OLDTIMER
Second Unit
For anyone who really wants the complete version, the San Francisco Opera Blu-ray runs 144 minutes.The 1936 version runs 113m, while the 1951 version runs 107m, so only 6 minutes shorter.
For anyone who really wants the complete version, the San Francisco Opera Blu-ray runs 144 minutes.The 1936 version runs 113m, while the 1951 version runs 107m, so only 6 minutes shorter.
As a 1950 production, Show Boat would be nitrate. Technicolor was a late safety adopter, which is fortuitous, as nitrate registers better than early acetate.I'm really glad to see that this has been properly remastered from the 3-strip Technicolor negatives. When we did the preservation on film, around 20+ years ago, for some reason it was a problem getting proper contrast. As I remember, this was not only the beginning of MGM using magnetic recording, it also was one of the first to use safety film.
I had the opportunity to get to know George Sidney fairly well, and also Marge Champion. Both were delightful people.
Regarding KING SOLOMON'S MINES, the OCN was not involved in the GEH fire. The original photography was Technicolor MonoPack (actually Kodachrome) for the location sequences, and 3-strip for interiors shot in the studio. The difference in quality is obvious, and the MonoPack can never be of the same quality as the 3-strip scenes.Off topic but the sweeping King Solomon's Mines has always suffered from shoddy video releases - wonder if the OCN was lost at the Eastman fire? But back to SHOWBOAT have a Super 8 print and the color is great - but this blu along with The Great Caruso will have places on my top shelf of classics!
Thanks Mr M! Had the honor of interviewing u years ago! How about Northwest Passage what condition is the OCN in?? --- that would be stunning on blu with restoration!Regarding KING SOLOMON'S MINES, the OCN was not involved in the GEH fire. The original photography was Technicolor MonoPack (actually Kodachrome) for the location sequences, and 3-strip for interiors shot in the studio. The difference in quality is obvious, and the MonoPack can never be of the same quality as the 3-strip scenes.
Yes, Howard Keel died in 2004, Kathryn Grayson in 2009, Ava Gardner in 1990, Agnes Moorehead in 1974, Joe E Brown in 1973, Gower Champion in 1980, and William Warfield in 2002.And we just recently lost the last surviving principal player...Marge Champion at age 101...
Fascinating articles. I was especially amazed that Alberta Hunter had played Queenie in the original London production.I came across a VERY lengthy pair of articles which interestingly touches upon the various incarnations of SHOW BOAT, from book to Broadway to the various film versions. The emphasis here is the James Whale version, but the MGM version is touched upon near the end of the second part (Spoiler alert: the author doesn't care for it much)
Feingold on Old Movies for Theater Lovers: James Whale’s ‘Show Boat’ (1936)—Part 1 - New York Stage Review
(This is the first part of a two-part column. The second part will appear next month.) Warning to my fellow voyagers: This boat ride may take our rickety vessel through some deep and turbulent waters. If the situation makes you queasy, please bear in mind that I am only your guide: I neither...nystagereview.com
http://nystagereview.com/2021/02/09...theater-lovers-james-whales-show-boat-part-2/
I guess dye-transfer was the great equalizer, as the IB process "matched" three-strip studio work with on-location Monopack in the final print. This produced the "true black" and rich colors that characterize Technicolor, both as a three-negative filming process, and as a celluloid printing process, with the three colors ultimately stripped together to create IB.Regarding KING SOLOMON'S MINES, the OCN was not involved in the GEH fire. The original photography was Technicolor MonoPack (actually Kodachrome) for the location sequences, and 3-strip for interiors shot in the studio. The difference in quality is obvious, and the MonoPack can never be of the same quality as the 3-strip scenes.
Yes, the laser disc did have that option plus some audio out takes.They're great. They should have given the option to watch it with her voice - I believe the laser disc did that.
In 1951, it would have been a bit less resolved.One of the best restorations ever! I fell in love with Kathryn Grayson when saw a revival in the early sixties. I’m happy to report that I never got over my crush. Everything about this disc is outstanding! This is a love letter to George Feltenstein and the fabulous folk who helped make it happen. I’ll bet it didn’t look this good back in 1951.
Much of the fog is optical and that's why it's looked crappy before this and still doesn't look as good as the rest of the shots without it. It's very obvious where it's being used.I've only had time to sample the Old Man River sequence, as that reel has been a mess on home video. The fog and ambient lighting effects are beautiful, and finally can be appreciated without blue streaks of lightning and all of the other issues formerly present in this sequence.