3D Meet Bob Furmanek: HTF Golden Age 3-D Consultant (3 Viewers)

[Richard--W]

The 3-D Expos are highlights in my moviegoing life. Unforgettable. The classic 3-D films are what cinema is all about. One of the pleasures for me was meeting director Richard Fleischer. I remember QT sitting more or less in the center standing up and shouting to JD a dozen rows back that he had just bought a 16mm print of Gremlins and JD, after waiting a beat, responds "I didn't know there were any 16mm prints of Gremlins." Or something like that.
I wish the Expo would press a DVD of the celebrity interviews. They were all videotaped. It would be a nice souvenir. The audience was videotaped, too. My face at the first Expo is on the poster for the second Expo. I hate having my picture taken. While standing on line outside, mingling in the lobby, waiting at the snackbar, sitting in our seats, the cameramen with mounted flood just never let up. I brought a little pocket mirror in with me to bounce light back at them but in the end I reconsidered.

 

[Peter Apruzzese]

I wish I'd been able to attend either of the Hollywood Expos. While I was very happy with the mini-expo of 10 3-D films I staged at the Lafayette in 2004, seeing them with some the listed celebrities in Hollywood would have been very special. It's a shame some of those prints are no longer available for screening in double-system format.
EDIT - And I'd be remiss if I didn't mention Bob's invaluable help and inspiration for the Lafayette show. In addition to supplying the prints for a number of the features and virtually all of the shorts, he did intros for the majority of the shows and was a great ambassador for us that weekend as I was in the booth almost the entire time.

 

[Bob Furmanek]

Greg, thank you for sharing that information about the various anaglyph systems.
Mr. Kintz is the engineer working on all of our 3-D restorations. He's extremely knowledgeable and VERY talented. I know that the Archive's work is in good hands when he tackles a project!
The two Expo's were a culmination of many years of work for me that began in the late 1970's. I provided 21 of the 34 features screened at the first Expo. The other 13 prints were newly struck by Columbia and Warner Bros.
There were SO many highlights and touching moments. When I was introduced to Biff Elliot and he learned I was the one who had found and re-combined the separated left/right prints of I, THE JURY, he became emotional and gave me a big hug. His family was with him and told me how much that screening meant to him.
Wonderful moments.
Bob

 

[RolandL]

Greg, thank you for sharing that information about the various anaglyph systems.
Mr. Kintz is the engineer working on all of our 3-D restorations. He's extremely knowledgeable and VERY talented. I know that the Archive's work is in good hands when he tackles a project!
The two Expo's were a culmination of many years of work for me that began in the late 1970's. I provided 21 of the 34 features screened at the first Expo. The other 13 prints were newly struck by Columbia and Warner Bros.
There were SO many highlights and touching moments. When I was introduced to Biff Elliot and he learned I was the one who had found and re-combined the separated left/right prints of I, THE JURY, he became emotional and gave me a big hug. His family was with him and told me how much that screening meant to him.
Wonderful moments.
Bob

I know Greg from the days of the field-sequential 3-D videos at 30fps per eye. Yes you had flicker but none of the terrible colors and 3-D compared to anaglyph

 

[SAM33]

Bob - GREAT news about BOO MOON! I'm really getting excited about whatever you may put out later this year.
Yeah, FRENCH LINE and KISS ME KATE would be great too.
As I'm sure many here do, I have old field-sequentials and anaglyphs of some of these, including FRENCH LINE, but once you've tasted "real" 3D at home, there's no going back. I have a JVC projector set-up and for me it's working great.
I SO wanted to go to the 2 west-coast 3D fests, but just couldn't swing it. The only classic I've ever seen theatrically in real 2-projector sync was DIAL M, which was just great. This was back in the 80's, and I vividly remember being warned before the show that the two sides had come from different sources, and had slugs in different places replacing damaged frames to keep them in synch, so not to freak out when you momentarily went "blind" in one eye or the other from time-to-time!
SAM33

 

[SAM33]

Bob - GREAT news about BOO MOON! I'm really getting excited about whatever you may put out later this year.
Yeah, FRENCH LINE and KISS ME KATE would be great too.
As I'm sure many here do, I have old field-sequentials and anaglyphs of some of these, including FRENCH LINE, but once you've tasted "real" 3D at home, there's no going back. I have a JVC projector set-up and for me it's working great.
I SO wanted to go to the 2 west-coast 3D fests, but just couldn't swing it. The only classic I've ever seen theatrically in real 2-projector sync was DIAL M, which was just great. This was back in the 80's, andI vividly remember being warned before the show that the two sides had come from different sources, and had slugs in different places replacing damaged frames to keep them in synch, so not to freak out when you momentarily went "blind" in one eye or the other from time-to-time!
SAM33

 

[RolandL]

Bob - GREAT news about BOO MOON! I'm really getting excited about whatever you may put out later this year.
Yeah, FRENCH LINE and KISS ME KATE would be great too.
As I'm sure many here do, I have old field-sequentials and anaglyphs of some of these, including FRENCH LINE, but once you've tasted "real" 3D at home, there's no going back. I have a JVC projector set-up and for me it's working great.
I SO wanted to go to the 2 west-coast 3D fests, but just couldn't swing it. The only classic I've ever seen theatrically in real 2-projector sync was DIAL M, which was just great. This was back in the 80's, andI vividly remember being warned before the show that the two sides had come from different sources, and had slugs in different places replacing damaged frames to keep them in synch, so not to freak out when you momentarily went "blind" in one eye or the other from time-to-time!
SAM33

I saw DIAL M at the NYC Film Forum in dual-projection 3-D in the 90's and the picture was excelent.

 

[JoeDoakes]

Aside from the obvious conflicts that comes whenever encoding a full color image as anaglyph, I would define anaglyph as a very fragile format.

You know you are dealing with someone who is used to speaking with fellow experts when he writes a sentence like this. My guess would be that the "conflicts" come from the different tints, but I do not know why there wouldn't be conflicts dealing with a b&w image. Oh well, I enjoy learning from people like GregK who write here even if I do not always understand everything they say.

 

[Bob Furmanek]

You're absolutely correct, Ray. We're very fortunate to have Greg on our restoration team!
Here are some interesting quotes from Martin Scorcese concerning vintage 3-D films on Blu-ray:
http://www.hollywoodreporter.com/race/martin-scorsese-3d-hugo-blu-ray-286699

 

[Bob Furmanek]

Robert Harris' recent review of HUGO touched on an aspect of 3-D movies that is completely lost in a flat viewing. I posted these comments in his review thread and wanted to share them here as well.

What makes Hugo special in 3D is not things coming out at the audience as in 1953, but rather the atmosphere, and the fact that you can see and "feel" dust in the air of the Paris train station.

The superb and subtle stereoscopic cinematography of such films as HONDO, SECOND CHANCE, I THE JURY, MISS SADIE THOMPSON, DIAL M FOR MURDER, TAZA-SON OF COCHISE and THE GLASS WEB are excellent examples of restraint and effectiveness in the three-dimensional process. They all accomplish what you describe above; they bring you INTO the story in a way that is unique to the 3-D movie experience. Robert Ryan and his desperate effort to survive in the desert (INFERNO) is an outstanding example of this cinematic technique. Of course, this immersive aspect is sadly absent when you see these films flat. Scorcese understands this and screened several vintage 3-D films for his cast and crew before the start of production.
Of the 50 domestic 3-D productions photographed between 1952-1954, the filmmakers - for the most part - respected the "stereo window" and did not resort to gimmicks in order to enhance the process. The only studio guilty of excessive exploitation would have been Columbia, and more specifically the William Castle/Sam Katzman productions. However, for every film that was guilty of throwing an over abundance of objects at the camera (FORT TI, CHARGE AT FEATHER RIVER, MAN IN THE DARK, SPOOKS) there were many, many others which utilized great restraint in their use of the process.
Everybody remembers the famous paddleball sequence in HOUSE OF WAX. It was there for a very specific reason: that sequence was immediately following the intermission point. Director Andre deToth felt the barker was an effective way to bring the audience back into the story. In fact, in the following scene Vincent Price comments, "We won't need him once we're established." How true!
The overuse of gimmicks became commonplace in the 1970's and 1980's with such movies as COMIN' AT YA, TREASURE OF THE FOUR CROWNS, FRIDAY THE 13TH 3-D, JAWS 3-D and ANDY WARHOL'S FRANKENSTEIN.
Bob

 

[Matt Hough]

Wonderful explanation, Bob. I think it was brought home to me most effectvely in Dial 'M' for Murder. I had seen it on TV, and it was fine, effective, a good version of the play I had also seen performed. But when I saw it in 3D during the 1980s 3D renaissance, I was astounded by how much 3D added depth. That rather cramped-seeming flat that Kelly and Milland were living in now didn't seem so small any more. It seemed fitting to a well-to-do couple and the whole film opened up for me. Hard to explain but it certainly convinced me how effective 3D could be not just as a gimmick but as a story-enhancing tool.

 

[JamesNelson]

A terrific post Mr. Furmanek.
I would, however, respectfully disagree about categorizing MAN IN THE DARK among the most gimmicky of Columbia's efforts. I only remember a few surgical tools, a cigar, and a gun breaking the screen plane. Otherwise, I consider this a highly underrated and unfairly maligned Noir. It was one of my favorites at Expo I and I was disappointed that it didn't make it to Expo II.
Yes it was low budget, and yes production was rushed in order to beat HOUSE OF WAX to the box office. But Columbia still pulled off a very enjoyable little piece of Noir. Edmond O'Brien and Audrey Totter are both excellent. And the infamous roller coaster scene, criticized by many for its use of rear projection, still works for me somehow.
There was a LOT of great Noir among the Golden Age 3-D titles: MAN IN THE DARK, THE GLASS WEB, I THE JURY, FLIGHT TO TANGIER, SECOND CHANCE, DANGEROUS MISSION, ...) In fact, there is truly something for everyone's taste among the 50 titles you mentioned. Comedy, Drama, Westers, Film Noir, Musicals, ...
For the first time in history, there is an opportunity for these films to be enjoyed by the general public in the best possible presentation, better in some cases than they were first exhibited. The technology is here. 3-D Blu-ray is mainstream. To the studios who hold the Golden Age titles: please make them available to us. We WILL buy them.

 

[SAM33]

I've seen MAN IN THE DARK flat and found it a fun if somewhat cheesy noir. I'd LOVE to see it in 3D as I think the film would be really enhanced, regardless of how well executed the stereoscopic effect really is. I have an original one-sheet poster for it.
I like the whole pantheon of 3D and don't mind the occasional "in your face" film as well as the more subtle depth-oriented efforts.
I just got to see MAD MAGICIAN in the Playstation version this weekend, and found it to be a lot more fun than I remembered.
Again, it's a Columbia schlocker and HOUSE OF WAX ripoff and has its share of "face" moments, but for we who love 3D it's still fun, with Vincent Price and all the stage gimmicks.
This is actually the first vintage full feature in the new digital format I've managed to get for my home theater. Not even 1080p frame packed, rather side-by-side 720, but still very satisfying. Just whetted my appetite for more.
PLEASE, bring 'em on!
SAM33

 

[Bob Furmanek]

James, you're absolutely right. One of the strengths of the 3-D catalog from the Golden Age is the variety of styles and genres. There truly is something for everybody and that's one reason why a series of Blu-rays would allow the consumer to build a interesting and diverse 3-D collection.
Each studio had their own policy towards the handling of 3-D in the 1950's. Paramount and RKO were the most conservative with a minimal of off-screen effects. In fact, you could watch any of the RKO's flat and not even realize you were seeing a movie composed for depth, unless you count Jane Russel's natural talents.
Universal-International and MGM would fall in the middle. In one case, Jack Arnold wisely decided to place them all in one sequence of THE GLASS WEB, a beautifully photographed and forgotten film with Edward G. Robinson. When John Forsythe finds a dead body, he wanders the street in a daze and is hit with a barrage of 3-D missiles. It's an effective sequence and satisfies those who are looking for the gimmicks.
MGM took no chances with KISS ME KATE. For the 3-D release, they had a specially filmed sequence at the beginning of the stage show with various characters tossing items at the audience, including confetti. I'm pretty sure this brief sequence is missing in the current, flat DVD.
Warner Bros. (with the exception of DIAL M and THE MOONLIGHTER) and Columbia were at the other end of the scale and went for the gimmickry. Shot for shot, the most gimmicks ever to be found in one single film would go to either of the three Columbia shorts; Spooks, Pardon my Backfire and Down the Hatch.
The three William Castle/Sam Katzman titles (Fort Ti, Drums of Tahiti and Jesse James vs. the Daltons) are full of gimmicks, although still not as bad as the average 1980's 3-D film. MAN IN THE DARK is well done and is one of the less gimmicky of the Columbia titles, but you've still got the flower pot, cigar dotting the eye, birds in the empty house, the spider in the dream sequence, the POV during the surgery, the gun during the auto chase, and there may be one or two others that I'm forgetting.
When you read the contemporary reviews for 3-D films during that period, you'll see the dilemma faced by producers. If they piled on the gimmickry, the critics always complained. If they released a film that was beautifully photographed with superb composition for depth but no off-screen effects, the critics wandered where the gimmicks were and said the movie does not take advantage of the 3-D process. It was a no win situation!
Bob

 

[Charles Smith]

I'd buy the lot, no joke. That's a promise.

 

[Bob Furmanek]

For the first time in history, there is an opportunity for these films to be enjoyed by the general public in the best possible presentation, better in some cases than they were first exhibited. The technology is here. 3-D Blu-ray is mainstream. To the studios who hold the Golden Age titles: please make them available to us. We WILL buy them.

I could not have said it better!
For the past 57 years, the only way (other than the occasional Polaroid theatrical revival) to see some of these films in 3-D were via the terrible anaglyph conversions created for television and the 8mm home movie market in the 1970's. Films such as Creature from the Black Lagoon, The Maze, Miss Sadie Thompson and even Robot Monster are FAR superior in their original Polaroid 3-D versions. With the current widescreen Blu-ray displays, the public has the chance to see these films in a quality equal to, or surpassing, the original theatrical experience.
In our case, we are doing scene by scene correction to eliminate any alignment, sizing or convergence issues. When our work is done, the Golden Age titles from the 3-D Film Archive are going to truly look better than they ever have before.
Widescreen is an important element to these films. Of the 50 Golden Age domestic titles, at least 30 were composed and intended for widescreen exhibition with aspect ratios ranging from 1.66 up to 2.1. They have not been seen in widescreen since their original theatrical play-dates.
With the current technology, releasing a film intended for 3-D in a flat version would be the same as mastering a color film in black and white or a widescreen film in pan and scan. It should not be done!
Bob

 

[benbess]

Bob: When might some of these titles become available? And will there be any revivals at local theaters? Or is that just impractical because of the lack of proper equipment?
I don't have a home 3D set up, and am not likely to get one, and so I'm afraid I'm going to miss out on all of these treasures that you're working on....

 

[TravisR]

I don't have a home 3D set up, and am not likely to get one, and so I'm afraid I'm going to miss out on all of these treasures that you're working on....

By no means am I an expert but I think home 3-D is going to either die or become a fairly standard option on a TV so while you might not have 3-D now, maybe the TV that you buy in 5 (or however many) years will have it.

 

[Bob Furmanek]

Bob: When might some of these titles become available? And will there be any revivals at local theaters? Or is that just impractical because of the lack of proper equipment?
.

The ability to properly project dual-strip interlocked 35mm is a lost art these days. Any theatrical exhibition of our titles will be via D-Cinema.
I'm meeting with a potential distributor this week to discuss. So far, no deals have been signed and I'll keep you updated.
Bob

 

[benbess]

The ability to properly project dual-strip interlocked 35mm is a lost art these days. Any theatrical exhibition of our titles will be via D-Cinema.
I'm meeting with a potential distributor this week to discuss. So far, no deals have been signed and I'll keep you updated.
Bob

Well, I'm sure this unlikely, but I hope you can come to Louisville and show some of these films! We have a very well run independent local theater, The Baxter. It has 8 screens, and still shows revival films sometimes from 35mm prints. They also show first run films, including 3D films digitally.
http://www.village8.com/baxter_home.htm
And it says this on their site:
"IMPORTANT ANNOUNCEMENT
Baxter Avenue Filmworks is now one of the only theatres in the state of Kentucky to use the Dolby System and quite possibly the only theatre to utilize specifically the Christie CP2000 SB projector which is used primarily in very large auditoriums with long throw distances that have multi-tiered balconies and 1,000s of seats. There is no doubt that patrons who see the digital and 3D films at Baxter will see the best quality image that is currently available in theatres."
I think their largest theater holds about 300, which is why they are proud of this machine.
We also have a local film society:
http://louisvillefilm.org/
Finally, the University of Louisville where I teach has a small film studies program.
Again, I know it's unlikely, but if you're considering taking your show on the road, perhaps you could contact the people at the Baxter and see if by any chance something could be worked out...
Best, Ben
PS Louisville is a city of about 900,000.