I’ve always had a feeling that we were getting absolute honesty from Warner Archive as to film elements, but now…
There’s a huge problem that I’m seeing with For Me and My Gal, a vaudeville-inspired musical from 1942. It’s in black & white, and has a decent cast and some nice musicals numbers.
All’s well, but viewing the disc in projection, I’m sensing a…
let’s call it a bit of a deception on the part of WB.
I know, as a fact, that the films original cut camera negative was lost in the Rochester fire, and what is being pushed upon us is something purportedly derived from a fine grain – but it doesn’t look correct.
I’m presuming that there may be a bit of grain management, which has the disc appearing to be what it isn’t.
But I’m having other problems.
The film appears too highly resolved.
The gray scale is too perfect.
Black levels are too rich.
The image is too stabilized.
Shadow detail is far too intact.
I’m believe we’re being hit with a fraudulent release, and that this isn’t a dupe from a fine grain. We’re being set up.
What I’m seeing looks like it’s right off the camera original.
Or possibly a ghost.
Warner Archive should be ashamed of themselves.
For Me and My Gal is way too perfect, and we’ll not be treated in this fashion.
This is a fun film all these years after its original release. Bosley Crowther, one of the great curmudgeons was not enthused.
”Miss Garland is a saucy little singer and dances passably. She handles such age-flavored ballads as “After You’ve Gone,” “Till We Meet Again” and “Smiles” with Music-hall lustiness, and sings and dances nicely with Mr. Kelly in the title song. She also teams with George Murphy to do quite well by “Oh, You Beautiful Doll!” But she is not a dramatic actress. She still sniffles and pouts like a fretful child. And Mr. Kelly, who has a dancer’s talents, has been pressed a bit too far in his first film role. He has been forced to act brassy like Pal Joey during the early part of the film, and then turn about and play a modest imitation of Sergeant York at the end. The transition is both written and played badly. Mr. Kelly gets embarrassingly balled up.”
Image – 5
Audio – 5 (DTS-HD MA 2.0 monaral)
Pass / Fail – Pass
Upgrade from DVD – Without a doubt
Works up-rezzed to 4k – You better believe it!
Robert has been known in the film industry for his unmatched skill and passion in film preservation. Growing up around photography, his first home theater experience began at age ten with 16mm. Years later he was running 35 and 70mm at home.
His restoration projects have breathed new life into classic films like Lawrence of Arabia, Vertigo, My Fair Lady, Spartacus, and The Godfather series. Beyond his restoration work, he has also shared his expertise through publications, contributing to the academic discourse on film restoration. The Academy Film Archive houses the Robert A. Harris Collection, a testament to his significant contributions to film preservation.
Some of our content may contain marketing links, which means we will receive a commission for purchases made via those links. In our editorial content, these affiliate links appear automatically, and our editorial teams are not influenced by our affiliate partnerships. We work with several providers (currently Skimlinks and Amazon) to manage our affiliate relationships. You can find out more about their services by visiting their sites.