Schoonmaker rightly pointed out that, in the film, "what you don't see is sometimes as important as what you see." This is never more true than in the brilliant sequences where taxidermied animal heads pop into the frame, filling the barren walls of a room. We don't see General Candy once during these sequences, but we know what he's up to: He's lonely, filling space in his life with hunting, traveling and wars. He's also sexually frustrated.
Martin Scorsese was instrumental in reintroducing Powell and Pressburger's films to American audiences, and in rehabilitating Powell from a destitute life. Scorsese had watched many of Powell and Pressburger's films as a young budding cinephile, albeit in beat-up and recut prints. Their work had a profound influence on his own filmmaking, particularly "Raging Bull."
"There is a wonderful sequence [in 'Colonel Blimp'] where a duel is to be fought," Schoonmaker said. "Scorsese was stunned: You don't see the duel itself. You see the build-up to the duel, but not the duel. The camera pulls up through the rafters and out into an overhead shot of Berlin in the snow. When Marty had to shoot the championship fight in 'Raging Bull,' he decided he wanted to do the same thing. Marty said, 'Just the get the fight over with, I'm not interested in it. What's interesting is what led up to the fight.'"
"The Life and Death of Colonel Blimp," completed in 2011 with the Academy Film Archive, is the second of two Powell and Pressburger restorations spearheaded by Scorsese's Film Foundation. The first was "The Red Shoes" in 2009 with the UCLA Film & Television Archive.
The Academy's archive team had their work cut out during the two-year restoration process of "Colonel Blimp." First, the 163-minute film was grossly re-edited for its original international release and 35 minutes of scenes from the three-strip nitrate negative had been cut out. (Suffice to say Winston Churchill was none too happy about a 1943 UK film production depicting the British army in a complex light.)
Second, the surviving negative showed light to severe mold growth throughout. Using digital tools, the restoration team was able to correct the corrosive damage of the mold and return the film to its vivid Technicolor palette. They also successfully restored the running time to its original, gloriously epic 163 minutes.
The restoration is now preserved as film elements at the BFI National Archive in London. The screening was a resplendent DCP (digital cinema package) of the restored film.