloween night: these are just a sampling of what Yale Film Archive is offering movie fans this fall, revealed along with a host of other anniversary screenings and premiere prints at the first screening of the semester this past Friday at the Yale Humanities Quadrangle.

First, however, a capacity crowd was treated to a new 35-mm print of Peter Weir’s mesmerizing 1975 classic Picnic at Hanging Rock.

Since the beginning of 2024, Yale Film Archive’s screenings have often been at capacity (note: the screening are all free), according to YFA managing archivist Brian Meacham. Even the summer program had larger audiences than usual this year.

“It was really super how many people came out for films that are readily available,” he said.

This semester YFA will be showing films in four categories, two of which return each semester. Treasures from the Yale Film Archive screens prints that are part of the archive’s own collection. The YFA’s Cinemix series is described as ​“stand alone screenings of standout films.” The other two categories are unique to this fall semester: The Nixon Years: American Politic in the Early ​’70s, and Page 100, which celebrates the centenary of actor Geraldine Page.

Some screenings will have special guests. The aforementioned documentary set in 1970s New Haven — titled Bright College Years — will feature filmmaker Peter Rosen, who was at Yale at that time and also teaches there currently. Hearts and Minds, a Vietnam War documentary that is also part of the Nixon series, will feature filmmaker Peter Davis in person.

The sports fan favorite Moneyball, shown as part of the Cinemix series, will feature Noah Gittell, author of Baseball: The Movie, for a post film discussion. And there will be live musical accompaniment by Donald Sosin for the 1927 film Sunrise: a Song of Two Humans.

Meacham also said there may be ​“sneak previews” of newer films this semester added along the way.

On Friday night, however, all eyes were glued to the visually rich and atmospherically haunting Picnic at Hanging Rock. Meacham came to the podium at the front of the room to welcome everyone and tell them about the season ahead, noting that they had been ​“working hard” on a ​“huge number of brand new 35-mm prints” as well as making prints with studios all over the world. The print of Picnic at Hanging Rock was itself a ​“multicontinental” project that he called ​“stunning.”

Picnic at Hanging Rock, based on the novel of the same name by Joan Lindsay, begins with a paragraph that informs the audience of the disappearance of three schoolgirls and their teacher on Valentine’s Day in 1900 during a picnic, so the viewer is aware from the beginning as to their fate. The film then sets out to show the events at the private school in Victoria, Australia leading up to the picnic, the picnic itself at the enigmatic Hanging Rock, and the effect of their disappearance — and its location — has on the other students, teachers, and community members.

The film is labeled as a mystery and drama, but can also be considered a highly effective horror film. Even though you know what is going to happen, at no time does the tension of the events lift. That it is a lush and at times lusty piece of filmmaking adds to its enigmatic quality. One keeps waiting for something overwrought to occur, but it is all quite subtle, sinister and serene at the same time, thanks to the deft work of Weir and cinematographer Russell Boyd. Countless frames look like they could be watercolor paintings. The beauty is apparent — as is the sense that something is off from moment one.

There is also the not-so-underlying tension of the restrictive nature of the private school and the way women are considered in that time. They can’t remove their gloves until they pass a certain point in town. Taking their socks and shoes off becomes an almost lewd act. And what exactly is going on at that rock? Even two of the men who search for them are taken under by its spell, or whatever it is that makes the birds screech and watches stop.

The film is still a must see for its master class in tension, its visual odyssey, and its commentary on why we might behave as we do. Questions remain unanswered, but sometimes, as happens in real life, the unanswered questions are often the road to meditation on what might come next.

What comes next for YFA is another Treasure, a film from Jeff Nichols called Take Shelter, being shown with a Ray McKinnon short called Spanola Pepper Sauce Company on Friday, Sept. 6. If the thunderous applause, lingering conversations, and excitable chatter were any indication of what to expect in the season ahead, I’d advise getting there early to get yourself a seat.

The full schedule for the Yale Film Archive can be found on its website and through social media. All film screenings are free to the general public and, unless noted, are located at the Yale Humanities Quadrangle at 320 York St.