70mm usually refers to the actual film stock width shown by the theatre. A film shot in 35mm could be blown up for 70mm projection. The soundtrack strip on the 70mm film was also superior in quality. The Fresh Meadows multiplex, for example, has fairly small screens but the quality of a 70mm projection in the same complex was visibly superior in sight and sound to the 35mm screen, although not so different in size.
“SCENT” was the original in 70mm Smell-o-Vision. Since the film bombed and was somewhat of a travelogue mystery/comedy, it was re-edited and blown up for Cinerama release as “Holiday in Spain”. That also failed. The version shown on TCM was the Cinerama version but it seemed to have some 70mm scenes added in from the original.
Sarita Montiel, one of the icons of 60’s Spanish musical cinema was also dubbed in her early films. She was typecast as an indigeneous Mexican in Westerns by Hollywood until her career as a white European musical star was revived back home in Spain.
My understanding is that Audrey Hepburn recorded all the songs for “FAIR LADY” only to discover she was dubbed at the premiere, but we only heard Marni Nixon. Peter O'Toole’s voice was so awful on the “CHIPS” recordings they had to bring someone else in to replace his songs. I have never been able to find that “CHIPS” CD soundtrack at a resonable price.
Don’t forget that the “MY FAIR LADY” soundtrack was dubbed by others. So was “GOODBYE, MR. CHIPS”. “DOLITTLE” and others were not, and the reviews said that was not such a good idea.
bigjoe, some of those Roadshow lobby cards were on display a year before the film opened. The movies were not yet fully edited and in most cases, still filming.
Lobby cards with scenes not in the film were very common in the 70’s. Also, trailers with scenes that did not make the final cut and there was some controversy over newspaper ads that featured scenes not in the film. This was not limited to Roadshows.
“SCENT OF A WOMAN” was supposed to open on both screens at the Manhattan Twin but was moved here at the last minute when the director complained about that theatre’s presentation.
Astyanax, my NYT ad lists the Paris today as it did Sunday. The major chains demanded a 90 day theatrical window and Netflix refused.
70mm usually refers to the actual film stock width shown by the theatre. A film shot in 35mm could be blown up for 70mm projection. The soundtrack strip on the 70mm film was also superior in quality. The Fresh Meadows multiplex, for example, has fairly small screens but the quality of a 70mm projection in the same complex was visibly superior in sight and sound to the 35mm screen, although not so different in size.
Walter Reade’s wife sponsored the Lincoln Center screens for several years.
It re-opened as a sixplex but Cineplex Odeon opened a few screens while work was still going on in the others.
Sony Dynamic Digital Sound, a little known industry gimmick also know in the industry as “Still Doesn’t Do Shit”. SDDS.
I saw “ONCE UPON A TIME..” and “GOLDFINCH” here and didn’t see any bedbugs or rodents. I guess they only show up for STAR WARS and MARVEL movies.
And may this continue to happen more often.
Are Netflix' Paris and Belasco projects the ‘last hurrah’ or a resurgence of public cinema
“SCENT” was the original in 70mm Smell-o-Vision. Since the film bombed and was somewhat of a travelogue mystery/comedy, it was re-edited and blown up for Cinerama release as “Holiday in Spain”. That also failed. The version shown on TCM was the Cinerama version but it seemed to have some 70mm scenes added in from the original.
American.
“HOLIDAY IN SPAIN” opened here as “SCENT OF MYSTERY” in Smell-o-Vision, but not in Cinerama. I don’t believe “THE GOLDEN HEAD” ever played Manhattan.
Al Schwartz and Michael Landis were all about the money and could care less.
Sarita Montiel, one of the icons of 60’s Spanish musical cinema was also dubbed in her early films. She was typecast as an indigeneous Mexican in Westerns by Hollywood until her career as a white European musical star was revived back home in Spain.
My understanding is that Audrey Hepburn recorded all the songs for “FAIR LADY” only to discover she was dubbed at the premiere, but we only heard Marni Nixon. Peter O'Toole’s voice was so awful on the “CHIPS” recordings they had to bring someone else in to replace his songs. I have never been able to find that “CHIPS” CD soundtrack at a resonable price.
Don’t forget that the “MY FAIR LADY” soundtrack was dubbed by others. So was “GOODBYE, MR. CHIPS”. “DOLITTLE” and others were not, and the reviews said that was not such a good idea.
If there were awards for false advertising, the motion picture industry would win the award every year.
bigjoe, some of those Roadshow lobby cards were on display a year before the film opened. The movies were not yet fully edited and in most cases, still filming.
Lobby cards with scenes not in the film were very common in the 70’s. Also, trailers with scenes that did not make the final cut and there was some controversy over newspaper ads that featured scenes not in the film. This was not limited to Roadshows.
https://www.flickr.com/photos/53316491@N08/36383742373
bigjoe, both are for sale on ebay.
This has been going on for about a year now, Cool.
Why would this cinema’s LIEMAX first be added to the description? IMAX here is a joke.
“SCENT OF A WOMAN” was supposed to open on both screens at the Manhattan Twin but was moved here at the last minute when the director complained about that theatre’s presentation.
There were some exceptions including the Strand and the Rivoli (United Artists Twin).
Why would you think that if you thought the historic Strand should be renamed for it’s last incarnation?