Doug Bull
Advanced Member
AMAZING, what else can I say about the article. ( oh yes. I love it )
Bob you are a true legend mate.
Doug.
Bob you are a true legend mate.
Doug.
And that would include Seven Brides would it not? Great article.Bob Furmanek said:Thanks but this will be the last article for a while.
I've got this bad habit: I like to eat.
I've just added info about MGM filming all of their 2.55 films in 1.75 as well. Thanks to Gary A. Hoselton for the confirmation!
Bob, I don't want to open an old argument, but I know we like to keep things clear and (above all) accurate.Bob Furmanek said:I was just asked by a journalist about our track record for OAR research and studio mastering.
Off the top of my head, here are the titles where our original documentation made a difference:
DIAL M FOR MURDER
CREATURE FROM THE BLACK LAGOON
ON THE WATERFRONT
SHANE
SABRINA
THE KILLERS
A HARD DAYS NIGHT
MARTY
Here's where our primary source materials for widescreen were ignored:
ABBOTT AND COSTELLO MEET THE KEYSTONE KOPS
ABBOTT AND COSTELLO MEET THE MUMMY
JOHNNY GUITAR
CURSE OF FRANKENSTEIN
RIOT IN CELL BLOCK 11
Am I forgetting any titles?
Fantastic Bob. An invaluable piece of work. It would be great to have something similar for the UK but I fear it's not possible due to a dearth of documentation. The UK trade papers rarely gave aspect ratio details and the studios and distributors are too often clueless!Bob Furmanek said:I'm pleased to announce that my new article, THE FIRST YEAR OF WIDESCREEN PRODUCTION, is now on our website. It covers every feature - and most of the live action shorts - that were composed for widescreen in 1953. Hopefully, it will help to dispel many of the myths associated with this era. http://www.3dfilmarchive.com/the-first-year-of-widescreen The article took nearly a year to put together with a great deal of research and fact-checking in order to insure accuracy. I hope that you enjoy it. Please share the article so that more people will understand this turbulent period of transition within the industry. Thank you very much!
Great job Bob! I always liked this promotion for CinemaScope. The AR is over 4:1 (should be 2.55:1), has a deep curve like Cinerama (CinemaScope screens had a very slight curve), and the image is coming off the screen like 3D!Bob Furmanek said:I'm pleased to announce that my new article, THE FIRST YEAR OF WIDESCREEN PRODUCTION, is now on our website. It covers every feature - and most of the live action shorts - that were composed for widescreen in 1953. Hopefully, it will help to dispel many of the myths associated with this era.
http://www.3dfilmarchive.com/the-first-year-of-widescreen
The article took nearly a year to put together with a great deal of research and fact-checking in order to insure accuracy. I hope that you enjoy it.
Please share the article so that more people will understand this turbulent period of transition within the industry.
Thank you very much!
"it's the modern miracle you see without glasses!"RolandL said:Great job Bob! I always liked this promotion for CinemaScope. The AR is over 4:1 (should be 2.55:1), has a deep curve like Cinerama (CinemaScope screens had a very slight curve), and the image is coming off the screen like 3D!
Thank you, Bruce!haineshisway said:Let me chime in and say bravo for a terrific article - there will still be naysayers who will never understand because they know more, but you have done a great service for film history, the studios, and hopefully a few people will be convinced, but not the usual suspects we all know from elsewhere.
I just went through it on the iPad where I could read it and enjoy the extensive artwork. One thing I wonder, did Brigadoon ever get a dual-aspect release on DVD since it was filmed twice? Seven Brides for Seven Brothers did.Bob Furmanek said:Thank you, Steve. I look forward to your reaction. Just to cover all bases, I've posted it on the Criterion forum and sent one via e-mail to Jeff Wells...
The widescreen Shane is undesirable- abomination is a little crazy- because it was originally composed for 1:37 by its director and DP. The same reason that a 1:37 Sabrina is undesirable. Furmanek seems to be the final word on what the AR intentions of the makers of these transitional films were. And he ought to be heeded. You seem one step away from suggesting we lop the sides off all post '53 films so you can pretend to yourself that you're getting more headroom.
I knew about Seven Brides for Seven Brothers and Brigadoon having been shot twice, as the "flat" versions have been shown on Turner Classic Movies and Brides even had the 1.75:1 version included on the DVD release, but I didn't know about the others. Wouldn't it be nice if when Warners gets around to putting all these movies on Blu-ray, that they would include both versions? But it won't happen as it doubles the cost to restore two films instead of one.Bob Furmanek said:I've just added info about MGM filming all of their 2.55 films in 1.75 as well. Thanks to Gary A. Hoselton for the confirmation!