Was Snow White ever shown in widescreen format...

Discussion in 'Archived Threads 2001-2004' started by JJR512, Oct 31, 2001.

  1. JJR512

    JJR512 Supporting Actor

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    I remember seeing some show on TV a long time ago, or maybe it was on an older Snow White VHS tape, something about the movie and its restoration (at the time) to improve how it looked. I remember there being something about how it was shot in the ratio of a TV screen, which of course I know now was not perfectly accurate, because it was really the Academy Ratio of 1.67:1 (right?). But they were saying that the upper and lower bits of the images were chopped off or blocked, which I now know is called matting, so that it could be shown in the more popular theater widescreen format. And the whole point of it was that they were showing how in this particular restoration process, they were removing the matting, so you could see the whole image from the film. I specifically remember seeing a side-by-side comparison where in the widescreen frame, you could see Snow White outside singing, but in the original full screen frame, you could see not only that, but some squirrels at the bottom of the image watching her sing.
    Does anybody else remember seeing this, or am I just imagining all this? Was it something on TV, or was it on the video, or what?
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  2. alan halvorson

    alan halvorson Cinematographer

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    The Academy ratio at the time Snow White was created was 1.37 - full screen. There might have been a time in the early fifties where it was chopped to make it a "widescreen" film - they did that in those days sometimes - but other than that, it's always been shown full screen. No matting to remove.
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  3. Mick Wright

    Mick Wright Second Unit

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    Snow White was matted during it's 80's re-release. This did not go over well with critics, particularly Roger Ebert.
     
  4. Mark Walker

    Mark Walker Cinematographer

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    The Wizard of Oz is another
    "Academy Ratio" film original shot and INTENDED
    to be seen 1.37:1 which was presented
    in a butchered "widescreen" version
    at different points in its life.
    -Mark
     
  5. Keith Paynter

    Keith Paynter Screenwriter

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    Gone With The Wind was once theatrically re-released in Cinemascope! How's that for cropping?
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  6. GerardoHP

    GerardoHP Supporting Actor

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    In the early 50's, when widescreen hit big, it was customary to re-release 30's and 40's films cropped for widescreen. Some notorious examples where the studios actually advertised this fact to attract audiences ("In New Widescreen Splendor!") were GONE WITH THE WIND, NIGHT AND DAY, PORTRAIT OF JENNIE, SHANE and DUEL IN THE SUN. I'm sure there were many more. Honestly, I don't remember seeing a single reissue of a 30's or 40's movie in my childhood (in the 60's) where the films were not cropped for widescreen.
    THE TEN COMMANDMENTS (which was shot in VistaVision) was re-released in the 70's and again in the 80's in a 2.20:1 70mm version and a 2.35 scope version as well. The results were disastrous as the blow-up enlarged the grain and the chintzy special effects, and cropped the top and bottom of the frame ruining many of the compositions.
    In the early 70's, this was also done to GONE WITH THE WIND, THE GREAT CARUSO and Joe Mankiewicz's JULIUS CAESAR. With GWTW, they went as far as to scan certain frames from top to bottom to show action that would have been missed in widescreen (sort of like a top-to-bottom pan and scan).
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  7. Richard Kim

    Richard Kim Producer

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    Anyone else afraid that the same type of hackjob will be done to these classic films once 16:9 HDTVs hit the mainstream?
     
  8. Chad R

    Chad R Cinematographer

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    I do remember reading about the first VHS release of Pinocchio. It was transferred from one of the cropped for widescreen prints, then panned & scanned from that, so what we got was just the center of the image cropped on all foour sides. When it was re-released in the 90's this was corrected thankfully.
     
  9. Chad Parks

    Chad Parks Stunt Coordinator

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    You guys are giving me flashbacks to my FANTASTIC screening of Citizen Kane in a local theater, in 1.85:1. I only lasted about 20 minutes before I left.
    [Edited last by Chad Parks on October 31, 2001 at 12:38 PM]
     
  10. Derek Miner

    Derek Miner Screenwriter

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  11. Thomas T

    Thomas T Cinematographer

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    From Pauline Kael's "5001 Nights At The Movies" regarding Shane (1953):
    "The cinematography by Loyal Griggs won the Academy Award; this must have struck him as a black joke, because Paramount, in order to take advantage of the new fashion for the wide screen, had mutilated the compositions by cutting off the top and bottom."
     
  12. Rain

    Rain Producer

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    quote: "The cinematography by Loyal Griggs won the Academy Award; this must have struck him as a black joke, because Paramount, in order to take advantage of the new fashion for the wide screen, had mutilated the compositions by cutting off the top and bottom."[/quote]
    Well, this would seem to answer the oft-asked question of what the OAR of Shane is. I was not sure myself, but from what I'm reading here, it would appear to have been intended for 1.37:1, which makes the DVD correct in terms of the intent, but different from the actual theatrical exhibitions. This I can live with.
     
  13. Stephen_Coghill

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    So Citizen Cane was filmed in the full screen format? I noticed that the DVD that was just released is not widescreen. This is the way it is supposed to look? It's hard to imagine...
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  14. Randy_M

    Randy_M Supporting Actor

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    Widescreen was nearly unknown when Kane was produced...you think it looks bad in its OAR??
    Cheers
     
  15. Stephen_Coghill

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  16. Nigel McN

    Nigel McN Supporting Actor

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    I sat through a 'widescreen' showing of Citizen Kane this year, I didn't leave though,...
     
  17. frank manrique

    frank manrique Supporting Actor

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    A few short years ago both The Wizard Of Oz and Gone With The Wind where "restored" and shown in theaters in their original Academy aspect ratio (1:37:1)...even though no "modern" multiplex cinemas are capable of projecting it.
    So how was it done? Simply by placing the Academy AR image in the center of the 35mm anomorphic scope frame so that upon projection black bars can be seen to the right and left of it yet the image remains visibly intact and in its correct, OAR.
    I saw no cropping taking place in them images whatsoever. Nifty!
    -THTS
     
  18. Mark Walker

    Mark Walker Cinematographer

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    Another DVD that presents the "modified to fit your television" message INCORRECTLY is Hithcock's
    Strangers on the Train.
    It was shot Academy Ratio (1.37:1).
    As for Citizen Kane I cannot
    imagine anyone wanting the film on DVD presented
    in anything other than its OAR:
    The people who still admire Citizen Kane,
    highly regard and understand the art of cinematography.
    It is not a "Joe Six Pack" film.
    [​IMG]
    Mark
     
  19. Aaron Reynolds

    Aaron Reynolds Screenwriter

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  20. Matthew Chmiel

    Matthew Chmiel Cinematographer

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