A few words about...™ - Messiah of Evil-- in Blu-ray (1 Viewer)

[Robert Harris]

Apparently shot before American Graffiti, Willard Huyck's Messiah of Evil has tendrils to another film currently being discussed.

Written by Mr. Huyck and his wife, Gloria Katz, it was shot in Techniscope. The Huycks were also co-writers with George Lucas on American Graffiti.

Apparently, the OCN is missing. An IP may never have been produced. Certainly not masters. The transfer was derived from a 35mm Eastman Color print protected by The AMPAS Archive.

I'm told that the print was "moderately"faded, but color correction has brought the film back remarkably well. Can you detect the fade? Certainly. But it never gets in the way of enjoying the film.

One of the interesting attributes of Techniscope is the obvious graininess when not presented via Technicolor dye transfer prints.

The problem with 2-perf was that converting it from 35/2 to 35/4 anamorphic required an optical blow-up, and any optical blow-up slightly increases appararent grain, and adds a bit of contrast. This is a major reason why many films shot open-matte were left that way for projection - avoiding the optical step of adding a burned-in aperture.

Although mag tracks survive for the film, the optical was apparently considered good enough for the purposes of home video, and that's fine. This isn't asset protection.

As to the film, it's very low budget, with an artistic bent, trending toward a bit of giallo in style. Over the decades, possibly because of non-availability, or just fans remembering it, Messiah of Evil has been in demand, and Radiance, an English distributor has taken on the task of bringing it back from obscurity via a very high-end, quality 4k scan, and put in the requisite hours to bring back the color.

This is to be commended.

For those who may make comments about swarms of mosquitoes, be aware that grain is obvious, possibly more so because of the lifted blue dye layer. But from that oft-mentioned nominal seating distance is never a problem.

This is textbook non-dye transfer Techniscope and serves as a good reference to the tech being used in that manner.

There's a bit of instability in the image, which may go back to whatever lab created the blow-up, and by that I mean it may be baked in.

Radiance has released the film with extras befitting it's fanbase, and that should shine a light upon the company for raising the bar.

There's an included 24 page monograph, interviews, commentaries, and a superb piece by Kat Ellinger. While I reviewed the basic Blu-ray release, there is also a special boxed set, with an 80 page booklet and a hard case. The standard issue Blu is limited to 2,000 units, while the SE is 3,000.

Give this 90 days, and it will become eBay fodder.

For Those unaware of the film, this release allows the perfect opportunity to finally see the film. For fans, unless the OCN is eventually located, this is the best that will be available.

Fans of Elisha Cook, Jr. will find him in one of his typical roles. He's perfect. Got to spend some time with him in 1981. A very interesting gentleman, filled with wonderful tales - and a dislike for Bogart.

Also found in the film is the wonderful Joy Bang, a consummate hippy-type / groupie actor in the late '60s to mid-'70s. You'll find her is Cisco Pike, Play it Again, Sam, Pretty Maids All in a Row, and Red Sky at Morning. I always looked forward to finding her in a film.

Image – 7

Audio – 8.5

Pass / Fail – Pass

Plays nicely with projectors - Yes

Worth your attention - 6

Upgrade from DVD - Absolutely!

Upgrade from earlier Blu-ray - Sorry, I've not seen it.

Slipcover rating - n/a

Recommended

RAH

 

[Timothy E]

One of the interesting attributes of Techniscope is the obvious graininess when not presented via Technicolor dye transfer prints.

The problem with 2-perf was that converting it from 35/2 to 35/4 anamorphic required an optical blow-up, and any optical blow-up slightly increases appararent grain, and adds a bit of contrast. This is a major reason why many films shot open-matte were left that way for projection - avoiding the optical step of adding a burned-in aperture.

For those who may make comments about swarms of mosquitoes, be aware that grain is obvious, possibly more so because of the lifted blue dye layer. But from that oft-mentioned nominal seating distance is never a problem.

This is textbook non-dye transfer Techniscope and serves as a good reference to the tech being used in that manner.

I infer from your comments that this presentation has a heavier level of grain visible than the recent 4K release of American Graffiti. You mention that Techniscope is grainier when not presented via Technicolor dye transfer prints.

Is it possible that the recent American Graffiti release used a Technicolor dye transfer print, which might account for less grain visible on that presentation? Or were they trying to mimic the appearance of a Technicolor dye transfer print in that presentation?

You also mention that many films shot open matte were left that way for projection to avoid the optical step of adding a burned-in aperture. There is a misconception floating around that films stopped being projected open matte after 1953, except for a very small number of revival houses. (It says so in trade publications of the time.) I understand from your comments that projectionists still had the option to present films open matte well into the 1970s. Your comments confirm my recollections of theatrical projection after 1954 but I want to make sure that I am not misunderstanding you.

 

[BobO'Link]

I just went looking for this and the SE is already sold out on Radiance's site. They still have "standard" copies that'll run around $30 for the disc and shipping to the US. Amazon wants $40 for the same disc so it's a bit better direct.

 

[Robert Harris]

I infer from your comments that this presentation has a heavier level of grain visible than the recent 4K release of American Graffiti. You mention that Techniscope is grainier when not presented via Technicolor dye transfer prints.

Is it possible that the recent American Graffiti release used a Technicolor dye transfer print, which might account for less grain visible on that presentation? Or were they trying to mimic the appearance of a Technicolor dye transfer print in that presentation?

No, and no.

You also mention that many films shot open matte were left that way for projection to avoid the optical step of adding a burned-in aperture. There is a misconception floating around that films stopped being projected open matte after 1953, except for a very small number of revival houses. (It says so in trade publications of the time.) I understand from your comments that projectionists still had the option to present films open matte well into the 1970s. Your comments confirm my recollections of theatrical projection after 1954 but I want to make sure that I am not misunderstanding you.

No. Just because something (E.T. for example) was printed open matte, it does not mean that it was to projected that way. Normally either correct ratios were seen on the leader, or noted on such.

It was never left up to the projectionists. They were to project as directed.

 

[Timothy E]

No, and no.

No. Just because something (E.T. for example) was printed open matte, it does not mean that it was to projected that way. Normally either correct ratios were seen on the leader, or noted on such.

It was never left up to the projectionists. They were to project as directed.

Thank you. If I understand correctly, your reference to burned-in aperture by optical step refers to the desired aspect ratio being printed optically directly onto the film print. It does not refer to selecting of aperture plate by the projectionist. Please correct me if I am still misunderstanding.

 

[Robert Harris]

Thank you. If I understand correctly, your reference to burned-in aperture by optical step refers to the desired aspect ratio being printed optically directly onto the film print. It does not refer to selecting of aperture plate by the projectionist. Please correct me if I am still misunderstanding.

Correct. Actually on the film. In the case of some Technicolor shows, the mask was printed on top of the image. When GWTW was re-issued in 1961, I believe the image was left unmatted, exposing the entire camera aperture.

 

[bujaki]

When I first saw Gone with the Wind in its 1961 reissue, it was projected 1.85. At the time I didn't know it was the wrong AR.
Another story. A few decades later, I went to a screening of A Place in the Sun. It was projected in 1.85 in a theater that could show 1.37. I protested to the projectionist who told me that the leader instructed him to project at 1.85. I argued that the film was released in 1951, ergo it should be projected in 1.37. I lost the battle and got my money back.

 

[Robert Harris]

When I first saw Gone with the Wind in its 1961 reissue, it was projected 1.85. At the time I didn't know it was the wrong AR.
Another story. A few decades later, I went to a screening of A Place in the Sun. It was projected in 1.85 in a theater that could show 1.37. I protested to the projectionist who told me that the leader instructed him to project at 1.85. I argued that the film was released in 1951, ergo it should be projected in 1.37. I lost the battle and got my money back.

Could have had replacement leader.

GWTW was 1.37 or 1.66 in 1954. In ‘61 should have been the same. ‘67 was scope

 

[Robin9]

. . . . .
Also found in the film is the wonderful Joy Bang, a consummate hippy-type / groupie actor in the late '60s to mid-'70s. You'll find her is Cisco Pike, Play it Again, Sam, Pretty Maids All in a Row, and Red Sky at Morning. I always looked forward to finding her in a film.

Joy Bang! That's name from the past! I'd forgotten about her.

 

[lark144]

Joy Bang! That's name from the past! I'd forgotten about her.

Yup. Always loved Joy Bang. Her name kind of summarizes her appeal. She kept popping up unexpectedly throughout my late teen movie-going, enhancing the films she was in, piquant, surprising and completely real. I began seeing stuff if she was in them, like Play It Again, Sam; for instance. I think I saw it multiple times for her scenes when it was on a double bill with On a Clear Day at the Dyckman Theater. Joy Bang was the goofy, late 60's equivalent of Isabel Jewell; though she was only on screen for a few minutes, she made the film worth watching.