Blu-ray Review A Few Words About While we wait for A few words about…™ The Johnstown Flood - in Blu-ray (1 Viewer)

[RichMurphy]

With respect, I put forth the following:

Wouldn’t the satisfactions of having saved another silent film be incentive, enough, without seeking a complimentary copy of the final disc, as well? To my mind, what with the difficulties already faced in raising monies to save important silent films, I prefer to donate twice. Once in the early stages to ensure that the green light of a project stays on, then twice through the full-price purchasing of a disc; to increase the hopes that no monies are lost. The restoration teams need every financial edge that they can attain; otherwise all forward actions might cease to exist.

Good point. I would happily make a donation even without the "perk" of a disc copy. However, my experience with such fundraisers is that a copy of the final product is included above a certain contribution level, so I incorrectly assumed that was an unofficial "standard" for such things.

 

[bujaki]

I see your point. Hey, whatever works out well for both sides is always the goal; just as long as the final tallies are without their folly.

It's an award-winning play: Talley's Folly.

 

[PMF]

It's an award-winning play: Talley's Folly.

I definitely knew that bujaki would pick up on the reference. Nice work.

 

[sbjork]

The Corridor Crew gang just took a look at some of the effects in the film. They make a few misstatements that are understandable given the fact that they're not film historians, but it's still kind of fun to watch them geeking out over the effects in the film:

 

[Charles Smith]

Yes, it's good to see that. On a quick look, their Johnstown segment starts at 10:45.

 

[Robert Harris]

The Corridor Crew gang just took a look at some of the effects in the film. They make a few misstatements that are understandable given the fact that they're not film historians, but it's still kind of fun to watch them geeking out over the effects in the film:

Thank you. I was unaware.

 

[sbjork]

Yes, it's good to see that. On a quick look, their Johnstown segment starts at 10:45.

I tried linking from that specific point, but it must not have worked. I'll try fixing it.

 

[sbjork]

Took a couple of tries, but it works from that point now.

 

[Robert Harris]

Took a couple of tries, but it works from that point now.

Appreciated. I’m always thrilled when people discover the wonders of silents and filmmaking a century ago.

 

[Robert Harris]

 

[Paul Penna]

Very much worth it. Great to see 21st century media fans literally wowed by nearly 100-year-old filmmaking. Johnstown segment begins a 10:44.

 

[sbjork]

Very much worth it. Great to see 21st century media fans literally wowed by nearly 100-year-old filmmaking. Johnstown segment begins a 10:44.

Like I said, the original link that I posted is now fixed so that it cues directly up to that point.

 

[Dave B Ferris]

NORMAN SPENCER, 1914 – 2024
Producer made major films with David Lean
CLASSIC MOVIE“Great Expectations” is among films Norman Spencer had a hand in. (Universal Pictures)
By Malia Mendez
Norman Spencer, a British producer, production manager and screenwriter who regularly collaborated with director David Lean in the 1940s and ’50s, has died. He was 110.
The “Vanishing Point” producer died Aug. 16 in Wimbledon, England, three days after his birthday, the European Supercentenarian Organisation reported.
He worked with Lean on such films as “Blithe Spirit,” “Great Expectations,” “The Bridge on the River Kwai” and “Lawrence of Arabia.” He also assistant-produced Joseph L. Mankiewicz’s Southern Gothic whodunit “Suddenly, Last Summer” (1959), starring Elizabeth Taylor, Montgomery Clift and Katharine Hepburn, and co-produced Richard Attenborough’s 1987 apartheid drama “Cry Freedom,” starring Denzel Washington.
Norman Leslie Spencer was born in London on Aug. 13, 1914, and grew up in Essex. He began his film career in the mid-1930s as an extra. He was a gofer at Denham Film Studios when he first met Lean, an editor, in 1942.
“We took a shine to each other — we were both mad about film and started going to the pictures together with our wives,” Spencer said in a 1999 interview for the British Entertainment History Project. “We started making films together; when we’d finished one, we’d always want to make another right away. We’d haunt bookshops, and he’d say, ‘Within nine feet of us is a wonderful idea for a film.’ ”
Spencer’s big break came with Lean’s directorial debut, “In Which We Serve” (1942), on which he served as third assistant director. He also had a small part as an officer in the film.
In 1944, he launched Cineguild Productions alongside Lean, producer Anthony Havelock-Allan, playwright Noël Coward and filmmaker Ronald Neame. He also worked for three years as an executive assistant under Elmo Williams, head of European production for Fox, according to the Hollywood Reporter.
Spencer married Barbara Sheppard in 1943, and the couple had two children, according to IMDb.
At the time of his death, Spencer was thought to be the oldest man in the Greater London area, and the second-oldest man in the U.K.