Will Around the World in 80 Days ever get a special deluxe edition like The Wonderful World of The Brothers Grimm? (1 Viewer)

[Robert Harris]

IMO, if possible, it should be from one of the two original color 65mm negatives (30 fps, 24 fps, or both if necessary) and from the best 6 channel sound sources, maybe from a 35mm 6 channel magnetic sound source. In the theater, when the band at the beginning marches off the screen to the left, the sound -- particularly the bass drum -- moves part way up the left side of the theater, and it is grievously missing in the surround on the DVD. There were rumors that double system sound was used in some of the 70mm roadshow presentations. There are photos that hint that this is true. One is in Arthur Knight's The Liveliest Art, at least in my old, old paperback copy; it is a picture of a frame of a print, with no soundtracks visible, implying that the sound was on a separate, synchronized, piece of film, hopefully on a 6 channel 35mm mag film. The photo of the film frame, was labeled "actual size," (do we trust this?) and measures 65mm, yet it is not a negative, but a normal contrast positive, with no soundtracks in sight.

The DVD is O.K.ish, but there is a slight bit of distortion in the very high frequencies, removable by my using Audyssey Reference, with its narrow dip at 2K, then returning to flat, to later roll off to - 5 dB at 15KHz.

Like you, Capt., I saw it when young -- 3 times in 70mm in 1956-- the first time with the California Scholarship Federation in the 10 grade, a group of "the best and brightest," although I had my doubts then and now. They loved it. The CSF was packed with film buffs, audiophiles, amateur photographers, and members of orchestras. We loved the several kinds of comedy, the suspense, the almost 3D photography, and the super dynamic, clean, sound of the 114 piece orchestra.

I'm 81, so I hope they hurry.

A few points, if I may.

This work will be a bit more complex than it may appear, as all of the necessary elements may not be in order.

Generally, 35 mag prints held no more than four channels with a single exception.

I believe the original release was not 70mm. It was 65.

 

[Keith Cobby]

It would obviously be a lot of work, but encouraging news. An early Christmas present!

 

[Tony Bensley]

I must also add my thanks to Mr. Strohmaier for his thoughts on Around the World in 80 Days, which has long been on my wish list of upgrades, as it has been for so many others. Let's continue to hold out hope the restoration on this moves forward and that we see a physical home video release of it someday, preferably sooner than later.

As an aside, this is my first post here--after visiting this site for many years as my go-to source for All Things Film--for this forum, announcements of upcoming releases, and the excellent reviews by all the reviewers, with a special nod to those by the venerable Mr. Harris--I finally realized I should have joined long ago. I guess I feel passionate enough about this film that it finally moved me to action!

Welcome to the Forum, Jeff!

If I recall correctly, for me it was weighing in on the then considerable problems with Warner releasing The Bowery Boys series to DVD (Eventually, The Warner Archive released all 48 BB Features in four separate 4 DVD Volumes, thankfully!) that prompted me to join in the summer of 2010. I did also weigh in on Wheeler & Woolsey around that time!

CHEERS!

 

[SwatDB]

Return it’s investment.

What does the "Return it's investment" mean? Just curious.

 

[Strohmaier]

Some more weighing in responses on “80 Days” etc.
Let’s hope Robert Harris is correct and that “80 Days” will generate a nice profit once again.
The main goal here is to deal with the 30 fps version which is more true to the original intent of the Todd-AO format. I understand that the negs have been scanned or nearly finished. I was told there is some expected color fading but don’t know how much. When the elements were delivered to WB in 1983, one thing that was not somehow included was the YCMs of the 30 fps version. In my discussions with the Taylor Foundation, I asked if there could be any more film elements in their archives. They thought there was some but probably only 16mm. I was informed several days later that their Foundation archivist and Fritz Herzog from the Academy Film Archive checked out the inventory and miraculously found the complete set of 65mm 30 fps YCMs! Praise Jesus! A few weeks later this was turned over, after 39 years, to the WB studio vaults. Fritz, who is the Academy’s large format expert, indicated to me that the elements looked fine to him. My understanding is that these elements have been inspected and are in good shape. As far as a color grading reference is concerned, a film archivist in London is willing to loan us an IB Tech print in order to grade the color as close as possible to the original release print, the same as what we had done on “Grimm.”

In the event there might be any 6-track problems with the 30 fps version, I located a vintage intact roadshow English print (somewhat faded as expected) that the Norwegian Film Institute has on deposit. Their technical expert at the Institute, Jan Olsen, said he had ran this print about 5 years ago and marveled at the quality of the sound track and that they would be happy to loan it out to support such a restoration. So there appears to be a back-up for the 6-track sound. Nick Bergh, of Endpoint Audio in Burbank, is an expert and perfectionist on motion picture audio. He has maintained a large variety of vintage audio equipment including 70mm

6-track, Cinerama 7-track and you name it - he’s got it. So, there should be no problem getting sound off of the Norwegian back up print if needed. Nick has worked on many forms of classic audio for major studio restorations including several of our Cinerama titles, we are both members of the Academy’s Technology History Subcommittee.

As far as what would be included in a future release, that would be entirely up to Warner Bros. What I have proposed and am willing to provide along with the restoration is a 50 minute documentary that will have the support of both families, documenting Mike Todd’s amazing struggle to make this film. Several historians I have contacted indicated they would want to be a part of this effort. Todd Fisher, who is Mike Todd’s godson, has inherited an original vintage Todd-AO 65mm camera with the bug eye lens. Todd and I want to shoot a little test perhaps driving down the Las Vegas Strip, what a hoot.

On any film I work on, I like to create a documentary short on how the film was digitally restored. Harrison Engle’s “Rescuing a Fantasy Classic“ on “Brothers Grimm” was incredibly well received and got a special holiday broadcast on TCM last year as well as part of the Blu ray Warner Archive release. However, on the proposed restoration doc, I want to emphasize not only the “80 Days” work but include sections on the fantastic work WB MPI has done in the past leading up to and including “80 Days.” MPI is an incredible place and has earned my greatest respect for what they have accomplished. So, interviews with several MPI staff would be in order so it won’t be a just a Dave & Tom show but a tribute to digital restorations in general at MPI. Of course, any extras would be cleared by the Warner Legal staff and guided ahead of time by George Feltenstein’s expert guiding instincts as was done with the “Grimm” project. If the studio decides to do the work themselves without my participation, I am convinced it will be terrific, and will not disappoint. However, with Tom and my “passion factor” applied and ability to deliver some super bonus extras for pennies on the dollar, could add a lot of extra shine to a release.

When finished, my goal is also to get several important gala screenings of the film dedicated to the Elizabeth Taylor AIDS Foundation’s charity work. This would be perfect for the Academy’s large David Geffen Theater with members of her family attending considering “80 Days” was the Academy’s 1956 Best Picture. This will be a win-win for all concerned.

Larry Smith at The Library of Congress
John Harvey and Larry Smith who presented Cinerama at the new Neon Movies in the 1990s were the inspiration for me to get involved with Cinerama at Pacific Theaters/Decurion. I was given full permission along with the keys to the vaults to use clips for “Cinerama Adventure” and later got the films digitally restored. Larry Smith, who is now retired and back in Ohio, was instrumental in filling in several blank spots where negative was missing from the travelogues. Thus, the Library of Congress through Larry and Greg Lukow provided sections of their prints for scanning although the color was faded, to help complete “Seven Wonders,” “South Seas Adventure” and “Search for Paradise.” We just had to figure out some color recovery techniques.

So far I have worked on digital restorations of 10 features and 5 shorts since starting this work in 2010. Two titles were done twice, we revisited “This Is Cinerama” and “Windjammer” a second time using 3-panel o-negs. Windjammer’s many problems gave me a lot of confidence that almost anything is possible. I suppose it’s like a drug to finally see the results on giant screens like the Dome, Pictureville in Bradford UK, Oslo’s Collosseum Kino and some very nice screens in Germany, Vienna, Venice International Film Festival. Always a goose pimple moment for us.

Star is Born, 1954
You could say my first foray into film restoration was Judy Garland’s “Star is Born.” Ron Haver used to come by WB film shipping when I was an apprentice editor there and I was sort of in charge, with another apprentice, of studio prints going out. I would pull prints from the vaults and help Ron load up his car for whatever screenings of WB vintage titles were to be shown at LACMA. This would gain me many passes to the shows each weekend. He often asked me about “Star is Born” and his desire to restore Cukor’s longer version. At the time no one in post-production wanted to help him with his passion project, I think this was about 1975. One day when film shipping work was quite slow, I went down to the basement vaults which at the time had a lot of sound elements in one section as well as prints in another. I came across a lot of cans of “Star Is Born” with 35mm mag track, I did a cursory look and estimated the footage in each can and found that the running time was quite a bit longer that the studio print we in the vault. I also looked for any positive or negative outs but the mag was all that I could find, so I gave Ron the location of the tracks. Years later when he got approval to reconstruct and restore the film, he mentioned that I had helped him and said that the track was located at the exact spot mentioned by Dave. RIP Ron.

 

[Allansfirebird]

The 30fps 65mm YCMs survived in good condition?! I feel like Christmas came early, just hearing that!

My wallet is ready and willing to shell out the quatloos needed to see the final product, Dave.

 

[xochipilli]

These are extremely encouraging news! 80 Days, along with the other 70mm films Warner controls, are at top of my most wanted list, and while George had already let slip that the film was "in the queue", I was still thinking of all the hurdles they'd have to clear. Besides having to essentially restore two three-hour ultra expensive movies the issue of special features was what always came to mind. Given the Archive's insistence on encoding their movies with plenty of room to breathe, an eventual release would surely have each version on each disc, just like Brothers Grimm. But unlike Grimm this film already had quite a few extras on previous editions, so now that even more special features could be added, I'm thinking they'd have to use a three-disc case, which they've never done before. I don't know if I'm making this a bigger deal than it actually is, but I wonder if it has come up in any discussions of the eventual physical release?

In any case, if Dave and co. are indeed involved in the restoration, I'm sure it'll be the best it can be. I'm sure they're tired of hearing the same praise all the time, but I'm one of many who was blown away by the Grimm release, and treasure it as one of the most important discs on my collection! And I'm eager to add an eventual disc(s) of 80 Days to it eventually.

 

[Robert Harris]

These are extremely encouraging news! 80 Days, along with the other 70mm films Warner controls, are at top of my most wanted list, and while George had already let slip that the film was "in the queue", I was still thinking of all the hurdles they'd have to clear. Besides having to essentially restore two three-hour ultra expensive movies the issue of special features was what always came to mind. Given the Archive's insistence on encoding their movies with plenty of room to breathe, an eventual release would surely have each version on each disc, just like Brothers Grimm. But unlike Grimm this film already had quite a few extras on previous editions, so now that even more special features could be added, I'm thinking they'd have to use a three-disc case, which they've never done before. I don't know if I'm making this a bigger deal than it actually is, but I wonder if it has come up in any discussions of the eventual physical release?

In any case, if Dave and co. are indeed involved in the restoration, I'm sure it'll be the best it can be. I'm sure they're tired of hearing the same praise all the time, but I'm one of many who was blown away by the Grimm release, and treasure it as one of the most important discs on my collection! And I'm eager to add an eventual disc(s) of 80 Days to it eventually.

Why would anyone want to fund a restoration of the 24fps version. It's an interesting anomaly, but technically awkward at best. Spend the funds on another project and use the old master as an extra.

 

[Strohmaier]

I agree with Robert.

I have seen the HD version of the 24 fps on Amazon Prime or perhaps some other streaming service can’t remember which and it looked pretty good other than some neg dirt and some flickering here and there, but seemed very watchable to me.

Dave

 

[xochipilli]

I just figured, since it was the general release version and the one that's been on home media and streaming for so long, it might have made sense to include it. Still, no big loss. Just two other things I still wonder about. One, how much of the 24 fps version was shot again rather than just transplanted from the 30 and two, would the 30fps version be encoded in 1080i like the Oklahoma disc was?

 

[Robert Harris]

I just figured, since it was the general release version and the one that's been on home media and streaming for so long, it might have made sense to include it. Still, no big loss. Just two other things I still wonder about. One, how much of the 24 fps version was shot again rather than just transplanted from the 30 and two, would the 30fps version be encoded in 1080i like the Oklahoma disc was?

The only portions of the 24fps version shot for that version were those with sync sound. The rest of the film is 30 fps running at the slower speed.

The 24 version can use the current release as an extra disc.

 

[Robert Harris]

I agree with Robert.

I have seen the HD version of the 24 fps on Amazon Prime or perhaps some other streaming service can’t remember which and it looked pretty good other than some neg dirt and some flickering here and there, but seemed very watchable to me.

Dave

It’s out on Warner disc.

 

[battlebeast]

Of course that implication would be wrong and that is why it was never implied Robert.
80 Days is an important film, with technical difficulties yes, but should have surfaced before now.
Hopefully the conversations between Dave and George will produce some results.

Lots of films should have surfaced by now, but Warners is doing the best they can. And they’re best in AMAZING. Give them time. We just got THREE best picture winners, one from 1929 that was in rough shape.

80 DAYS is bigger, LONGER, and costs MUCH MORE MONEY to restore… TIME AND PATIENCE. Like George said, if you dont see your film, it’s probably in the pipeline.

 

[TallPaulInKy]

I told them that if we were to end up doing the digital restoration and clean up like the “Grimm” project, we would also create and provide several important extras to make it more than a special home video release.

I don't know what elements are left to work with, but 80 Days is the type of film that would benefit from a "music only" audio track.

DECCA issued a best-selling album in 1957 which contained the main themes. But Victor Young wrote much more music. Hit Parade Records in Canada issued a Deluxe Expanded Edition of the soundtrack album in 2007 with a total playing time of 71:59 and they probably left some items out, as that is the maximum playing time of a CD. I just hope it is considered.

Victor Young's score won the Academy Award for "Best Scoring of a Dramatic or Comedy Picture."

Although not nominated for Best Original Song, the film's theme song "Around the World" became very popular. It was a hit for Bing Crosby in 1957, and was a staple of the easy-listening genre for many years.
I understand a song with lyrics cannot be nominated for a song unless the lyrics are performed in the song (typically under closing credits). 8-0 Days Theme does not have a vocal version in the film.

But none the less, a music only track if possible would be appreciated by fans of the music.. nomatter what they think of the movie.

 

[garyrc]

• The (American) Decca album was a best seller, BUT the quality of the vinyl disc couldn't hold a candle to the original theatrical 6 channel (5 channels behind the screen where almost all the music was) magnetic tracks. I went through (I think) 3 mono versions and 2 stereo versions, ending up being played alternately on Ortofon moving coil and Shure moving magnet top of the line phono cartridges with SME arms. The vinyl didn't even approach the theater sound. The CD by Hit Parade Records that TallPaulInKy mentioned is better, and contains more music, but still is not as good sounding as the DVD, so I have high hopes.
• Great News:
  

  Fritz Herzog from the Academy Film Archive checked out the inventory and miraculously found the complete set of 65mm 30 fps YCMs!

  
  
  

 

[roxy1927]

Was Grimm even a very successful film when it came out? Its Cinerama runs don't seem to have been very long and I had the impression it might have even lost money. I'm sure there are people out there who know about the success of this film at the time of release.
Yet the restored bluray is a major event and yet despite the spectacular international commercial success and best picture Oscar of 80 Days it is still languishing in the vaults. Go Figure. Wasn't it up against Ten Commandments for best picture which is already in 4k?
Considering her love for Todd and her ownership of the rights for so long. I was hoping Taylor while alive would fund a major restoration effort by Mr. Harris of the Todd AO version.

Also cds today are pushing the 80 minute mark. I think I have one that might be close to 81". Thank goodness they play on my player.

 

[Thomas T]

and yet despite the spectacular international commercial success and best picture Oscar of 80 Days it is still languishing in the vaults.

Is that it? If it's not on HD physical media then it's languishing in the vaults? That bubble I mentioned earlier needs to burst so its inhabitants can get a fresh dose of reality.

 

[jayembee]

Besides the many Cinerama projects and “Brothers Grimm” we also are very proud of the job we did for “Whistle At Eaton Falls” a little known B&W 1951 gem from the Louis de Rochemont Estate.

And thanks for that. Wonderful film, and terrific restoration.

 

[Robert Harris]

Was Grimm even a very successful film when it came out? Its Cinerama runs don't seem to have been very long and I had the impression it might have even lost money. I'm sure there are people out there who know about the success of this film at the time of release.
Yet the restored bluray is a major event and yet despite the spectacular international commercial success and best picture Oscar of 80 Days it is still languishing in the vaults. Go Figure. Wasn't it up against Ten Commandments for best picture which is already in 4k?
Considering her love for Todd and her ownership of the rights for so long. I was hoping Taylor while alive would fund a major restoration effort by Mr. Harris of the Todd AO version.

Also cds today are pushing the 80 minute mark. I think I have one that might be close to 81". Thank goodness they play on my player.

It’s not ”languishing,” it’s relaxing. The reality is that 80 is a technological marvel that received its Best Picture status based upon many factors, which among them was NOT that it was a good film, although it may have been perceived to be one at the time.

Seen today, the technological and cameo aspects ring true, but it fails the test of time.

As far as my personal interest is concerned, I’ve done my due diligence, am aware of the problems involved, and have digested the LoC inventory.

The reality of the situation is that aside from research toward reconstruction, all of the technical niceties can quite easily be handled internally via WB archival staff and MPI.

While it’s always nice to have an extra set of archival eyes on a project, I don’t believe (aside from our personal passion) that either Mr. Strohmaier nor I are truly necessary on this project.

To me, the real 65mm challenge remains The Alamo, which is in far worse condition. Now owned by Amazon, all I need is an approval to save it. $$ aren’t the obstacle.

Before anyone asks, does The Alamo stand the test of time better than 80?

Yup.

 

[RolandL]

Let's focus on 80 Days. There are other threads to discuss The Alamo and Grimm.