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When grain, in a transfer from a B&W print, looks very heavy only in dark places, shadows, it's usually a signal they tried to bring details from very dark areas from the print, while transfering. This recover some details, but it also brings the largest grain particles or grain agglomarations.

I know Kino did the best they could, but the result is not very good, looking somewhat like a public domain print, with some considerably bad shadows for fewscenes, judging from the DVD Beaver review and screen captures : http://www.dvdbeaver.com/film6/dvd_reviews_67/the_outlaw_blu-ray.htm But...

The changes movies had in that matters, from before to after WW1, was as much or perhaps a bit higher than after the 60's to 70's. If Hays code hadn't existed, would be certainly higher. But there is always a tendency to new freedons to partially become new forms opression with time.

In Martin Scorsese's The Aviator they did this funny scene, but I'm not sure if this "boobsologic" analyze presentation ever happened or if was made-up to add fun to the movie : Relativism it's older than we imagine... Today we see women who lost breasts to cancer & mastectomy surgery, and...

I wasn't supporting colorization. That's why I said the print used in the colorization wasn't very good and the colorization itself not made with care, as the clip shows. Indeed I got a bit tired of colorized films, even the modern technology, because it got stagnant, instead of develop new...

A new computer colorized version, digitally cleaned up in some degree, was released about 10 years ago or so, but the source print looked more like a 35mm public domain print, and the colorization wasn't very carefull as other colorized titles released at the time like It's a Wonderfull Life.