A Theater for the Ages

The Brattle Theatre, one of Harvard’s most cherished gems, recently underwent a fine polish. According to co-owners Ned Hinkle and Ivy Moylan, the recent renovations to the well known repertory theatre were long overdue. The theater, which was closed from Aug. 31 to Sept. 7, is now open to the public with a gleaming new interior. Although some diehard Brattle fans may complain that the previously derelict theater, whose seats were notoriously uncomfortable, has lost some of its original charm, Hinkle and Moylan are keen to point out that these changes were not made in an attempt to revamp the Brattle’s image but simply to make the viewing experience more pleasant. They hope that these renovations will encourage people who haven’t been to the Brattle for a while to take a second a look and realize how committed the Brattle is to continuing its tradition of excellency.

The renovations that took place this summer were major: The floors were refinished and the walls were painted a pleasant dove gray with crimson awnings; the faded black seats were replaced by very comfortable dark turquoise ones; the aisles were made more accessible for wheel chairs and the space was organized more efficiently; the old mono sound system was enhanced by a sub-woofer; the carpets, screen and aisle lights were replaced, and the lobby was spruced up. These massive renovations were done subtly and the Brattle is not fundamentally different. It is still the same beloved theatre that draws people from all over Massachusetts and even America with its incredible programming and wonderful atmosphere. “I’m in heaven when I’m at the Brattle,” said Leigh Cochran, a Cambridge resident who has been coming to the Brattle for over 30 years. Cochran said that she doesn’t care about the renovations as long as the Brattle continues to play the movies that she loves. She also thinks that Brattle is one of the few places of any interest in Harvard Square and the only theater that is worth going to. Many people agree with Cochran and see the Brattle as a haven for anybody who truly loves the cinema.

The history of the Brattle is a rich one. Built by the Cambridge Social Union in 1890, the Brattle housed theatricals, plays and performances throughout the first half of the twentieth century. During the 1930s and 40s, the building was rented by professional theater companies where actors such as Paul Robeson, Uta Hagen, Jessica Tandy and Luise Rainer graced its stage. In 1953, Bryant Haliday and Cyrus Harvey Jr. took over the Brattle and converted it into one of the first repertory cinemas.

Harvey, who had been exposed to French cinema at the Cinematheque while studying at the Sorbonne as a Fulbright scholar, brought a distinctly international flavor to the Brattle during a time when most Americans had seen very few non-Hollywood films. Harvey and Haliday helped rekindle interest in American classics that had long been forgotten. They also established the important Janus Films, Inc., the main distributor of avant-garde films in the U.S. until 1966, when it was forced to close after too many directors were snatched up by Hollywood. Harvey and Haliday brilliantly juxtaposed old Hollywood classics and new foreign films to create a well-rounded repertoire that was both educational and entertaining. Even when the ownership of the Brattle changed hands, this system stayed intact and is part of what makes the Brattle so unique.

The 80s were a difficult time for repertory theaters and a significant portion of them were forced to close down. But thanks to the tenacity and strength of vision of Marianne Lampke and Connie White, who took over the theater in 1986, the Brattle continued to thrive without having to compromise any of its standards. Lampke and White stayed true to Harvey and Haliday’s original vision but expanded upon it by establishing the “vertical” programming that features a different film almost every night. One night a week was designated for foreign films, another for independent films and the weekends for classics. They even brought in guest speakers, and teamed up with WordsWorth books to host author readings. Lampke and White ran the Brattle for 15 years but this year they decided that they wanted to concentrate on their film festivals and that it was time to move on. Earlier this year they passed the torch into the capable hands of Ned Hinkle and Ivy Moylan, the new co-directors who plan to continue where Lampke and White left off.

The renovations are some of the first changes that Hinkle and Moylan have made to the Brattle. When asked what direction the Brattle will take under their management, they said that it is going to remain very much the way that it has always been. They are going to continue with the “vertical” programming established by Lamke and White, and continue showing the classics that everyone loves. They may add a slightly younger flavor to the table by playing some of the movies that they grew up on in the 80s. They believe that the Brattle has always been both entertaining and educational, and they plan on giving the audience even more insight into the films that are being shown. Moylan plans on bringing in more guest speakers, and providing more information to enrich the viewing experience. Moylan, who said that she learned more about film by working at the Brattle than she did at film school, also says that film is getting more and more accepted as an art form, and that the Brattle has the unique opportunity of being of both educational and historical value as well as being entertaining. Hinkle is more interested in the entertainment side of the Brattle. Unlike the more strictly academic Harvard Film Archive, the Brattle offers the full movie going experience. “The fact that we still have previews, popcorn, soda and candy, makes all the difference in the word,” said Hinkle. It is important to Hinkle that the Brattle remains culturally assessable to non-cineasts, and that above all, it remains entertaining.

Hinkle and Moylan are excited about the future of the Brattle, and plan on doing everything they can to ensure that the public is satisfied. “We always try to push the boundaries but when we choose to do something, we want to make sure that we do it right,” said Moylan. “If for example we decide to show a series of new foreign films, we want to partner up with organizations that can facilitate our acquisition of the appropriate material.” Moylan is particularly pleased with the series of films being shown at the moment because they touch on all the different aspects of the Brattle that they want to emphasize. With the classics of Jack Lemmon on Mondays, culty teenage dramas on Tuesdays, recent raves on Wednesdays, movies of the Cuban Revolution on Fridays and special engagements on the weekends, the Brattle is providing us with a glimpse at what future programs may be like. So what are they thinking about for November and December? Perhaps screwball comedies, movies from Hong Kong and whatever else they decide to surprise us with.

While the future of the Brattle looks bright, there are still challenges that it must face. It is increasingly difficult for single screen cinemas, especially repertory cinemas, to compete with the huge multi-screen complexes that are springing up across America. Therefore, running such a theater is an expensive undertaking. In order to help fund the theatre, Hinkle and Moylan have created the Brattle Film Foundation and are in the process of turning the Brattle into a non-profit organization. Ultimately, it is up to the public to keep the Brattle going, and Moylan and Hinkle are going to do everything they can to make the Brattle a place where the public wants to go.