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Forget what you've heard. "Brief Encounter" is an extremely violent film. In fact, it is a violence that no Tarantino or Guy Ritchie could ever come close to. Celia Johnson, as its heroine, Laura, says as much herself: "I've fallen in love. I'm an ordinary woman. I didn't think such violent things could happen to ordinary people."

One of the first British films to have praise heaped on it abroad, it is shot in noirish black and white to the music of Rachmaninov. David Lean ably directed Noel Coward's script for this intensely passionate film in which almost nothing happens. In short, Laura gets a piece of grit in her eye (those beastly trains!) and falls desperately in love with the kind stranger (Trevor Howard) who removes it. Romance follows over a series of chance, then planned, meetings all given drama by the emphasis on their brevity.

It is told in flashback in an imaginary confession to her husband (Cyril Raymond) whom she dares not tell out of profound compassion. Without the insight her narration gives we would perhaps see nothing at all in the railway station buffet where both Stanley Holloway and Joyce Carey remind us of the invasive triviality of the everyday with a suspicious intimation that the lower classes have no emotional life.

If you can stomach this and the excruciatingly affected portrayal of the English middle classes, you'll have, at the very least, a lump in your throat. Less cynical souls will weep buckets.

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All film restorations require collaboration, but the David Lean Film Restoration Project partnership is a model for how this kind of collaboration can most profoundly affect film heritage.

The David Lean Foundation, whose resources come directly from the revenue the films of David Lean still generate, sponsored the restoration of eleven of the sixteen films that David Lean directed. The BFI undertook the technical side of the restoration of ten of these titles, working with Granada International and Studiocanal.

The BFI National Archive in Berkhamsted is now the permanent home of the preservation elements resulting from the restoration work. The restored films will be the basis of all distributed elements in the future, ensuring that every audience everywhere will see the restored version of each film.

The overall technical approach to the project, led by Andrea Kalas, Senior Preservation Manager of the Archive Film Lab, was to find the best surviving material on each title and restore and preserve each film using the best methods available. For 8 of the films this involved collaboration with Granada International's Perivale archive and working with the technical team headed by Fiona Maxwell, Director of Operations and Servicing. As quality considerations focus mainly on elements duplicated from an original, each element was inspected for quality and condition. Dirt and scratches can be printed in, and focus and fluctuation issues in the image can also occur. Condition issues can include signs of deterioration, mould, and most often the effects of usage.

Original camera negatives of many of the films were badly damaged: with scratches, frames missing, tears, even one important original negative entirely missing. Elements from both the BFI and Granada International archives were viewed and compared to find the best materials to work from.

The next stage was to decide how and where to complete the restoration which needed specialized equipment and expertise. Archival film is often fragile and in need of printers and scanners that have been optimized for this purpose, and the knowledge of the experts who are restoring the films is crucial. The ability to ensure that Guy Green's black and white cinematography is brought back to life with utmost care is the ability to understand how to effectively reproduce sharpness, contrast and the greyscale range. To ensure that the Blithe Spirit is a shade of green that looks ghostly and not cartoonish, requires an understanding of the Technicolor process and how to replicate that in modern film stocks.

The ten films were restored by one of three standard film restoration processes: Photochemical, Digital Sections and Full Digital Intermediate. Each film also had digital audio restoration. Although the Archive Film Lab at the BFI National Archive was the main facility for the restoration work, other film labs such as Cineric in New York were used for additional specialized work. Following the photo-chemical work, Granada International remastered their films to High Definition with full digital picture and sound restoration.

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