Mikey1969
Second Unit
I believe Lost Horizon was stereo in 35mm originally...
I've never seen any stage version of Cabaret so I'm wondering if there was something comparable, on stage, to the insert shots in the movie of the old man in the cap growing increasingly disturbed and disgusted by what he was witnessing in that moment. To me, those insert shots of that old man were key to the resonant power of the scene. On film, that is. At one point, the camera slowly moves in closer to him in order to emphasis how this man's reaction is key to what is really going on underneath. I don't mean that his character is "telling us how to feel" about the scene, but that his reaction is showing us the value of appropriate doubt and cynicism over such seemingly Sunny and Positive proceedings. At first, our impression is he is just a grumpy old man incapable of enjoying a lovely moment of communal expression at a picnic. Then we grow to understand what was really disturbing him about the moment all along. That's a lot of subtext and complexity to squeeze out of a couple of insert shots and, imo, speaks volumes about the power of cinema to accomplish so much with so little. I also wonder how that black-out and leave you to deal with it during intermission effect, accomplished so well on stage as you say, could have been done in a movie without an intermission that must move on to the rest of the story within seconds. I also hate it when movie versions of great stage plays/musicals gut some elements that were critical to my enjoyment of the stage version. But never having seen any stage version of Cabaret puts me in an uncomfortable position of defending what was done here. I can only say that the scene in question was and still is one of the most memorable, chilling and, for lack of a better word, "instructive" about the methods and motives of real world evil I've ever seen in a movie. And it is one of the reasons I believe Cabaret, the movie, belongs on the list of 50 or so greatest movies ever made.Robert Ketler said:My initial reaction to the film, and that of a number of my friends, was highly negative. Why? Because they had so completely gutted the stage version which was a defining moment in the development of the "concept musical." It was at that time the most chilling representation of evil I had ever seen on stage or screen. The walls of the theater oozed evil and Joel Grey was the personification of a minion of the devil dancing a song of death. "Tomorrow Belongs To Me" was a startling and riveting experience that froze to stone the theater audience from the inside out as the lights faded on that act. It had a sweet beginning based, according to a local New York CBS radio interview with Kander and Ebb, on a German drinking song. By mid-song the sweetness (as in the movie) had transitioned to a more martial sound and people in the cafe began to reveal swastika armbands. From that moment it grew in tempo and intensity until the same thundering beat as in the film drowned out any left over sweetness. (More forceful than the "competition" in CASABLANCA, yet in the same vein) Then......after reaching a crescendo it faded quickly as the lights began to fade 'til all the audience could see was a tiny spotlit Joel Grey - a white circle of pure evil surrounded by frightening shards of darkness - quietly singing the last line of the song, then a heart-stopping laugh and SNAP, lights out, and we were left in darkness for the intermission to attempt to revive us. Fosse staged many of the numbers in the film quite wonderfully but his staging here was an absolute cop-out by someone attempting to do something different from the stage version......and failing. ...
I was specific to the 1970sBrian Sharp said:Thoroughly Modern Millie from 1967 was 35mm 4 track mag though not sure if it was stereo.
Fiddler on the Roof" (1971) was 35mm mag /optical in the UK.haineshisway said:I was specific to the 1970s
If you are referring to its showing at the Odeon Haymarket, that was 35mm mag.Paul Rossen said:I believe that Ken Russell's THE MUSIC LOVERS was 1970. Certainly in stereo as I saw it in the London roadshow in blow up 70mm and 6 track stereo.
I don't recall the theatre but if The Music Lover's played roadshow at that theater that's where I saw it. It was exhibited with an Overture and Intermission Ent'racte and was certainly multi channel or surround stereo. Did you see the film in London roadshow? I 'thought I had seen it during summer of 1969 but that date seems incorrect as the film is dated 1970 or 1971. If it wasn't summer 1969 it must have been summer of 1971.john a hunter said:If you are referring to its showing at the Odeon Haymarket, that was 35mm mag.
Can't remember the time of year, Paul, but its initial London release was at the Haymarket Odeon.You must have seen it there.Paul Rossen said:I don't recall the theatre but if The Music Lover's played roadshow at that theater that's where I saw it. It was exhibited with an Overture and Intermission Ent'racte and was certainly multi channel or surround stereo. Did you see the film in London roadshow? I 'thought I had seen it during summer of 1969 but that date seems incorrect as the film is dated 1970 or 1971. If it wasn't summer 1969 it must have been summer of 1971.
If only that mag used for interlock survived!haineshisway said:Very anxious to see it, and it's nice to know that at long last they are using dye transfer prints as reference. This is a key thing. As I said, and which Mr. Harris is corroborating, the film was released in mono only. The interlock version was stereo and previewed that way at the Village and now, apparently, that same interlock was used for a screening at AMPAS for award consideration. This really sounds like a stellar release.
The people who destroy original materials do it in the name of God and Upper Management.Originally Posted by Malcolm Bmoor
When essential source material is lost it's always the fault of those who have no involvement or interest in production or quality. A long while ago, when most of our work still involved tape - track laying on multitrack and mixing onto 1/4 inch centre track time coded stereo - one day I needed an empty 1/4 reel and found a surprisingly very good supply in the studio store. The one I took was labelled in my writing and read (Name of programme) Master Mix Part One TC Stereo. And Part Two was beside it. The management had given orders to clear away the space taking shelves of carefully stored Masters. And also junked the multitracks. So for anyone who doesn't have direct experience of the realities of production that's why the Cabaret Masters have gone and why we're so grateful to those who attempt salvage.
As soon as I read "three negatives" I went "GAH! That's Technicolor originals!" You've trained us well Obi-RAHRobert Harris said:And that since they had no need of three negatives, he would have someone examine them, pick the best, and destroy the other two. I explained that what he had were three Technicolor black & white negatives.
The film script is so much better than the original play that it is hard to see anyone going back willingly. Do we really want "An Ordinary Couple" returning? Or move "My Favorite Things" back to its original place? The R&H organization has become very flexible about exactly how the shows are produced, preferring to see them done in some form than to have them ignored. It will be interesting to see exactly what they come up with. BobPaul Rossen said:I believe a new SOUND OF MUSIC tv film is in the works that stays true to the original Bway production.