Mr Katz's memory has faltered a bit insofar as comments about the recording sessions of Bernard Herrmann's score. For example, Muir Mathieson conducted The Sinfonia of London [not the LSO]; and, later on, an unnamed orchestra comprised of the best musicians in Vienna. The VSO was not employed.
This is amongst my favourite musicals. Have always loved the music, and in particular Adolph Deutsch's superb arrangements, not to mention his adroit conducting. I was always a fan of Anscocolor, despite others having a less than high opinion of this tri-pack film process. It's put to great use...
I am pleased to note that so many respondents mentioned the music score, which was the work of the Serbo-Croatian composer, Dusan Radic, who also composed the music for The Long Ships. He is mostly forgotten today. A considerable amount of his concert music is still performed in his home country.
Yes, indeed. This is an excellent film. Hedy Lamarr was the co-inventor [with composer George Antheil] of frequency hopping, a device which was developed over time to include CDMA Spread Spectrum, making telecommunications feasible by mobile telephony, wi-fi, etc. Tip your hat to this underrated...
Having seen the camera negatives of the aforementioned Kinopanorama® 3-panel films we can attest that a restoration is in order. Your doubts about the viability of these films is clearly biased, or so it would appear.
Our 10 films include: The Alamo, Around the World in 80 Days, The Big Fisherman, The Big Country, The Greatest Story Ever Told, Sodom and Gomorrah, The Hallelujah Trail, The Private Lives of Sherlock Holmes, Opasniye Povoroty and Great is my Country [the first Kinopanorama® film].
The complete elements of the film would have been deposited with the Library of Congress in order for the film to quality for copyright protection. But, again, as this was Eastman film stock the release prints would have similarly faded over time despite the meticulous storage of films at the L...
Plaudits to those involved in the restorations of This is Cinerama and Windjammer. Each were carried out as a labour-of-love. The commercial sales of each title would be limited to those who are mostly interested in those widescreen formats introduced in the 1950s.