Aspect Ratio Documentation (1 Viewer)

[Mark-P]

While the “SuperScope” conversion of While the City Sleeps was done before the film’s May 1956 release, it could be argued that both ratios are valid as both were used during the film’s worldwide release. However I agree that the cinematographer’s original composition should probably take precedence. Like Invasion of the Body Snatchers it looks like the Blu-ray will be SuperScope only.

 

[Bob Furmanek]

Yes, it's very clear the SuperScope 2:1 AR was for international release only.

 

[BleedOrange11]

It looks like the same case with Beyond a Reasonable Doubt too with Box Office specifying 1.85:1 and the SuperScope logo only appearing on the international posters.

 

[John Hodson]

In the UK Studio Canal are releasing a new 4k restoration of The Dam Busters, and thus far, are ignoring any queries as to whether it will be presented properly in Metroscope. From the looks of the clips they are releasing to promote screenings, it looks like it will still be 1.33:1.

What a wasted opportunity if that is so.

 

[Douglas R]

In the UK Studio Canal are releasing a new 4k restoration of The Dam Busters, and thus far, are ignoring any queries as to whether it will be presented properly in Metroscope. From the looks of the clips they are releasing to promote screenings, it looks like it will still be 1.33:1.

What a wasted opportunity if that is so.

Very sorry to hear that. Studio Canal really are hopeless.

 

[Bob Furmanek]

That's very unfortunate. I don't suppose this will help?

It was produced by the Associated British Picture Corporation at Elstree Studios. Originally announced as an August 1953 start, production did not begin until late January 1954,

In December 1953, ABPC had reported their in-house ratio to Kine Weekly as 1.75:1.

It was picked up for release in the U.S. by Warner Bros. on May 3, 1955 and officially released in the US on July 16, 1955. The AR listed in Boxoffice is 1.85:1.

The world premiere was held at the Empire, Leicester Square in Metroscope on May 16, 1955.

As of January 27, 1955, Metroscope was the standard description in the UK for MGM panoramic screen pictures.

 

[John Hodson]

It might help if folks posted on their Facebook page; I've made several comments without any kind of response - https://www.facebook.com/vintageclassicsfilm/

 

[haineshisway]

Raise a ruckus, folks and tell them it's a no-purchase if they don't do it right.

 

[Douglas R]

I've written to Studio Canal. I suspect, however, that even if they realise the error, it may be too late to do anything about it now.

 

[Jimbo64]

I posted about the aspect ratio

 

[Gary Couzens]

And if that isn't evidence enough, here are the cinema listings from The Times for 18 May 1955, the day after the "repeat premiere" (as the listings had it).

 

[Douglas R]

Network are at it again. They have THERE WAS A CROOKED MAN (1960) for April release and they give the aspect ratio of 1.66:1. It should be 1.75:1. I've written to Network along with documentation.

Despite being a Norman Wisdom fan at that time, I've never seen the film. I think it had a fairly limited release.

 

[Robin9]

Network are at it again. They have THERE WAS A CROOKED MAN (1960) for April release and they give the aspect ratio of 1.66:1. It should be 1.75:1. I've written to Network along with documentation.

Despite being a Norman Wisdom fan at that time, I've never seen the film. I think it had a fairly limited release.

The first half of the film is pretty good if you like Norman Wisdom. The second half is over the top and far too long. Someone once said "No-one comes to the end of Paradise Lost wishing it were longer." There Was A Crooked Man too!

 

[Douglas R]

Network are at it again. They have THERE WAS A CROOKED MAN (1960) for April release and they give the aspect ratio of 1.66:1. It should be 1.75:1. I've written to Network along with documentation.

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I've had a reply from Network about THERE WAS A CROOKED MAN as below. As suspected, they went for 1.66:1 as they had no documentation on the correct ratio. It's a pity that they still think 1.66:1 was the most likely ratio for UK cinemas in 1960. Whether they make any change remains to be seen but at least they appear to appreciate the information.


My colleague in our restoration department has informed me that this is a case where at the point of obtaining the master we had no paperwork or information regarding ratio and the element was not hard masked 1.75.


It was necessary to make an assessment from the image and it was felt that 1.66:1 was the most been screened like this in cinemas at the time as open matte images were cropped to whatever gate the projector was using (which is not always in line with intended ratio). 1.66:1 offered slightly more picture area.


I highly doubt that we will be changing the aspect ratio at this point, but its great to know this moving forward should we consider alterations in the future.


Thank you for reaching out.

 

[Bob Furmanek]

Ah, that age-old assumption: "There's an image on the element. It was meant to be seen."

Doesn't anyone do original research anymore?

Doug, how long would it have taken them to find this information?

 

[John Hodson]

o

Those films being: LOOK BACK IN ANGER (1959), THE ENTERTAINER (1960), SATURDAY NIGHT AND SUNDAY MORNING (1960), A TASTE OF HONEY (1961), THE LONELINESS OF THE LONG DISTANCE RUNNER (1962), TOM JONES (1963), GIRL WITH GREEN EYES (1963) and THE KNACK AND HOW TO GET IT (1965).

Checking with Kine Weekly, LOOK BACK IN ANGER was filmed at Elstree for 1.85:1.

THE ENTERTAINER was filmed at Shepperton for 1.85:1.

The aspect ratio for SATURDAY NIGHT AND SUNDAY MORNING isn't given but it was previously released by the BFI at 1.66:1 which may be correct because it was shot at Twickenham where 1.66:1 seemed to be common for films up to that time.

Many of Woodfall's films such as A TASTE OF HONEY, LONELINESS OF THE LONG DISTANCE RUNNER, TOM JONES, GIRL WITH GREEN EYES and THE KNACK AND HOW TO GET IT were all-location shoots and so Kine Weekly didn't have any studio documentation on the aspect ratio for those. Neither is there information on GIRL WITH GREEN EYES because that was filmed outside the UK in Ireland.

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Going from the trailer for the set the Bfi has produced for Facebook, apart from 'Loneliness' (which is essentially the same disc as extant) they are going the full 1.66:1.

 

[Douglas R]

Going from the trailer for the set the Bfi has produced for Facebook, apart from 'Loneliness' (which is essentially the same disc as extant) they are going the full 1.66:1.

You’d think the BFI, at least, would get aspect ratios right. I often wonder whether British labels and distributors bother to do any research at all. It’s the usual, if we don’t know, make it 1.66:1.

 

[John Hodson]

That does appear to be the case. Again.

 

[Mark-P]

I'm with RAH on this. It's best not to obsess over 1.66/1.78/1.85. As long as they are choosing to slightly open up the mattes rather than crop anything, the end user has the ability to matte the image to his liking.

 

[Douglas R]

I'm with RAH on this. It's best not to obsess over 1.66/1.78/1.85. As long as they are choosing to slightly open up the mattes rather than crop anything, the end user has the ability to matte the image to his liking.

Respect for original intentions and accuracy are what is important. And not all TV screens allow correct ratio adjustment.