When are the Vintage Technicolor Movies Going To Be Released ? (1 Viewer)

[Chris55]

I'm sorry, but I don't think that's actually the case, Chris. Vagabond King (1956) was shot in VistaVision and all of the VV productions were shot using a single Eastmancolor negative and then processed in Technicolor (for standard vertical prints) via the dye transfer method. No VV production ever used a three-strip Technicolor camera for filming.

Thanks Will. Surprised at that, as the colour in "White Christmas" was stunning on the BD.

 

[Chris55]

As a "Technicolor enthusiast" myself, I'd love to see another UCLA two-color restoration, Follow Thru, see the light of day but I doubt that's going to happen. Who knows though? We waited nearly 40 years for the UCLA restoration of Becky Sharp to get a commercial release, but it finally happened.

Yes, I have seen "Follow Thru" in it's original Technicolor and it is wonderful, especially the outdoor scenes and, of course, the spectacular musical numbers. One wonders what they are keeping those Technicolor movies for, locked away in vaults.

 

[Robert Harris]

Speaking of The Vagabond King, is the 1956 version starring Kathryn Grayson, Oreste Kirkop and Rita Moreno in true Technicolor?

No.

 

[Robert Harris]

Yes, I have seen "Follow Thru" in it's original Technicolor and it is wonderful, especially the outdoor scenes and, of course, the spectacular musical numbers. One wonders what they are keeping those Technicolor movies for, locked away in vaults.

Possibly because of some underlying rights problem.

 

[Drew Salzan]

Yes, I have seen "Follow Thru" in it's original Technicolor and it is wonderful, especially the outdoor scenes and, of course, the spectacular musical numbers. One wonders what they are keeping those Technicolor movies for, locked away in vaults.

Yes! I saw it at the Film Forum in New York City about 10 years ago. It’s one of the few early two color Technicolor features that still survive with the original negative.

 

[Rob_Ray]

Yes! I saw it at the Film Forum in New York City about 10 years ago. It’s one of the few early two color Technicolor features that still survive with the original negative.

I remember seeing it at Cinecon in the early 90s and, later on, at UCLA's Melnitz Theatre. Both times there was a audible collective gasp from the audience at Nancy Carroll's introductory closeup, showing her large, expressive brown eyes and that luscious red hair.

 

[Bartman]

I believe the best you can hope for is consumer voting lottery of a list of titles deemed suitable by WAC or somesuch. Hopefully viewers at this site will make us aware of any lottery. My vote goes to:
Northwest Passage
Captain Horatio Hornblower

 

[cinefan]

I remember seeing it at Cinecon in the early 90s and, later on, at UCLA's Melnitz Theatre. Both times there was a audible collective gasp from the audience at Nancy Carroll's introductory closeup, showing her large, expressive brown eyes and that luscious red hair.

I had to laugh at this because that first closeup literally took my breath away a little the first time I saw Follow Thru. I just saw it again at Capitolfest in Rome, NY a couple weeks ago. I remembered that first reaction (at an earlier Capitolfest screening I think?), so I braced myself for the closeup this time so I didn't get light-headed again . I'm happy to report I remained conscious.

I would dearly love a nice disc of this, and of Northwest Passage that was just mentioned as well.

 

[Jeff Heise]

Correct me if I'm wrong (and I know Robert Harris will do it kindly) but, since a lot of early talkies are coming out of copyright over the next few years, will that ease getting some of these films onto home video? Say, in 2026, when FOLLOW THRU would become PD, could a company like Kino, Flicker Alley, Viavision or any of them go to the UCLA archive (which preserved it) and lease it from them for sale on the home video market? I can't imagine that the music rights would still be under copyright if the film is not, although I could be wrong. Granted, it would be catering to a niche of a niche market, but perhaps something along the line of Warner Archive's MOD program would make it possible. Just tossing it out there...

 

[Robert Harris]

Correct me if I'm wrong (and I know Robert Harris will do it kindly) but, since a lot of early talkies are coming out of copyright over the next few years, will that ease getting some of these films onto home video? Say, in 2026, when FOLLOW THRU would become PD, could a company like Kino, Flicker Alley, Viavision or any of them go to the UCLA archive (which preserved it) and lease it from them for sale on the home video market? I can't imagine that the music rights would still be under copyright if the film is not, although I could be wrong. Granted, it would be catering to a niche of a niche market, but perhaps something along the line of Warner Archive's MOD program would make it possible. Just tossing it out there...

Much of this is dependent upon the agreement under which the elements were deposited, which run independent of copyright.

 

[GerardoHP]

Universal has the rights for a number of 3-strip Paramount productions but they have done nothing to bring them back, much less bring them back in all their glory. Frenchman's Creek, Lady in the Dark and the DeMille color titles come to mind.

 

[bujaki]

Universal has the rights for a number of 3-strip Paramount productions but they have done nothing to bring them back, much less bring them back in all their glory. Frenchman's Creek, Lady in the Dark and the DeMille color titles come to mind.

The DCP of Frenchman's Creek exists. Restored by Paramount/Universal (?) and The Film Foundation. I've seen it and it's very beautiful.

 

[Robert Harris]

Universal has the rights for a number of 3-strip Paramount productions but they have done nothing to bring them back, much less bring them back in all their glory. Frenchman's Creek, Lady in the Dark and the DeMille color titles come to mind.

Where are you getting your information? It’s incorrect.

 

[Robert Harris]

There are only about 30 3-strip Tech Paramount films owned by Universal. Probably half of those would not sell numbers enough to break even.

 

[B-ROLL]

There are only about 30 3-strip Tech Paramount films owned by Universal. Probably have of those would not sell numbers enough to break even.

I take it none of them is To Half and Half Not ?

 

[Cleopatra]

Like others here, I'm afraid the market is just not there anymore for a proper release of vintage 2-strips technicolor movies... individual release that is.
On the other hand, a technicolor themed boxset featuring at least 2 or 3 movies would look more attractive to me.

It's in comprehensible to me that they actually released "Mysterious Island" onto DVD in b/w

I totally agree on this one though. A restored color print was screened more than 5 years ago, and I can't believe this is still only available in B & W and SD to this day. The restoration is done and the print available, so what's the issue here? What's the point of restoring a movie and not release it?

 

[Paul Penna]

What's the point of restoring a movie and not release it?

A projection of potential sales that would not be sufficient to recoup the additional expense of producing a disc, perhaps.

 

[Cleopatra]

A projection of potential sales that would not be sufficient to recoup the additional expense of producing a disc, perhaps.

I don't think so. The most expensive step in (seriously) releasing old films on BD is the restoration. Once that's done, a limited release (like the Twilight Time or Imprint models), or better, on demand production doesn't cost that much, and is usually recouped by the sales.

I totally understand why pre-40's, obscure technicolor films are not released if they require a restoration (especially tedious and costly with Technicolor), but not releasing an already restored film is incomprehensible to me.