Really, so you know everyone at Olive and Paramount - So no one at these companies who are involved in hundreds of re-mastering jobs per year know what they're doing, they need to talk to bloggers and get their expert opinions. I'm sorry, but the fact is that the intended ratio for this film is 1.66 and it has nothing to do with the aspect ratio of the negative. As I said before, They've released 1.78 and 1.85 versions of many titles that had negatives of 1.37 because the intended ratio was different. I guess they flip a coin and decide if it'll be 1.37 or 1.78 and take it from there. Also, these are the same non-film people who acquired these films for release.
MisterLime, I implied none of the negative spin you are attributing to my statement. Olive & Paramount have done some quality work - no one is denying this. It's also true that many studio releases for this period have been incorrectly released open matte in the past, in particular DVD from the releases from the 2000s. Dial M for Murder is a specific example that can be pointed to: open matte on DVD, properly widescreen on the Blu-ray. Per Mr. Furmanek, his research of period documentation assisted Warner in discovering where their prior documentation was faulty. This isn't said to blame anyone at Warner from ~10 years ago (far from it - they've been doing great work for longer than that!), but only to say that their breadth of information was limited at the time and has since been expanded upon.
As for myself, I'm no rookie in regards to the home video industry from a professional angle. I've been part of the industry for nearly a decade.
As for Mr. Furmanek's credentials, he can speak for himself quite well as being anything but a mere blogger.
Edited by Brandon Conway, May 30 2013 - 05:13 PM.
"And now the reprimand, from an American critic. He reproaches me for using film as a sacred & lasting medium, like a painting or a book. He does not believe that filmmaking is an inferior art, but he believes, and quite rightly, that a reel goes quickly, that the public are looking above all for relaxation, that film is fragile and that it is pretentious to express the power of one's soul by such ephemeral and delicate means, that Charlie Chaplin's or Buster Keaton's first films can only be seen on very rare and badly spoiled prints. I add that the cinema is making daily progress and that eventually films that we consider marvelous today will soon be forgotten because of new dimensions & colour. This is true. But for 4 weeks this film [The Blood of a Poet] has been shown to audiences that have been so attentive, so eager & so warm, that I wonder after all there is not an anonymous public who are looking for more than relaxation in the cinema." - Jean Cocteau, 1932