Oliver (1968) (1 Viewer)

[PMF]

The only reasons for a re-buy:

a) If this was a new 4K scan from the OCN.
b) If the Full-Coats of the sound design were discovered.
c) If this were to become a 4K/UHD.

Give me any or all of the above and Sony will get my purchase.

To date and IMHO, the "Oliver!" fromTwilight Time had provided the finest edition and well over that of the UK disc; as I have both.

With that said, if anyone else add other reasons for a re-buy, then please post.

 

[Brian Kidd]

The only reasons for a re-buy:

a) If this was a new 4K scan from the OCN.
b) If the Full-Coats of the sound design were discovered.
c) If this were to become a 4K/UHD.

Give me any or all of the above and Sony will get my purchase.

To date and IMHO, the "Oliver!" fromTwilight Time had provided the finest edition and well over that of the UK disc; as I have both.

With that said, if anyone else add other reasons for a re-buy, then please post.

I'm with you. The currently-available version is fine. Sure, it could be better, but I don't think that anything substantial has been done on the film to justify a repurchase at this point.

 

[Jake Lipson]

I highly doubt there is any expectation from Sony that people will repurchase it. They probably got the license back from Twilight Time and decided to issue the new disc primarily for people who missed out on that edition.

 

[MatthewA]

The only reasons for a re-buy:

a) If this was a new 4K scan from the OCN.
b) If the Full-Coats of the sound design were discovered.
c) If this were to become a 4K/UHD.

Give me any or all of the above and Sony will get my purchase.

To date and IMHO, the "Oliver!" fromTwilight Time had provided the finest edition and well over that of the UK disc; as I have both.

With that said, if anyone else add other reasons for a re-buy, then please post.

Yeah, I have the Twilight Time disc and am more than satisfied. This is for those who missed out on it.

 

[warnerbro]

They should get the handful of people that are still alive to do a full commentary or interviews on their experiences. They've waited so long most of the cast has died. Shani Wallis and Mark Lester are the only people left. Also a music only track would be cool. I hear they have the original music stems.

 

[MatthewA]

I had heard they did not have music stems without sound effects, so that's what was on the TT disc.

 

[B-ROLL]

I recall seeing a picture on an inventory that was posted somewhere showing the Oliver! Roadshow 6-Track tapes as being found in a warehouse (If memory serves in Secacus NJ) it was in reference to another film ...

 

[MatthewA]

That must have been for the six-track composite mix itself.

 

[ahollis]

If you have the TT version then there is nothing to see here.

 

[Ethan Riley]

It's very likely the same exact transfer as the TT disc.

 

[Jake Lipson]

What did Sony do when they released Sleepless in Seattle earlier this year after Twilight Time had it before? If that film is the same transfer, this one likely is too.

 

[Ronald Epstein]

What did Sony do when they released Sleepless in Seattle earlier this year after Twilight Time had it before? If that film is the same transfer, this one likely is too.

There is no reason for Sony to keep doing new transfers.

All they are doing is taking their licensing back from TT and releasing it on their own with the same transfer.

 

[Jake Lipson]

All they are doing is taking their licensing back from TT and releasing it on their own with the same transfer.

Yeah, that's what I thought. Thanks for confirming this is indeed the case.

 

[Stephen PI]

That must have been for the six-track composite mix itself.

"OLIVER!", which was mixed at the award-winning Shepperton Studios Sound Department, was a four-track stereo mix (LCRS). The studio, from what I recall (and I may be inaccurate on this particular point) was mixed to a 35mm three-track fullcoat format (LCR) and the mono surround channel was mixed to 35mm single stripe and were both interlocked together.
At this time ('67/8)Technicolor Labs was the only facility that had a formula to create a 6-track print master ('spread' not discrete) and then record to the magnetic stripes for 70mm prints.
For "OLIVER!", Shepperton Studios installed their own 6-track print mastering (as opposed to 6-track discrete mixing which could only be done in Hollywood at that time).
The 4-track print master, for 35mm prints, was on a composite 35mm 4-track fullcoat. The actual master was, as previously mentioned, on two elements.
Some years ago I handled the master sound material of "BECKET", also mixed at Shepperton Studios, and consisted of a 3-track stereo fullcoat (LCR) and a 6-track printing master (no 35mm 4-track print master or mono surround channel, if included in original mix, were present).

 

[MatthewA]

Fascinating.

They found that element, yet it's the music scoring sessions themselves that seem to be unaccounted for, which is especially disappointing since Johnny Green won an Oscar for Best Scoring of a Musical Picture — Original or Adaptation. At least the music & effects track survived. Bye Bye Birdie, also orchestrated by Green, is in the same boat, it seems, regarding only an M&E track surviving.*

*Columbia got its act together in time to save what they needed to remix 1776 as well as reconstruct it, and the mono isolated score is the main reason to keep the PSE laserdisc. Annie has a mono isolated score on a region two pre-special edition DVD in the early 2000s, and plenty of their other post-1960s films' scores survived in some form. I only wish they had had that kind of foresight sooner rather than later.

 

[Joe Caps]

I did the remix for the laserdisc of 1776. Columbia did NOT have the mags for the recording sessions. It was taken from 24 tk audio at Columbia records for the soundtrack album. Everything, including background score was on there.

 

[MatthewA]

Columbia Records and Columbia Pictures were never connected until Sony bought both of them; the former was part of CBS (hence the C) until the 1980s.

This film's soundtrack came out on Colgems Records, which Columbia Pictures co-owned with RCA, whose music division got acquired by BMG, whom Sony acquired. So they got the rights back eventually. Unfortunately, a lot of underscore just didn't fit on a single LP, so the soundtrack covers 50 minutes of music out of a 154 minute film.

 

[PMF]

Are the Music Scoring Sessions from "Oliver!" totally off the table?
What is confirmed? Are they on-record as destroyed or simply MIA?

 

[B-ROLL]

Columbia Records and Columbia Pictures were never connected until Sony bought both of them; the former was part of CBS (hence the C) until the 1980s.

This film's soundtrack came out on Colgems Records, which Columbia Pictures co-owned with RCA, whose music division got acquired by BMG, whom Sony acquired. So they got the rights back eventually. Unfortunately, a lot of underscore just didn't fit on a single LP, so the soundtrack covers 50 minutes of music out of a 154 minute film.

Bryan (or his Mommy) bought him the album (on Colgems)

and he played it so much his Mommy had to buy him a new album which was actually re-released on RCA ...

 

[PMF]

"...the stems do not survive". - Robert Harris

ref:
A few words about...Oliver! -- in Blu-ray
(see Post #16)