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The cropping on the first DVD is appalling and damages the framing - see here. IIRC, on the first DVD, the widescreen version is simply a cropped (top and bottom) transfer of the full-frame version on that disc's flipside. You'll accept that framing is as important in a Ford film as any other...

The old DVD is badly cropped, and, in an attempt to replicate those baby blue skies (and I know that's not your main concern), the added on blues bleed in some scenes all over the frame. You got your 'Martian' landscape though. I think we've yet to see the film the way Ford intended on home video.

Oops!

I bought it; I can't unbuy it, and, right now, it's the only game in town. But where are you headed with this Richard? For all it's faults it's all we have, I honestly don't see Warners revisiting this any time soon.

Well, now that you've called me by name... I appreciate that Richard (and I'm not using the shot as a 'color balance' in any way), I've been through all sorts of hoops trying to come to terms with this damn thing (I still feel anal talking about bricks - and I'm not going to mention 'Dobe'...

One of the great central pillars, many moons ago, in declaring oneself a 'hi-fi enthusiast' was refusing to (a) twiddle with the tone control knobs from their declared neutral position, then (b) actually buying an amp that simply didn't have tone controls. It meant you were a true Hi-Fi Buff...

I offer this because it may have some bearing on what we're discussing, and here I'm referring to Ford and Hoch's intentions...then again it may not. From Peter Cowie's book John Ford and the American West: "Ford, however looked to Remington for inspiration primarily where color was...

Me too. But I felt somehow guilt ridden for liking it; as if I'd suddenly admitted that National Lampoon's European Vacation was my favourite film of all time. I've been told that often by People Who Know Better that it's wrong to like it, that it's a very, very bad thing indeed, that, well, I...

Okay: Warner's Ned Price on The Searchers.

I can't recall, but did Artisan's horrifying transfer of The Quiet Man produce this amount of angst at the time it was released - serious question.

How it's 'supposed to look' is also, seemingly, one of the core issues.

I'm finding this increasingly disturbing and confusing. First of all, through Robert, they hold their hands up to what was apparently an incredibly stupid mistake, then Warners seemingly dismiss that by saying there is, in fact, no error. Just what is going on? We need to be told and we need...

Apologies Simon; you're quite right; I forgot, Lord help me, to include the Classics. :)

No; but I don't know what your take on it is Robert. FWIW, mine is that Ethan's a product of his time and his experiences - his mother, his brother and his family (and the woman he loves) murdered, crimes for which he holds all 'indians' responsible, add to that the fact that he's been through a...

The richness and depth is a feature of many Ford films of course, but while I think he's the master, he's not the only one (far from it; an Anthony Mann western is on TV right now, which is a prime example). These days, more and more I find myself thinking that I'd like to see a modern film that...

Interviewer - 'What brought you to Hollywood?' John Ford - 'A train'.

Ethan and Scar are two sides of the same coin; they both have suffered tragic loss of loved ones by the 'other' side, both are driven by a thirst for revenge. Good and evil don't really have a place here; the only issue is whether blind hatred, a soul-searing racist hate, will lead Ethan to a...

Journalist (about 'Stagecoach') - 'But Mr Ford; why didn't the Indians just shoot the horses?' John Ford - 'Because that would be the end of the picture.'

Indeed. Savant has another take on things which I've been pondering on; what if Martin is Ethan's son? Interesting thought...

Natalie Woods is always described as having played 'the 16-years-old Debbie' in the film, and Frank Nugent's Revised Final Screenplay (though interesting to note the changes wrought on set - and thanks to hitch_fan for that link) says she was 11 at the start of the film.

Debbie's described as 11-years-old at the start of the film, and she's 16-years old at the end IIRC.

I can wait; I've just about stopped grinning from seeing this last night. As said, apart from the colour issue - and you're only going to notice this if you're really intimate with the film (and even then it hardly spoils this fabulous, fabulous movie) - this is a superb release, properly framed...

From the press release on the The Searchers SE/UE : Disc 1: Newly remastered and restored from original VistaVision film elements Introduction by Patrick Wayne (John’s son) Commentary by Director Peter Bogdanovich (The Last Picture Show, What’s Up, Doc?) Theatrical trailer Disc 2: The...

This is bugging me now; this... ...is adobe brick. This is from Gary Tooze in the 'Beaver' thread... I feel ever so slightly anal talking about the colour of bricks in a title shot, but it is bugging me...

It's the one film that, when released in HD, will probably tip my hand to buying a suitable player.

Thanks; I'm pretty unbearable to live with right now, and I will be until I get this in my hands ;) But more importantly, did you read the other comments on the thread I linked to?

If anyone - like myself - still hasn't got their copy and is desperate for a look at some screencaps, a comparison between old and new editions has been posted at thedvdforums.com here. EDIT; worth reading down that thread for some interesting comments...

Amen; am eagerly anticipating a portmanteau sized box winging its way cross the Pond. My releases of the year, and it's only May...