A Few Words About A few words about...™ The Egyptian -- in Blu-ray (1 Viewer)

[Charles Smith]

I need to catch up with The Robe. Never seen it.

 

[Alan Tully]

As for THE EGYPTIAN, the only reason I got into Blu Ray was to see vintage epics like this be recreated under the best possible conditions in my home. It's the most I've ever spent on a single movie (and even then split the cost with my brother) but it truly was one of those titles I had to have. Running a close second to grand historical epics are the 50's color, widescreen adventure and western films shot on location and I'm hoping some of those make it to Blu as well.

Yep, same here. I bought Blu-ray to see the smilebox version of How The West Was Won, & looking forward to, Ben Hur, Mutiny On The Bounty & The Guns Of Naverone to go with The Egyptian, & hoping that it won't be too long before Cleopatra is released. As for most of todays films, I'm happy with DVD.

 

[marsnkc]

Off topic but a heads up on Cameraman: The LIfe and Work of Jack Cardiff. I just posted over at Mike Frezon's Weekly Roundup thread that Deep Discount has the Blu at a whopping lowest price of $19.45 - DVD is $14.08 (no shipping over $15 but there may be taxes). I know at least one person on here who'll be interested in this.

 

[John Hodson]

It's a beautiful documentary in any definition; in HD it's genuine eye-candy.

 

[marsnkc]

Topical tidbit here: A mini-bio of Mr. Cardiff on IMDB says that the aborted Flynn produced, Cardiff directed The Story of William Tell would have been the second Cinemascope film...(?). Hope there's something about this in the documentary.

 

[Mike Frezon]

Originally Posted by marsnkc /forum/thread/313680/a-few-words-about-the-egyptian-in-blu-ray#post_3839194

 

[John Hodson]

The only caveat is that I'm basing my comment on a viewing of a HD broadcast around Christmas time; the joy was not only seeing clips in HD from Cardiff's work which exists on BD - such as the breathtaking Black Narcissus - but also stuff which isn't, like The Small Back Room and (IIRC) A Matter of Life and Death. There are some upscales included, and sadly The Vikings was amongst them, but it doesn't detract from the quality of the documentary as a superb piece of work. I still kick myself that a few years ago, I was but a few feet away from Jack Cardiff - he was having a cuppa at the Bradford Film & TV Museum - and though I was desperate to shake his hand and tell him how much pleasure his work had given me down the years, he was in conversation and I thought I'd let him enjoy his tea in peace.

 

[jaaguir]

Don't want to stray too far OT and digress from RAH's most welcome enthusiasm for this release, but does anyone know if the 1:37 version of THE ROBE has ever been released? I hear there are slight differences between it and the scope version and I was hoping for it to be included on the Blu Ray.

The standard version of "The robe" is included in the already released blu-ray as a PictureInPicture track (a smallish video window that appears pasted over the regular image of the movie). It's practically all of it there, although it's true it's not present 100% of the time. But more than enough to check out any differences you'd wish to see. A pretty dum move, in my opinion. It just should have been included as a second feature in high-def, maybe in a second disc.

 

[marsnkc]

 

 

I'm very appreciative of that post over in the RoundUp, Andrew.  I placed my order with DD last night.  If you didn't notice, I gave the release the rare "double image" at the top of the WRU.  I am very much looking forward to this one!

 

And, nice to hear it's got the Hodson Seal of Approval.  

 

Thanks for all your work on the Roundup thread, Mike. Not only did I notice the Cardiff images, I saved the box cover (a nice big file for enlarging) for that Cardiff photograph of the surreally beautiful Audrey. IMDB has a picture of JC holding an enlargement, but the stunning, suitably cropped stand-alone is also reproduced there. The mini-bio on IMDB doesn't mention the studio by name, but apparently JC and Ted Moore were assistants in the camera department run by one Freddie Young! That little group would later photograph three of my obsessions, Lawrence, African Queen and, though the masterful Man for all Seasons should be the obvious fit for this group, Moore's Dr. No is my favorite film, for one reason or another.

 

[Robert Harris]

Originally Posted by marsnkc



Thanks for all your work on the Roundup thread, Mike. Not only did I notice the Cardiff images, I saved the box cover (a nice big file for enlarging) for that Cardiff photograph of the surreally beautiful Audrey. IMDB has a picture of JC holding an enlargement, but the stunning, suitably cropped stand-alone is also reproduced there.
The mini-bio on IMDB doesn't mention the studio by name, but apparently JC and Ted Moore were assistants in the camera department run by one Freddie Young! That little group would later photograph three of my obsessions, Lawrence, African Queen and, though the masterful Man for all Seasons should be the obvious fit for this group, Moore's Dr. No is my favorite film, for one reason or another.

When you've seen a terrific print of Treasure Island (Disney), you'll know you've reached nirvana.


And You Only Live Twice isn't too shabby either.


There is a certain "divinity" reached by that small group of UK lighting cameramen and operators that sets their work apart, and more than places than toe-to-toe with the best that the Colonies have had to offer, which has been extraordinary.


In my humble opinion, DPs, wherever they might be, are better than anybody. For more than a century, they have taken the ideas and dreams of directors...


and put them on film.


Without them, we ain't got nothin'.


RAH

 

[Adam_S]

The point must also be made that this is no low-budget Blu-ray affair. The Egyptian has been lovingly taken from original elements by Fox's Schawn Belston and his team. The final result is a full studio level release, with terrific dimensional audio, and an image harvested from what appears to be either the OCN or an IP, that has captured the grain structure and generally, the colors of the original. I'm seeing just the slightest bit of fade, which should go unnoticed, in the thinnest areas of the negative, with shadows yielding just the slight bit toward blue. Not a problem. Clean-up of the image has been meticulous, and the final presentation, a thrill to see on a large screen.


With that slight exception, color on The Eqyptian is staggeringly beautiful film for 1954, which was the beginning of the Eastman Color era. Many (non-scope) productions were still using three-strip Technicolor.


The bottom line here is that thanks to the resolve of Twilight Time, The Egyptian is now available in a very limited release of 3,000 units. They are not going to be around long.


Please support Twilight Time's efforts, as there are hundreds of films out there that can use their interest.


Recommended as a film, but...


Highly Recommended as a Blu-ray disc. A beautiful presentation.


RAH

You cost me so much money because you're such a great salesman. :-p Shawn Belston gave a lovely introduction to Ford's movietone film The Four Sons last night, I'm so glad that someone of his caliber and passion for film has the position he has with Fox. What would be your top choices for Twilight Time blurays?

 

[Robert Harris]

Originally Posted by Adam_S



You cost me so much money because you're such a great salesman. :-p

Shawn Belston gave a lovely introduction to Ford's movietone film The Four Sons last night, I'm so glad that someone of his caliber and passion for film has the position he has with Fox.

What would be your top choices for Twilight Time blurays?

Difficult question, that would take some thinking.


I believe I'd begin with The Black Swan with proper color and densities on Blu-ray.


There are so many quality Fox titles in the 'scope era.


RAH

 

[marsnkc]

I still kick myself that a few years ago, I was but a few feet away from Jack Cardiff - he was having a cuppa at the Bradford Film & TV Museum - and though I was desperate to shake his hand and tell him how much pleasure his work had given me down the years, he was in conversation and I thought I'd let him enjoy his tea in peace.

It's a pity you didn't get the opportunity to show your gratitude, John. These great artist-technicians are far too much in the shadow and love to be appreciated. Hope you're all safe over there.

DPs, wherever they might be, are better than anybody.  For more than a century, they have taken the ideas and dreams of directors...

 

and put them on film.

 

Without them, we ain't got nothin'.

 

RAH
 

 

Amen. Wherever they might be is right. No one country has a lock on the profession, look at the Hungarians! The two that I've had the honor to meet were the Italian Storaro and the American Koenekamp. Storaro has had more than his share of goodies, but I was the more excited at meeting Koenekamp for the gorgeous Papillon. Some movies afford more opportunities than others, and Koenekamp grabbed that gem and ran with it. (A friend and I often discuss that most elusive of qualities in a movie, atmosphere - something Papillon is drenched in. I've always given credit solely to the director, but it just occurred to me that lighting probably plays the biggest role in achieving that, with major contributions from set designers and composers).

 

[John Hodson]

It's a pity you didn't get the opportunity to show your gratitude, John. These great artist-technicians are far too much in the shadow and love to be appreciated.

Yep; as I said *huge* regret. I can't quite cope with meeting my heroes; inwardly I gush, outwardly I maintain a stoic resistance to gushing and hence do nothing.

Hope you're all safe over there.

Thanks; me and mine are quite safe, my country's looking a little worse for wear though. Strange days...