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Robert Crawford

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COMING SOON!
NEW 2022 1080p HD Masters from 4K scans of original Cinerama Camera Negatives!
TWO-DISC DELUXE SPECIAL EDITION
THE WONDERFUL WORLD OF THE BROTHERS GRIMM (1962)
DELUXE 2-DISC SPECIAL EDITION
2-BD50s
Disc 1-Restored Cinerama image letterboxed
Disc 2-Restored Cinerama image in SMILEBOX format, to approximate the curved theater screen experience in the home
Disc 1-Aspect Ratio 16x9 2.85 Letterbox
Disc 2-Aspect Ratio 16x9 2.85 Smilebox
Audio Specs DTS-HD Master Audio 5.1 Surround
140 Minutes-Roadshow presentation with Overture, Intermission , Entr'acte, and Exit Music.
SPECIAL FEATURES: New featurettes RESCUING A FANTASY CLASSIC (HD); THE EPIC ART OF THE BROTHERS GRIMM (HD); THE WONDERFUL CAREER OF GEORGE PAL (HD), and more, plus multiple trailers and audio pieces

The story behind the brothers who created beloved fairy tales come to life, with reenactments of three of their stories. The film tells the story of the brothers' long struggle for recognition and the sacrifices they and their families made to achieve their goals. Between dreamer Wilhelm (Laurence Harvey) and practical Jacob (Karl Boehm), some marvelous fairy tales develop. In "The Dancing Princess," a princess (Yvette Mimieux) falls in love with a charming woodsman (Russ Tamblyn). In "The Cobbler and the Elves," a Christmas miracle of dedicated labor helps the cobbler out when he most needs it. And in the last story, a fire-breathing dragon threatens the kingdom until a lowly servant (Buddy Hackett) saves the day. Shot on location in West Germany, the innovative production features Puppetoons, a technique developed by Oscar-winning special effects expert George Pal. Meticulously restored from its original Cinerama negatives, this fanciful delight is a treat for audiences of all ages.....and this Deluxe Two Disc Edition gives the viewer the opportunity to watch the film either in a traditional letterbox format, or in the Smilebox format which attempts to re-create the immersive Cinerama experience with a simulated curve to the screen. Both versions bring together the three original Cinerama panels with virtually no trace of the lines that joined them together when originally projected in theaters back in 1962.
Warner Archive extends its deepest thanks to Cinerama restorationists David Strohmaier and Tom March, and Decurion Corp. (parent company of Cinerama Inc.), who partnered with us to bring this project to fruition.
 

Robert Crawford

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Thank you for supporting HTF when you preorder using the link below. If you are using an adblocker you will not see link. As an Amazon Associate HTF earns from qualifying purchases

 
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Dick

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Can't wait. I'd hoped for a digibook design similar to the one used for the first release of HTWWW, but I do love that cover art. I still would love to have a commentary track included, but I always hope that, as I actually listen to those. But as is, this is promising to be one of the best (if not the best) Blu-ray of 2022! Thanks Mr. Strohmair and Co.!

P.S. Is that 2.85:1 AR for disc 1 accurate?
 

Randy Korstick

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Can't wait. I'd hoped for a digibook design similar to the one used for the first release of HTWWW, but I do love that cover art. I still would love to have a commentary track included, but I always hope that, as I actually listen to those. But as is, this is promising to be one of the best (if not the best) Blu-ray of 2022! Thanks Mr. Strohmair and Co.!

P.S. Is that 2.85:1 AR for disc 1 accurate?
Its actually 2.89:1 like HTWWW, Battle of the Bulge and a couple other cinerama fims.
 

Stephen_J_H

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Its actually 2.89:1 like HTWWW, Battle of the Bulge and a couple other cinerama fims.
2.89:1 is based on an extraction of all usable image area on a 3-panel Cinerama element. Battle of the Bulge is an Ultra Panavision Cinerama title, so like Ben-Hur, is "only" 2.76:1. Some sources claim the correct AR for Cinerama is "only" 2.59:1, but Cinerama is an odd duck because of the exhibition process, which involved mechanical "combs" known as "gigolos" oscillating rapidly to blur the join lines between the three panels, and a curved screen, which was designed to stretch portions of the image and reduce the fisheye effect of the extremely wide angle 28mm lens.
 

Lord Dalek

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2.89:1 is based on an extraction of all usable image area on a 3-panel Cinerama element. Battle of the Bulge is an Ultra Panavision Cinerama title, so like Ben-Hur, is "only" 2.76:1. Some sources claim the correct AR for Cinerama is "only" 2.59:1, but Cinerama is an odd duck because of the exhibition process, which involved mechanical "combs" known as "gigolos" oscillating rapidly to blur the join lines between the three panels, and a curved screen, which was designed to stretch portions of the image and reduce the fisheye effect of the extremely wide angle 28mm lens.
Its really hard to tell exactly what the ratio on "flat" Cinerama is. If you were to do the math based on the actual film gauges provided by the American WideScreen Museum, you would get roughly 2.67:1 as the ratio. Now that's the total width of 2.988" (.996" multiplied by 3) divided by the height of 1.116" which is of course constant across all three film strips and does not need to be multiplied. However the same website claims the ratio is 2.55 so tt is quite possible that WideScreen Museum's numbers are factoring in the curve. Or they simply didn't bother to do the math.

I have no idea how Warner ended up with 2.80:1 Perhaps Mag stripping cut into the width.
 

RolandL

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Its really hard to tell exactly what the ratio on "flat" Cinerama is. If you were to do the math based on the actual film gauges provided by the American WideScreen Museum, you would get roughly 2.67:1 as the ratio. Now that's the total width of 2.988" (.996" multiplied by 3) divided by the height of 1.116" which is of course constant across all three film strips and does not need to be multiplied. However the same website claims the ratio is 2.55 so tt is quite possible that WideScreen Museum's numbers are factoring in the curve. Or they simply didn't bother to do the math.

I have no idea how Warner ended up with 2.80:1 Perhaps Mag stripping cut into the width.

The 3-panels of Cinerama did not have Mag stripping. The sound was on a separate 35mm strip of film. 3-panel Cinerama had an AR of about 2.6 with slight cropping on the sides at a Cinerama theatre. That's what you are seeing in the Smilebox version. In the flat version there is no cropping so it's about 2.85.
 
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RobertSiegel

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What a day of joy for me. To wake up and read about a title like this coming out after hearing for years how bad the negative was and how the cost of restoration would just not be worth it considering projected sales. Well, I have already been on the phone with my friends and they all plan to purchase this, so let's all give Warner a thumbs up by purchasing this title which must have been a MAJOR job to restore. Thank you Warner Brothers Home Video. My hats off to you.
 

RolandL

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What a day of joy for me. To wake up and read about a title like this coming out after hearing for years how bad the negative was and how the cost of restoration would just not be worth it considering projected sales. Well, I have already been on the phone with my friends and they all plan to purchase this, so let's all give Warner a thumbs up by purchasing this title which must have been a MAJOR job to restore. Thank you Warner Brothers Home Video. My hats off to you.

Warner Bros. Motion Picture Imaging provided the scanning of the original 6-perf 3-panel o-negatives. David Strohmaier and Tom H. March did the digital restoration.
 

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