Oklahoma And State Fair Arrive (1 Viewer)

[Will Krupp]

You Cockeyed Optimist, you! :b

 

[TheLongshot]

Sorry, but my wife saw it in the theater, and that didn't help her. She didn't like it at all.

Jason

 

[DaViD Boulet]

dear Jason,



I'm not suggesting that *everyone* would like Moulin Rouge just becaue they see in on a big screen.

:rolleyes

I'm just suggesting that watching the image on a small-sized TV screen removes the visual impact of the film which was precisely what made the movie worth-watching in the first place...so most folks who watch it for the first (only) time on a small screen are much more likely not to like it.


To confirm that the viewing-angle does make a difference with films like this that rely so heavily on visual impact, I've had cases where, after having some conversation to guage whether a "saw it on TV and didn't like it" person seems like they would connect with a Moulin Rouge sort of movie, I've had these same folks over to screen it on the projector. 9 times out of 10 they left saying that they really enjoyed it and couldn't believe how much of the movie was "lost" when viewed on a small screen.

Not saying everyone will suddenly love Moulin Rouge, or any other musical just because it's big...but I *am* saying that many more people will love them once they see, I mean *experience* them much more like they were intended to be seen originally than do in the "saw it on TV and didn't like it" present.

 

[TheLongshot]

I know, I know, but I do want to make it clear that there are reasons why people don't like Moulin Rouge that have nothing to do with seeing it on a small screen.

There is a reason why I own a projector...

Jason

 

[Thomas T]

With all due respect, DaVID, a bad movie sucks whether projected on a 19" TV or a state of the art HD wide screen/big screen monitor. While one can appreciate the details more: cinematography, art direction, colors etc., it's still a corpse no matter how well the mortician spruced it up.

 

[DaViD Boulet]

With all due respect I never implied otherwise. See my post two steps up.

Is what I'm saying really that confusing?--That some movies were *meant* to be seen wide-angle to get the full effect and so reduing them to small sizes also reduces the impact which would cause many people, who might have enjoyed it properly projected, to not connect with it.

I'm not saying that projecting a bad movie makes it good. I'm saying that not projecting a good movie meant to be seen big can cause it to fall flat with folks who otherwise might have enjoyed it.

 

[DeeF]

I agree with David's assessment to a certain extent. Oklahoma! in its Todd-AO heyday, is probably best appreciated in its full 30 fps second on a big screen, and might lose a lot on the small screen (particularly when you're looking at a recent bad version on DVD).

Unfortunately, I disagree with David about Moulin Rouge, a musical I saw on the big screen the day it arrived, and didn't like it at all. To each his own...

P.S. David, I'm coming to DC in January to see Hello Dolly in 70mm at Silver Springs. Want to meet up?

 

[Rob_Ray]

There are several movies that don't hold up for me on a small screen. Speaking of Hello, Dolly!, that's one of them. You shouldn't miss seeing Dolly in 70mm. It's a terrific show with production values that will leave you in awe. However, on video it never quite comes to life, partly because of the weak supporting cast. It seems like much ado about nothing.

For me, Lawrence of Arabia is one of the great theatrical experiences in 70mm that just seems interminable on a standard television. And 2001: A Space Odyssey is another one. Great in Cinerama, big bore on a standard TV. Oklahoma! almost falls into this category for me somewhat, although the great score makes it worth viewing no matter how small the screen.

Then there are certain films (from Citizen Kane and Casablanca to Rear Window and Some Like It Hot) that are great no matter how you view them. These, for me, are the best films.

 

[DaViD Boulet]

OMG!!!



You-betcha!!!

 

[DeeF]

There are some movies, alternatively, that gain by seeing them on the small screen, because their stories are inherently small. A number of personal dramas which weren't reviewed well, are actually improved on video/DVD.

Ever seen, The Good Mother? That's the best example I can think of right now.

 

[TheLongshot]

WRONG MUSICAL!

Jason

 

[Greg_M]

I couldn't agree more. Hello Dolly looks incredible in 70MM. The DVD doesn't look bad but the 70 MM version will blow you away.

I have to disagree with "Moulin Rogue" though. I first saw it in a theater and didn't like it because of the editing, but veiwed on a smaller screen the image wasn't as dizzying and I liked it better.

 

[john a hunter]

Can only agree with all the above regarding the mess that is the Todd-AO Oklahoma. What can we do about it?
In the old LV days, one magazine ran a WORST TRANSFER for the year award . It was won for several years in a row by My Fair Lady. It helped spur on CBS who owned the rights to do something about it and we now have Robert Harris' magnificent restoration.
Let's have our own WORST DVD TRANSFER for 2005 and I hereby nominate Oklahoma for that "honour". Will anyone join me? If this gets enough support it may embarrass Fox and the R&H people enough to remaster.

 

[TedD]

Count me in.

Ted

 

[Mark B]

Great idea.

 

[MatthewA]

I'll help.

 

[Darrell S.]

It's all true. The Todd-AO version is blurry. Nothing like the previous DVD which was very sharp. How did this slip by them? Also, on both versions, the day for night scenes have been brightened to look like they are high noon! Also, the overture and intermission are missing from the Cinemascope version. The commentaries, however, are very good. Especially the one with Shirley Jones. Fox needs to explain. The Cinemascope version looks very good otherwise.

 

[Rob_Ray]

The CinemaScope version was never supposed to have an overture or intermission. All earlier releases cobbled them together from the Todd-AO source. But now that the Todd-AO is available separately in the same package, we can hear the original CinemaScope fanfare at the opening which was jettisoned to make room for the overture.

I remember seeing a TV print in the seventies which had a Magna credit where the Samuel Goldwyn credit exists now during the opening fanfare. But I had never seen the ending RKO/Magna credit before.

 

[Joe Caps]

Rob Ray is quite right, the scope version never had Overture, Intermission or exit music. This was added for an earlier laserdisc release only.

 

[Mark B]

Just finished watching 1962's STATE FAIR with the Pat Boone commentary on. It was sparce, but he made me laugh occasionally. This film looks just wonderful. After the end title Pamela Tiffin's credit shows her lying on a bed in her "It Might as Well Be Spring" dress. That scene didn't appear in the film. I wonder if they filmed the number two different ways...