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A Few Words About A few words about…™ Show Boat (1951) – in Blu-ray (1 Viewer)

RPMay

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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.
 

Robert Harris

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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.
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.
 

RPMay

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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!
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.
 

RobertMG

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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.
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!
 
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RichMurphy

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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)


http://nystagereview.com/2021/02/09...theater-lovers-james-whales-show-boat-part-2/
 

Jim*Tod

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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)


http://nystagereview.com/2021/02/09...theater-lovers-james-whales-show-boat-part-2/
Fascinating articles. I was especially amazed that Alberta Hunter had played Queenie in the original London production.
 
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Gerani53

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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.
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.
 

Indy Guy

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Somewhere over the last decades it has become unfashionable to enjoy films just because they are fun to watch or don't require agony in order to identify with souls caught in life's tragedies.
The absolutely beautiful 1951 version of Show Boat is pure pleasure to watch. Unlike the NY writer (Feingold) referred to a few posts back, I am completely comfortable watching the 1951 version over and over. I like being carried away by its fantasy, comedy, beauty and exceptional talents. It can best be described as a work of art. Its greater purpose was to entertain...not focus on the struggles and the missteps of a bygone era. George Sydney romanticized an iconic time and place as backdrop for the cast who's primary purpose was to entertain movie audiences. In this highest of goals, the film succeeded (and more profitably) than either of its "deeper" predecessors.
 

Richard M S

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On a semi-related note, over the weekend I watched the MGM "B" picture Cry Of The Hunted via the WarnerArchive dvd. The hunt brings the city detective "down south" where he ends up in a sheriff's office. During the entire scene, very prominently featured outside the office window is the Cotton Blossom. Audiences of the day had to have recognized it.
 

Mark B

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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.
 

Jim*Tod

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Just finished watching the disc. What a magnificent restoration. After decades of crummy prints and home video versions this truly is a revelation. Warner Archive and George Feltenstein deserve an Oscar for preserving and reviving our film heritage.... as indeed does Mr. Harris.

And once again watching SHOWBOAT tonight I was struck by how magnificent Ava Gardner is in this. Her great beauty I think kept people from appreciating what a fine actress she was.
 

gjn123

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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.
 

Robert Harris

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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.
In 1951, it would have been a bit less resolved.
 

haineshisway

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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.
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.
 

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