It's in 1.78 ratio, but in Dolby Mono.
The DVD has audio coming out of the left and right main speakers.It's on TCM Tuesday. Maybe stereo sound but I doubt it. I'm surprised that they released Beau Brummell in mono sound to theatres.
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I'd love to see Beau Brummel restored and BR released...The DVD has audio coming out of the left and right main speakers.
I'd love to see Beau Brummel restored and BR released...
It was released on DVD by Warner Archive, but I can't find any reviews. Is the DVD widescreen with stereo sound?
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Yes, Andrew and I were so pleased!Warner Archive released Beau Brummell on Blu-ray in March 2020, and it looks/sounds amazing!
Now, I can die a happy man knowing your thoughts on this movie.Never considered The Last Time I Saw Paris anything exceptional. A romantic potboiler with obvious sets a la the MGM backlot subbing in for Paris and a few leaden performances scattered throughout by star-powered talent who ought to have known better.
Fitzgerald's affecting tale of a lonely father's love to reconnect with the daughter he never knew before the war, gets tanked by Richard Brooks' direction and the Epstein bro's glossifed screenplay, changing the timeline, the hero's 'business', and the daughter's past, all in service of some dewy, yet antiseptic romance which unravels into doom and gloom almost from the outset.
The marital mish-mash that ends with pneumonia and death is trite. Fitzgerald's character motivations have been rendered to caricature and/or cardboard cutouts and the story, once sincere, is now pure pulp. Read the book. But pray for a better remake somewhere in the works.
I'm not familiar with the Fitzgerald work that inspired the movie, but I have never cared for it. I could not stand the insufferable drunk/loser character played by Van Johnson who squanders a relationship with Liz Taylor in her prime. He should have shot himself at some point in the film for being such a miserable and boring failure.Never considered The Last Time I Saw Paris anything exceptional. A romantic potboiler with obvious sets a la the MGM backlot subbing in for Paris and a few leaden performances scattered throughout by star-powered talent who ought to have known better.
Tell us how you really feel, NickNever considered The Last Time I Saw Paris anything exceptional. A romantic potboiler with obvious sets a la the MGM backlot subbing in for Paris and a few leaden performances scattered throughout by star-powered talent who ought to have known better.
Fitzgerald's affecting tale of a lonely father's love to reconnect with the daughter he never knew before the war, gets tanked by Richard Brooks' direction and the Epstein bro's glossifed screenplay, changing the timeline, the hero's 'business', and the daughter's past, all in service of some dewy, yet antiseptic romance which unravels into doom and gloom almost from the outset.
The marital mish-mash that ends with pneumonia and death is trite. Fitzgerald's character motivations have been rendered to caricature and/or cardboard cutouts and the story, once sincere, is now pure pulp. Read the book. But pray for a better remake somewhere in the works.
None of F. Scott Fitzgerald's novels and short stories have fared well in their movie adaptations so it seems unfair to pick on The Last Time I Saw Paris. For what it is, I quite liked it but yes, it's not Fitzgerald. None of the many Great Gatsby adaptations have got it right though all have had bits and pieces that were good. As much as I'm fond of Tender In The Night because of its cast, CinemaScope lensing and Bernard Herrmann's score, it isn't a patch on Fitzgerald's novel. The less said about Kazan's The Last Tycoon the better. David Fincher took Fitzgerald's 40 page short story Curious Case Of Benjamin Button and inflated it to a 2 1/2 movie reeking of pretension and self importance. The most successful of the Fitzgerald's adaptations imo is his short story Bernice Bobs Her Hair which was done for TV in 1976 with Shelley Duvall. Short, succinct and utterly charming.Never considered The Last Time I Saw Paris anything exceptional. A romantic potboiler with obvious sets a la the MGM backlot subbing in for Paris and a few leaden performances scattered throughout by star-powered talent who ought to have known better.
Fitzgerald's affecting tale of a lonely father's love to reconnect with the daughter he never knew before the war, gets tanked by Richard Brooks' direction and the Epstein bro's glossifed screenplay, changing the timeline, the hero's 'business', and the daughter's past, all in service of some dewy, yet antiseptic romance which unravels into doom and gloom almost from the outset.
The marital mish-mash that ends with pneumonia and death is trite. Fitzgerald's character motivations have been rendered to caricature and/or cardboard cutouts and the story, once sincere, is now pure pulp. Read the book. But pray for a better remake somewhere in the works.
It's in 1.78 ratio, but in Dolby Mono.