International THE ALAMO (John Wayne's extended cut) (2 Viewers)

[Garysb]

Google has a translate application where you paste and it translates. Just highlight what you want to translate and search

oui je suis Belge et je crois que ce n'est pas difficile de traduire en Anglais avec un ordinateur .Je suis un grand Fan d'Alamo

equals in English

yes I'm Belgian and I think it's not difficult to translate into English with a computer. I'm a big fan of Alamo

equal in Latin
Etiam Belga sum et non difficile puto interpretari cum computatro in Anglicum. Im 'a magnus fan of Alamo

equal in Hindi
हाँ, मैं बेल्जियम का हूँ और मुझे लगता है कि कंप्यूटर से अंग्रेजी में अनुवाद करना मुश्किल नहीं है। मैं अलामो का बहुत बड़ा प्रशंसक हूँ

equal in Hebrew
כן אני בלגי ואני חושב שזה לא קשה לתרגם לאנגלית עם מחשב אני מעריץ גדול של אלאמו

 

[ptb2017fr]

Yes i once used a translation app asking what « I’m a big fan of this actor » was in Spanish and it translated it as i am a large machine for cooling a person or room! Anyway, my point was how sad so few Americans only speak one language and seem proud of it. English are the same, though it’s pure arrogance with many of them , because Britain once had a huge empire, stealing two thirds of the world from its rightful owners, that everyone speaks English and they don’t need to bother.

 

[Alan Tully]

Yes i once used a translation app asking what « I’m a big fan of this actor » was in Spanish and it translated it as i am a large machine for cooling a person or room! Anyway, my point was how sad so few Americans only speak one language and seem proud of it. English are the same, though it’s pure arrogance with many of them , because Britain once had a huge empire, stealing two thirds of the world from its rightful owners, that everyone speaks English and they don’t need to bother.

Ha, oh dear.

I thought it was fine as long as we spoke English very loudly.

 

[TravisR]

Anyway, my point was how sad so few Americans only speak one language and seem proud of it. English are the same, though it’s pure arrogance with many of them , because Britain once had a huge empire, stealing two thirds of the world from its rightful owners, that everyone speaks English and they don’t need to bother.

Not to say that that isn't true for some Americans but it's also worth keeping in mind that the U.S. is a much larger country than any in Europe and English is easily the predominant language here so most Americans rarely encounter a language barrier and most don't see a need for learning a second language. I live in Pennsylvania and only speak English but if New Jersey was filled with people that generally spoke French or Delaware only had folks that spoke Spanish, I'd see more value in spending the time (and considering that I would have no one to practice a second language with, it would be a considerable investment of time) to learn a second language.

 

[RMajidi]

English has for the most part become the adopted international language, where once French seemed to becoming that. So, most native English speakers find themselves in the happy position of not needing to learn another language in order to communicate in most parts of the world.

I don’t think there’s anything necessarily arrogant or closed-minded about that, just the reality of the world.

With the Koch release of The Alamo being the OP’s topic for this particular thread, perhaps we ought to all be conversing in German!

 

[Robert Harris]

Not to say that that isn't true for some Americans but it's also worth keeping in mind that the U.S. is a much larger country than any in Europe and English is easily the predominant language here so most Americans rarely encounter a language barrier and most don't see a need for learning a second language. I live in Pennsylvania and only speak English but if New Jersey was filled with people that generally spoke French or Delaware only had folks that spoke Spanish, I'd see more value in spending the time (and considering that I would have no one to practice a second language with, it would be a considerable investment of time) to learn a second language.

I had a fraternity brother from a place called Balmo, and we occasionally needed sub-titles to understand him.

 

[Robin9]

And yet you're bothered enough to complain about them. How charming.

A very strange post. I haven't complained; I haven't suggested it's contrary to this forum's rules to post in a foreign language; I haven't indicated that I'm feeling any sense of loss.

This is a forum, a place where people with differing outlooks can express themselves about whatever is being discussed. The discussion turned to the issue of someone posting in a foreign language.

 

[cremers andre]

just thank you

 

[cremers andre]

And now let's move on

 

[cremers andre]

The Finding Of The Lost Alamo​ Read more at in70mm.com The 70mm Newsletter Written by: Bob Bryden Date: 01.06.2009 US 1-sheet poster In October of 1960, John Wayne released his film of the historic siege at the Alamo. Nearly ten years had elapsed since Wayne first conceived the project and the time of it's premiere. The 192-minute film was met with mixed reaction from the critics and did very good business at the box office, but not enough to offset its huge budget. Succumbing to pressure from critics and distributors, Mr. Wayne lopped 30 minutes from the film prior to its general release. The original Alamo was never seen again. That is, until March of 1980. At that time I managed a record store in Hamilton, Ontario, Canada. I was in Toronto picking up stock and I decided to make a night of it by going to the the IMAX Theatre at Ontario Place (a theme park) to take advantage of their annual 70mm film festival. "Cleopatra" (1963) was scheduled. When I phoned the theatre to check the time, I was stunned to discover that "Cleopatra" had been cancelled and replaced by my favorite film of all time: "The Alamo". It never dawned on me that it might be the original 192-minute version I had seen as a nine-year-old in 1960. On that frosty winter night I sat, virtually alone in that gigantic IMAX theatre while John Wayne's original "The Alamo" towered before me. In total shock and elated beyond belief, I rounded up some friends and saw it again two nights later. Feeling blessed beyond my wildest dreams to have seen it again in its original format and on such a splendid projection facility, I thanked God for this bit of personal fulfillment. I even thanked the projectionist! Throughout the 1980's, as the video revolution took hold, l watched with dismay as the "pan and scan" home video version of the film took up residence on our neighborhood video store shelves. I could only wonder why nobody seemed interested in the superior original version. Then in February of 1990, l found a new video release of the film which appeared to have a few more minutes running time listed on the package. l purchased it and quickly raced home---only to find that just like the "pan and scan" version it was basically the 162-minute film, only in the preferred letterbox format with digitally enhanced sound (the "Overture" and "Entr'acte" accounted for the extra minutes). Terribly disappointed, I actually called MGM/UA Home Video in Los Angeles to register my feelings with a George Feltenstein, who dismissed me as some kind of nut---which I am. Hi-ho! More in 70mm reading: "The Alamo" lost 70mm version - This letter which started it all November 24, 1990: In Retrospect I Was There There are two things which have tormented me for most of my adult life One Morning In November An Update On The Long Version The Reconstruction and Restoration of John Wayne's "The Alamo" Internet link: "The Alamo" articles and letters appeared in "The Spirit of the Epic" magazine in June 1990. Reprinted here with permission from Robert Bryden bobbryden.com Norwgian advert. Editors collection It was not until September of 1990 that the plot again thickened. I purchased and read Lee Pfeiffer's book, "The John Wayne Scrapbook". The book stated that MGM/UA had accounted for all known prints of the 192-minute version---and they had all been destroyed by 1979! However, I knew this was wrong. I wrote Tim Lilley, editor of "The Big Trail", the John Wayne Newsletter, and told him I had seen the long print of "The Alamo" in early 1980. Shortly thereafter I received a phone call from Alamo enthusiast and "expert" Ashley Ward of Ohio. He asked me if "I was sure" and would I do more snooping around. l contacted MGM/UA in Toronto and spoke with a Ms. Melissa Contardi. She was very helpful and told me what prints were on hand both in their Calgary office and Toronto. I had looked up the dates in my journals and asked her to check and see which print had been rented to Cinesphere in March, 1980. She confirmed that a 70mm print in Toronto was "the one." Only here's where things got rather tense: the print was listed at 162 minutes! I asked her if there could be a mistake. A mislabeling? She said, "Possibly, but highly unlikely." I was definitely troubled by this and began second guessing my judgment. Had I been on drugs or something when I saw it? Had I been so thrilled to hear the "Overture" and "Entr'acte" that I only "thought" I saw all those missing scenes? I went through a ringer of self-examination. But l couldn't get past two things: 1) I wrote in my journal "How thrilling it was to see “The Alamo” in its original glory" (believe me, It has to be really special for me to go and thank a projectionist), and 2) I definitely remembered seeing the birthday party scene for little Aissa Wayne. ​ John Wayne directing in Todd-AO. From the filming of "The Alamo". Even more troubled, no doubt, was Ashley Ward, who in spite of evidence to the contrary went ahead trusting it might be the 192-minute Todd-AO print and rented the best theatre In Toronto for a screening on Saturday, November 24, 1990. Mr. Ward travelled all the way from Cincinnati; Dr. Murray Weissmann came from New Jersey; David Mocniak and his wife, Catherine, came from Niagara Falls, and Kipp Martin came from Ohio. I brought my family and invited eight friends to the Eglinton Theatre for the "event." Before screening began the projectionist told us unequivocably that there was no possible way 192 minutes (or even 202 minutes with all of the musical bits) could be contained in the cans of film he had upstairs.* If nothing else, then, Ashley Ward was determined to enjoy a rare 70mm screening of the 162-minute print. I was feeling really weird! I did not want to be the instigator of a wild goose chase---even a 70mm one! We all took seats in the giant theatre. The "Overture" began and the mystery began to unravel. I knew from the first few frames of the main title that this was a print that had not been tampered with very much; It was pristine! Then, a gasp and a shudder went through all of us as the first hint of a 192-minute opus presented itself: a credit for the Todd-AO process, which was usually edited out of most "later" prints. ​ Danish newspaper advert. Editors collection We held our breaths. The first major moment occurred only a few minutes into the film after Sam (Richard Boone) Houston leaves and Jim (Richard Widmark) Bowie and his servant Jethro (Jester Hairston) share a dialogue in Bowie's quarters. When this scene continued past the point where all general release prints had previously ended, there was a hurrah and a shout heard round the world! My wife grabbed my hand; Ashley Ward stood up weeping; the quiver of excitement went through the entire little band of people. WE HAD FOUND IT! And it was in excellent condition. As scene after "edited" scene rolled past us in its rightful place, the power and coherency of the story left us all deeply moved. Friends who came wlth me, who had never seen any complete version of the film before, told me that I was right: it was a truly great film and worthy of much more respect than it had been given before. Those who came not knowing the film felt its impact and were swept up in the importance of this "find." "The Alamo" is a great piece of inspirational art and this is the way John Wayne envisioned it---and we were seeing it in the manner he wanted it presented! When the "Exit" music played, an awestruck but vindicated group of people floated Into the lobby. We spent a few short hours together "fellowshipping" 'round our discovery and then parted company, each of us resolving, I think, to do whatever we could do to see that this print was protected, preserved, restored and issued to the general public. ​ Epilogue:​ ​ The following Monday I telephoned a still very "smitten" Ashley Ward (after all, a 30-year search had come to an end!) and he informed me that there had been some 100 or so phone calls made that day concerning "the Toronto print." I also wrote a number of letters: to Rennie Johnson at MGM/UA Home Video; to Jack Foley, MGM/UA Distribution; to Michael Wayne at Batjac Productions; to Bob Harris, who restored “Lawrence of Arabia”, to Lee Pfeiffer, author of "The John Wayne Scrapbook"; to Tim Liley, editor of "The Big Trail"; et. al all in the hope that word will spread and justice will be done to this superior "western" film. Telephoning Ms. Contardi at MGM/UA in Toronto again, she informed me that she also received numerous calls and that the print itself would be on its way back to the MGM/UA Classics Division offices in Hollywood that very week. So, good lord willing, this priceless document is in safe hands, hands that will respect it and treat it with all the reverence due a true work of art by one of the greatest figures in all of American or world folklore: John Wayne. * NOTE: Apparently the cans of film were the "old kind" and could be loaded with more film than the "new kind!" P.S. Those others who were in attendance an Nov. 24 were: Murray Weissmann's daughter, Michael Allen Guild, Graeme Burk, Larry Somerville, 'Alamo' Ray Panavas, Franz and Maxine Nangle, Lynn Bryden, Calvin Bryden, Grant Bryden and Chris Byers. ​

 

[cremers andre]

This letter which started it all
Re-discovering a Canadian 192 min Road-Show 70mm print of "The Alamo"​

Read more at
in70mm.com
The 70mm Newsletter
Written by: Bob Bryden, editor, "The Spirit of the Epic"Date: 01.06.2009

In the early 1990, I subscribed to Bob Bryden's "The Spirit of the Epic" magazine. One of the issues was dedicated to the re-discovered 70mm prints of "The Alamo". I recently asked Bob Bryden for his permission to re-publish this issue on in70mm.com. He said "Go ahead and use the article" - so here it is. Thomas, editor, in70mm.com

Bob Bryden
1567 Westminster Place,
Burlington, Ontario.
L7P 284
1-416-332-0158
Canada

Sept. 12, 1990

Dear Tim,

I have just read with joy about your publication, "The Big Trail". Please send me subscription information and especially concerning back issues - most importantly the issue with the full story on the making of "The Alamo".

I am a dyed in the wool "The Alamo" fanatic and John Wayne devotee. I have some information I would like to relay to you once communication has been established.

URGENT: According to page 91 of "The John Wayne Scrapbook", Ron Haver determined that by 1979 all 70mm prints of "The Alamo" were destroyed. WRONG. WRONG. WRONG. In the early 1980's I watched a MINT 70MM UNCUT VERSION OF THE ORIGINAL 192 MINUTE "The Alamo" at Ontario Place in Toronto. As part of their 'Cinesphere' (that's the IMAX theatre) annual 70MM winter film festival they showed it three nights in a row.

I was so flaggergasted! Having seen the original in 1960 when it first came out - it was a miracle from God to see it again in such splendor! I asked the projectionist where they found it. He said (and I quote): 'The cans were found in a stack at a warehouse in Calgary (or Edmonton)' So, This print may be available in Toronto somewhere.

Please be in touch:

P.S. I can go back in my journals and determine the exact dates of these screenings. I assure you I am not mistaken.
More in 70mm reading:

The Finding Of The Lost Alamo

Remember the Alamo?

November 24, 1990: In Retrospect

I Was There

There are two things which have tormented me for most of my adult life

One Morning In November

An Update On The Long Version


The Reconstruction and Restoration of John Wayne's "The Alamo"

Internet link:

"The Alamo" articles and letters appeared in "The Spirit of the Epic" magazine in June 1990. Reprinted here with permission from Robert Bryden

bobbryden.com

Bob Bryden
1567 Westminster Place,
Burlington, Ontario.
L7P 284
Canada

1-416-332-0158

The visitors' feedback​

The Finding Of The Lost Alamo - Bob Bryden

Remember the Alamo? - Christopher Buyers

November 24, 1990: In Retrospect - Michael All

​

 

[cremers andre]

Todd-AO

 

[Rob W]

Fascinating story, Bob. I knew Marissa Contardi, who was a warm and wonderful woman who sadly passed away at far too young an age in 2000.

 

[cinemel1]

Todd-AO

Just finished reading all of the articles you included links to above. I saw The Alamo in its original run at the Rivoli Theatre in NYC. I don’t know whether it was the cut version or not. When the laserdisc of the complete film was released I purchased it and was impressed at the quality of the picture and sound. Remember, this was before the days of DVD, Blu-ray and 4K. Most impressive was the sound, especially Tiomkin‘s amazing score. I still have the laserdisc version and subsequently bought the shorter DVD version hoping for the eventual release of the complete original roadshow. We can only hope that somewhere along the line someone will put up the funds to restore The Alamo to its roadshow glory.

 

[jim_falconer]

I use to be a subscriber to The Big Trail back in the day. If it wasn’t for the John Wayne Scrapbook, I never would have known about it. I believe it was a bi-monthly publication, and I always was super excited when a new issue arrived in my mailbox. The last year of its existence was pretty much films that Duke either had a tiny role in, or one of his few “lost” films. I still have them all categorized in two big binders. I also have the “campfire” books he put out after the newsletter finished it’s run. I look back very fondly on The Big Trail.

 

[darkrock17]

I thought the roadshow version of this film was around 200+ minutes not 192. That's the same length as It's A Mad, Mad, Mad, Mad World was for it's Nov. 7 1963 premiere.

 

[cremers andre]

Hello the long version is 202 minutes, It contains the musical opening and the exit music (6 minutes) and 34 minutes of scenes from the first version released in 70 mm,I forgot the intermission music

 

[RolandL]

I thought the roadshow version of this film was around 200+ minutes not 192. That's the same length as It's A Mad, Mad, Mad, Mad World was for it's Nov. 7 1963 premiere.

Mad was 210 minutes if you include the overture, intermission and exit music.

 

[darkrock17]

Mad was 210 minutes if you include the overture, intermission and exit music.

Mad World was 210 before Stanley cut it down the premiere.

 

[RolandL]

Mad World was 210 before Stanley cut it down the premiere.

197 minutes plus a 13 minute intermission.