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THE DAY THE WORLD ENDED actually works much better in unmatted form. It wasn't shot in true scope, but simply filmed full apeture and then cropped to a 2:25 to 1 ratio. Theatrical prints were in anamorphic scope; but the movie wasn't shot that way. I've got the fullframe VHS and a widescreen AMC broadcast on tape, and the widescreen one isn't the best presentation.
Other movies that were released this way include THE LAND UNKNOWN and RUN FOR THE SUN.
Two extreme examples are SON OF SINBAD and SEPTEMBER STORM, both of which were shot in full apeture 3-D and then re-formatted (cropped) to 2:35 to 1 for release in anamorphic form. SINBAD was released in flat cropped "Superscope" while STORM was released in both "Scope 3-D" and "Scope flat" versions. The TV versions of STORM are horrible as they were panned and scanned from the already cropped version; which results in the picture being heavily cropped on all four sides, and flat to boot!
Needless to say; anything shot in true scope is a must in OAR; but for these "Superscope" presentations it can be argued either way. Many of these movies weren't necessarily shot with allowances for extreme cropping in mind. In many cases, the scope reframing was an afterthought so in that case, the real OAR is in question.
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