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Olive Films Blu-ray Release and Discussion Thread

Olive Films

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#41 of 682 Robert Crawford

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Posted August 25 2012 - 06:44 AM

Originally Posted by ahollis 

That USA Today article was an interesting read, but I didn't see any real statistics to back up what they were saying.  It almost appeared they were just spouting out numbers and percentages without back-up.  But that is my opinion.

They had more numbers and graphs in the hard copy article which I read today at lunch.  They also quoted some folks in the industry that charts software sales that probably supplied them with some more backup data.









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#42 of 682 ahollis

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Posted August 25 2012 - 07:10 AM

Originally Posted by Robert Crawford 

They had more numbers and graphs in the hard copy article which I read today at lunch.  They also quoted some folks in the industry that charts software sales that probably supplied them with some more backup data.









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I will seek out the hard copy today.  Thanks.


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#43 of 682 Robert Crawford

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Posted August 25 2012 - 07:16 AM

Originally Posted by ahollis 

I will seek out the hard copy today.  Thanks.

I would go to a library as I hardly think that extra graph is worth $1.


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#44 of 682 Brandon Conway

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Posted August 25 2012 - 04:06 PM

Agreed, Robert.


One thing that's rarely mentioned is that the studios really only look at how things compare to the PEAK of DVD sales. It's a comparison any video format going forward is guaranteed to lose. DVD was a zeitgeist that can't be replicated.


"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


#45 of 682 rsmithjr

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Posted August 25 2012 - 06:06 PM

Agreed, Robert. One thing that's rarely mentioned is that the studios really only look at how things compare to the PEAK of DVD sales. It's a comparison any video format going forward is guaranteed to lose. DVD was a zeitgeist that can't be replicated.

Yup. Too many copies already in the wild, with too many other ways of watching the videos if you aren't too fussy about quality.

#46 of 682 Robin9

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Posted August 25 2012 - 08:05 PM

That USA Today article was an interesting read, but I didn't see any real statistics to back up what they were saying.  It almost appeared they were just spouting out numbers and percentages without back-up.  But that is my opinion. 

I found parts of the article quite fascinating because it presents facts which contradict what we have been told for a long time. Apparently, "Sales of older, so-called catalog films on Blu-ray rose 26% in the first half of 2012 . . . . Overall Blu-ray disc sales rose 13.3% over the first six months of 2012." So, sales of catalog titles rose twice as fast as sales of modern movies: exactly the opposite of what we have been told by every pundit, guru and industry expert! Then we have "the overall home video market is expected to decline from $19.1 billion in 2011 to $18 billion in 2016. . . . " compared with "a high of $19.6 billion in 2006" Well, the economic slump alone will affect sales on entertainment and leisure activities, and to come down by only a few per cent from the peak in 2006 is pretty good going. If that article presents an accurate view of the market, the doom and gloom merchants have been overstating their case.

#47 of 682 Brandon Conway

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Posted August 26 2012 - 11:02 AM

Originally Posted by Robin9 


Apparently, "Sales of older, so-called catalog films on Blu-ray rose 26% in the first half of 2012 . . . . Overall Blu-ray disc sales rose 13.3% over the first six months of 2012." So, sales of catalog titles rose twice as fast as sales of modern movies: exactly the opposite of what we have been told by every pundit, guru and industry expert!



Yeah, but the key is what the numbers each were growing from. If catalog sold 26% more than $1 million dollars, and new release sold 13.3% more than $10 million, new release is still outselling catalog $11.3 million > $1.26 million.


"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


#48 of 682 Robin9

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Posted September 01 2012 - 09:36 PM

The last two nights, I viewed the two Garfield BRDs.  I thought Force of Evil was really good PQ-wise with much improvement over any DVD I own of this great film noir.  I just wish it had subtitles.  Film grain was present throughout the entire disc.  Crawdaddy

Agreed. I watched Force Of Evil last night via a front projector and I was blown away by the picture quality. This BRD is easily the best presentation of the film I've ever seen, and I've seen it several times in re-run theaters and on TV. I felt last night I was seeing it for the first time!

#49 of 682 Robert Crawford

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Posted September 06 2012 - 10:15 AM

I must say despite the window boxed credits, the video presentation of Pursued was very good.  One of Olive's better releases probably due to the excellent restoration job UCLA did on the film elements.  Next up is The Dark Mirror followed by Secret Beyond the Door.








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#50 of 682 Robert Crawford

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Posted September 06 2012 - 10:35 AM

MisterLime/Scott Peck noted that Ramrod is coming in November.


November 20th Street Date


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#51 of 682 JoHud

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Posted September 06 2012 - 11:27 AM

November 20th Street Date

Definitely looking forward to it. Although that is a pretty strange cover and could do with an improvement.

It's bad -- but so is their packaging and overall presentation, which looks like bad photoshop. I've gotten over it at this point, but they look like tacky, cheap releases, even though we're paying a relative premium for them compared to almost every other label out there (besides Criterion)

They've gotten better. The recent "Republic" waves have much more appealing layouts on the back covers. The old Olive releases typically had a lower budget appearance, with the summary in black sandwiched between two large screenshots or production stills. Lots of otherwise free real-estate is dominated by the those images. Specs and credits were framed in separate blocks. It stayed the same for a while, until they decided to remove the black border around the credits and display them in an unattractive bold yellow One the Republic titles started rolling out, Olive started to improve their back cover layouts significantly. The summary sandwich is gone and the box-framing of the specs has been removed for something more aesthitically pleasing The last two waves have improved aesthetics even further by removing the relatively unattractive bold font on the back cover credits and reduce the space they take by roughly 1/2, switching to a smaller and frankly more professional-looking and attractive type-face and formatting. Captain Carey USA, My Son John, and Private Hell 36 all share this improvement. I haven't gotten this week's wave yet, so I'll take a gander at those shortly.

#52 of 682 Richard--W

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Posted September 06 2012 - 12:49 PM

Andre de Toth's RAMROD (1947)? November 20th? Wonderful news. It's a significant western, an important western, and a genuine, authentic noir. You'll know it's written by Luke Short when you hear the first line of dialogue. Be sure to give it a full review. I can finally throw away my Republic VHS.

#53 of 682 Richard--W

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Posted September 06 2012 - 03:28 PM

It's bad -- but so is their packaging and overall presentation, which looks like bad photoshop. I've gotten over it at this point, but they look like tacky, cheap releases, even though we're paying a relative premium for them compared to almost every other label out there (besides Criterion)

November 20th Street Date

Definitely looking forward to it. Although that is a pretty strange cover and could do with an improvement. They've gotten better. The recent "Republic" waves have much more appealing layouts on the back covers. The old Olive releases typically had a lower budget appearance, with the summary in black sandwiched between two large screenshots or production stills. Lots of otherwise free real-estate is dominated by the those images. Specs and credits were framed in separate blocks. It stayed the same for a while, until they decided to remove the black border around the credits and display them in an unattractive bold yellow One the Republic titles started rolling out, Olive started to improve their back cover layouts significantly. The summary sandwich is gone and the box-framing of the specs has been removed for something more aesthitically pleasing The last two waves have improved aesthetics even further by removing the relatively unattractive bold font on the back cover credits and reduce the space they take by roughly 1/2, switching to a smaller and frankly more professional-looking and attractive type-face and formatting. Captain Carey USA, My Son John, and Private Hell 36 all share this improvement. I haven't gotten this week's wave yet, so I'll take a gander at those shortly.

The original poster art for RAMROD wasn't that good to begin with. Compare them to the Olive release: I'm real enthused about this particular western noir and eager to see it on Blu-ray. I hope Olive will dig deeper into the Republic catalog and come up with this unknown masterwork next: HTF member Bob Gu alerted me to RIDE THE MAN DOWN (1952) in the old Roy Rogers thread. A dark and very strong western. Like RAMROD, you'll know it was written by Luke Short when you hear the first line of dialog. Let's hope Olive keeps dipping the pail in the Republic well.

#54 of 682 Richard--W

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Posted September 08 2012 - 10:52 AM

After watching SILVER CITY (1951), DENVER AND RIO GRANDE (1952) and RUN FOR COVER (1955) I must conclude that Olive is muting the Technicolor. The color saturation should be more intense than it looks here.

#55 of 682 Bob Furmanek

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Posted September 08 2012 - 11:05 AM

I've had and/or screened many early fifties 35mm dye-transfer Technicolor prints of Paramount titles. They were usually not saturated until the VistaVision era, and even then it varied from film to film. HELL'S ISLAND is rather subtle, as is THE SEVEN LITTLE FOYS. However, ARTISTS AND MODELS and LOVING YOU are rich in a deep palette of YCM splendor.

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As there has been some colorful debate about the meaning of "Director-approved" transfers and how it relates to how widespread 1.66 was in the UK, I will make the following point. The dominant aspect ratio at British Studios between 1955-1970 WAS 1.75. This is based on research going through trade listings of hundreds of British films, as well as studio archives and other primary sources. 1.85 was the second most listed aspect ratio, with 1.65/1.66 a distant third.

 

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#56 of 682 Richard--W

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Posted September 08 2012 - 11:22 AM

I will keep your observation of the dye-transfer prints very much in mind, Bob. The Olive release of RUN FOR COVER (1955) is in VistaVision and it looks lovely except for the muted color. I've seen and taped it off TV in more intense color than this. LOVING YOU (1957) is one of my favorite color films of the 1950s. I absolutely love this film. Got the DVD. Want a Blu-ray.

#57 of 682 Richard--W

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Posted September 08 2012 - 11:32 AM

I hope that Olive will consider releasing more Republic westerns. Some of their best were Ride the Man Down (1952) with Rod Cameron, The Outcast (1954) with John Derek and The Last Command (1955) with Sterling Hayden at the Alamo. All in color. Brimstone (1949) and Hellfire (1949) were also very unusual and well-made westerns in Trucolor.

#58 of 682 Robert Crawford

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Posted September 08 2012 - 12:27 PM

More intense color doesn't mean it's correct.  Also, I doubt Olive is doing anything to mute the colors, if you want to blame anybody then blame Paramount.


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#59 of 682 Robert Crawford

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Posted September 08 2012 - 12:28 PM

Originally Posted by Richard--W 

After watching SILVER CITY (1951), DENVER AND RIO GRANDE (1952) and RUN FOR COVER (1955) I must conclude that Olive is muting the Technicolor. The color saturation should be more intense than it looks here.

 Why?  Hell, I'm shock they even made it to BRD after being ignore for DVD all of these years.


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#60 of 682 Richard--W

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Posted September 08 2012 - 12:45 PM

Why? Because I know these films from broadcasts and from repeated -- I repeat -- repeated viewings. I've seen them and taped them off TCM and Encore Westerns. I accept Bob's observation that a "not saturated" color may be correct. I am accustomed to the more saturated home-recording of RUN FOR COVER (1955), however. I'm as surprised and delighted as you are the films have been released on Blu-ray after being withheld from DVD for so long. That is what gives me hope Olive and Paramount may dig deeper into the western vault for more gems from Republic, as listed above. I like the collaboration between director Byron Haskin and cameraman Ray Rennahan on SILVER CITY (1951) and DENVER & RIO GRANDE (1952). I wish the former were a better adaptation of Luke Short's novel. But they're both very well done B westerns.





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