LOST HORIZON 1973 - The Complete Version - Page 17

The lenses for Ultra Panavision were anamorphic with a squeeze of 1.25 rather than spherical. See an explanation on this page - http://widescreenmuseum.com/widescreen/wingcr6.htm under Cinerama Rectified Prints.

I saw Heaven's Gate twice in the single week it played in New York at one theater, which was across the street from Bloomingdales on Third Ave. I enjoyed it very much--it's an interesting and mysterious film which doesn't give its secrets up easily. All current DVDs are non-anamorphic, which is a bummer. Considering some of the crap that's coming out on blu for $14.99 and under, maybe Heaven's Gate will get a little love ... a long last.

Not to digress again to THE POSEIDON ADVENTURE, but according to Boxoffice Magazine (December 11, 1972, page 16), "The Gateway's (Pittsburgh) XMAS offering, "The Poseidon Adventure," will be presented in four-track stereophonic sound, the first in too long a time..."

And here's a sub-run of the film in 70mm 6-track stereo in Beverly Hills: http://cinematreasures.org/theaters/4/photos/25936

POSEIDON ADVENTURE is one of the few older Fox titles (other two are TOWERING INFERNO and VALLEY OF THE DOLLS) to be given a first-class treatment on DVD. (packaging and menus used the original key art, generous supplements, both on paper and onscreen) If only our favorite musicals from that era were to get that treatment a lot of us would gladly pay extra for it.

Have to second that.  I love all those sets.  When the BLU eventually comes out in its predictable generic case with putrid cover art and nothing else inside, I'll of course run to buy that to watch the movie.  But the older sets such as those named remain a permanent part of the collection.  (I especially like it when the DVD case color is theme-matched to the film, as with the two DOLLS ones.)

Well, didn't even know that this film was released until a couple weeks ago so since I love seeing notorious big budget disasters I snapped up a copy on Ebay. I missed all the drama of the mono track and my copy is 5.1 no muss or fuss. I am looking forward to watching it as a enjoyer of other so called wretched big budget musicals like Xanadu and Popeye.

I've read the Medved books and seen other stuff about this movie too. That, combined with how the movie was rarely shown on TV and only ever available on laserdisc gave it this mythic quality about how bad it must be. I am sure I will enjoy it to some extent.

Reading the recent replies (before yours, Michael) in this thread, one wouldn't know that this thread was about LOST HORIZON!  It got quite derailed onto other subjects - for pages and pages.  Thank you for bringing it back to the subject at hand. You must let us know your impressions of the film after seeing it.

 

I first saw the film on TV.  I think NBC showed it in '74 or '75 over two nights, having no clue that it was disparaged by critics.  I simply came upon a Burt Bacharach musical film that looked like interesting subject matter.  I'd never heard of the story of Shangri-La, never heard of the original LOST HORIZON, and was just a young-and-stupid adult with no preconceived notions - and I loved the film, the music, everything about it.

 

You're coming at it with foreknowledge that it's a bad movie, since it's been so raked-over by the critics.  People love to pile on to things that are seemingly universally hated, so it's not hard to find any number of negative reviews of the movie, especially now in the world-wide-web age.  But do at least try to come to it with an open mind, rather than expecting a disaster and let us know what you think.

 

Harry 

 

I have seen it and when looked at in the context of this was a hyped up, expensive event film, I can understand some of the piling on. But seen today, it's not half bad, although I think a lot of the musical numbers are a bit clunky but not terrible (although I couldn't get "Howard Beal sings!" out of my head when Peter Finch would be in a number). Not a great movie, but not the overwhelming Plan 9 from Outer Space of movie musicals and overall enjoyable.

Thanks Michael.  HOWARD BEAL'S GREATEST HITS. What a concept for an album!

 

Harry

This latest restoration that Sony did actually transformed Peter Finch's solo number IF I COULD GO BACK integrating it back into the story and deepening the character. The number suffered horribly in the laserdisc version because it was a faded pink and dirty print. It stood out like a black hair on a blonde swede. It took the viewer out of the story and drew attention to the awkwardness. The restoration actually makes one appreciate the song and it's lyrics matched with the character. In all fairness with the laserdisc version it was nice seeing the numbers, but the contrast was jarring. The same with films like A STAR IS BORN and Capra's LOST HORIZON where the footage cannot be found and still photographs accompany the soundtrack. While purists may cheer, first time viewers of the film don't like it. Why? Because it takes the viewer out of the story. If the original footage cannot be found, I say forget it. Include the stills and sound as bonus features on the DVD, but make available both versions. In the case of LOST HORIZON, there is a scene in the last half of the film that has still photographs accompanying over 5 minutes of film. The scene involves sheep and Thomas Mitchell's character. It's tedious and doesn't play well. Takes the viewer right out of the story.
http://www.youtube.com/watch?v=1Xo6HMqxpes&feature=share

I disagree completely about A Star Is Born. Since they did find the soundtrack, and the sequences eliminated GREATLY enhanced the story between Esther's quitting the band and her morning session in the make-up chair, I would not want to do without them. I saw only the cut version of A Star Is Born for about twenty years before actually getting to experience something akin to the original conception of the movie, so the stills/audio sections as it now stands don't take me outside the movie for a second and fills in a big gap I had always wanted to know about.

 

Perfect? No. But better than not having it at all.

For many years, I felt the same way as you do, Matt, and still do to a large extent. But you and I were had become familiar with the movie for twenty years before those missing sequences were reinstated. Because of this, seeing them for the first time was like seeing the original cut of "The Magnificent Ambersons".

However, for first time younger viewers coming at the movie cold with no knowledge of all the intrigue, frustration and detective work involved in the history of "A Star is Born" and the 1937 "Lost Horizon", those lengthy still sequences do take them out of the film and bring the momentum of a compelling story to a grinding halt. I would never suggest removing them from the official print, but for the casual viewer who isn't a film history buff, a second version without the still sequences might be preferable for a first viewing with some sort of disclaimer at the start warning them that they are seeing a shortened version and referring them to the longer version or a bonus supplement for further study.

Virtually every time I show either LH or ASIB to a first-time viewer, unless they are classic film geeks like me, they complain about the stills. Compelling cases could be made that both films are too long and that cuts were needed. It's just that ASIB was cut with a machete rather than a surgical knife. In a perfect world and with enough time, I'm sure Cukor could have delivered a 150 minute cut that flowed like wine. I know I could take five minutes out of the opening sequence at the Shrine and you'd never miss them.

In the case of LH, I think the shortened version plays very well and actually improves the film in some ways. I'm just glad I have the longer version for the completist in me and to appreciate all the hard work Bob Gitt went through to give it to us.

Dan Woodruff who was curator and archivist at the Academy of Motion Picture Arts and Sciences for over 20 years lived with George Cukor for a time. He told me the BORN IN A TRUNK number in A Star is Born was shot after filming rapped and George left the picture. The powers that be felt the film needed a big musical number and Garland was called back in to rehearse and shoot it. If you look closely you can see she looks a different in that number, a little heavier in fact and even somewhat older than she does in the rest of the movie. Cukor didn't direct any of that, nor did he want it in the picture. He always complained about it.

Angie Dickenson told me that Bacharach was unhappy with the way they shot many of the numbers. IF I COULD GO BACK for example is an important song. Careful attention was paid by Jarrott and Surtees to conceal the fact that Finch was dubbed. The wide angle shots, the medium shots of him passing underneath trees with shadows that conceal his face. In retrospect they could have done a flashback montage with Finch envisioning the life he lead in the outside world as opposed to the one he found in Shangri-La. But think about it? 1972? What singer could have carried such an important role? It's the lead and it requires more acting than singing. Any producer would have hired an actor and dubbed him over a singer who couldn't act.

I remember reading an interview with James Mason in the late 60's and he mentioned in passing he had seen a tv showing of STAR IS BORN where they cut the "Born in a Trunk" number and he felt the film played better without it.

 

 

 I think I read the same interview. I can understand his stance on it, but I wouldn't want to be without that number especially for the unforgettable versions of "My Melancholy Baby" and "Swanee" that it offers and for the inarguable proof in the film itself that here was the birth of a star, the reason why she became so famous "overnight."

I want to say it was an interview with Rex Reed, but it has been decades since I read it. I would agree though I would not want the film without "Born in a Trunk." The problem it created though was making an already long film even longer and some maintain it disrupts the plot line. The number is so much a signature number for Garland, it would be hard for me to imagine the movie without it.

Sorry to get back on topic guys, but I saw Sally Kellerman last weekend and mentioned I had just watched MASH and (in a whispered voice) "Lost Horizon".  I told her the longer version was just  released on DVD is quite good ( and that Lost Horzion wasn't a bad movie).

 

She seemed more comfortable speaking about it after all these years and mentioned she learned the film had developed quite a following over the years (she also mentioned the fertility dance).  She didn't seem horrified by the mention of the film as I would have thought based on the of the posts on this forum. She also seemed to hold the film in better regard (thought or course not in the same league as MASH)

Very cool GMpasqua, did you see her at Vitello's? I've been meaning to go. Been years since I've seen her perform. I saw her once at the Backlot and during her act she did mention LOST HORIZON but in a joking way. She said she had been in one of the most expensive disasters ever made. When she said LOST HORIZON, the crowd cheered. She's certainly at an age now where she can look back with fondness at that film. It may not be her greatest movie, but it certainly is the most expensive film she's ever been in and probably in the top 3 of the films she'll best be remembered for. Other good movies with Kellerman are FOXES, THE BIG BUS and THAT'S LIFE. A good celebrity is careful not to bad mouth their films. There's always someone out there who likes it and insulting the film is like insulting the person who likes it. Thanks for sharing that story. http://www.youtube.com/watch?v=x091fgqfDxQ&feature=share

As for BORN IN A TRUNK, the producers knew that Garland fans would be expecting more song and dances from her, but that's not the movie Cukor envisioned. As good as that sequence is I think the movie would play better without it. It's a long number that stops the story cold.

Sally Kellerman was at the Hollywood Collectors' Show in Burbank this past weekend. I was also tempted to mention LH when I saw her there, but I wasn't sure if it was on the list of the things that she would not miss.

When I had finished putting together Lost Horizon for Laserdisc, I was in a Subway ine night and who was there? Sally Kellerman. I went over, introduced myself and told her what I was doing.

She was horrified, looked up from her sub and said,

"You"re kidding" !!!! She was not thrilled at all.

Rob, you should have said something to her. I'm sure she would have appreciated it. Joe, that was a long, long, long time ago. You might have misread her reaction. She might have been in a bad mood that day or she might have resented being interrupted while eating. Her feelings back then might have been different. Whatever the event, she's changed in her feelings about the movie. Everybody looks and feels and thinks differently as the years go by.

thank you Cineramic, for interpreting her mood, even though you were not within a hundred miles of the moment.

She was appalled that the film was being restored.

I mentioned this to Michael york. He was simply amused.

Albert Finney would have been a great choice for the male lead. His acting is the equal or better (most would agree better) of Peter Finch, and Finney can indeed sing. It's not like Columbia didn't have choices in casting Finch and Ullman.

"While purists may cheer, first time viewers of the film don't like it. Why? Because it takes the viewer out of the story. If the original footage cannot be found, I say forget it. Include the stills and sound as bonus features on the DVD, but make available both versions."

I completely agree. In the case of A STAR IS BORN, I'm with those who say that, whatever the historical value, the adding back of those soundtrack-plus still-photo sequences completely takes the viewer out of the movie. Further, although it's not the party line, I think the cutting of that LONG sequence where Esther is waiting for Norman, he gets shipped off to the set, then he comes back and tries to find her, and so on was a very wise decision. In my opinion, the Esther/Norman relationship has already been very well established by that point through the fairly lengthy, very well written and acted scenes between them at the Downbeat Club and at the Oleander Arms. There is no need to have that long, not very interesting "abandonment" sequence at a point where the story really needs to start moving along.

As for LOST HORIZON -- to bring this back on topic again -- the majority of the film is every bit as appallingly bad and hilariously campy as legend has it. The face that some few sections of it work is due to the power of the original story, no to the inept musical adaptation.

Joe Cap, it just could have been she was having a bad day. I wouldn't read that much into it. Michael1, Lost Horizon is fun. "Appalling" is way too dramatic a word to use in describing a harmless well intentioned musical. Lost Horizon is a distinguished film exquisitely directed.
http://www.youtube.com/watch?v=w0-MDOCKD9Q&list=UUcm_eYG8QUjXkyryObzR9Uw&index=1&feature=plcp

Cinemeric, pleae do not interpret what happned with Miss Kellerman. You were"mt there !!


Also, you fight for how wonderful every last song is in Lost Horizon, but you think its okay to cut Born in a Trunk From Star is Born. It's time to get some taste, dude.

I would say that "appalling" is indeed apt for much of Lost Horizon. What's interesting is how all these appalling aspects (bizarre casting, poor dialogue, inappropriate music, static direction, tape stuck to John Gielgud's eyes) come together in a way that creates a guilty pleasure.

JoeCaps, I've been around actors most of my life and know many of them. I acted for many years myself. I think I'm a good judge. We often change our feelings when it comes to our work. Very often we'll say we dislike a film or play we've done for any number of reasons. Actors are not always the best judge of their work. I wouldn't read too much into if I were you. She likes the film now. That's all that matters.

Richard, for someone who hates Lost Horizon as much as you do, I wonder why you're even interested in talking about it?

As for the BORN IN A TRUNK number in A Star is Born. The director HIMSELF didn't want that sequence in there. He didn't even direct it.

 And how many numbers, songs and scenes during the 30's, 40's, 50's and even the 60's were added or cut from a film without the director directing it or approving the change.  That was the way it was done and is part of history.  Yeah the number is long and bogs down some, but it is an enjoyable number and a part of the film and it's history. 

 

Actually you and Mr. Caps can both be right.  An actor can respond in a negative light to a film when someone is talking about a restoration and re-building back to it's roadshow status, since they are talking true shop and what the film really is.  And most will also agree with a fan of one of their films and say good things about it when the fan indicates how much they like it.  An actor does not wish to disappoint. 

ahollis, "what the film really is" ?? That will always be a matter of perception. http://www.youtube.com/watch?v=DRl5g1935b4&feature=share