Last Friday night I attended the Todd-AO 30 fps presentation of “Around the World in 80 Days” at the Egyptian in LA. According to the gentleman that introduced the picture, this print was struck in 1968. It was a bit more faded than I expected, but still enjoyable. The real minus for me was that the introduction by Ed Murrow was cut short: the “Trip to the Moon” and the rocket firing sequences were missing. I could be wrong, but it seemed that the introduction edit was similar to the one made for network TV. I can only imagine how this picture would look and sound if fully restored. Overall, we had a good time, but I wouldn’t necessarily recommend this print for the general public. It all depends on how much fading you can tolerate. Certainly fans and enthusiasts of the film will enjoy it. My 7-year old son got a kick out of it! As an extra before the picture, a recently restored “The Miracle of Todd-AO” was shown. The roller coaster and motorcycle ride scenes were fantastic! The other noteworthy 70 mm presentations during the weekend were “Patton†and “South Pacificâ€. Unfortunately, I missed those. Next time perhaps!
Maybe a place to start would be to show classics at the Dome Saturdays and/or Sundays, at a special matinee or other regularly established time. Some smaller theaters do this already.
When it comes to classics such as “Ben-Hur†and “Around the World…†my experience is that people who dislike them fall into two main categories. The first category consists of those who have seen them on a small screen, thus missing essential dramatic impact elements and production values. The second group includes people that have not seen the movies at all, and rely on the judgment of people who happen to fall into the first category. There are variations on these themes, which include “political correctnessâ€, the “it’s too long†factor, and so on. Still, there are some who watch these films in their full glory only to come out disappointed. My grandmother saw “Ben-Hur†way back when, and she hated it. It was too long and perhaps too violent for her sensibilities.
I had the privilege of seeing “Ben-Hur†at the Dome in the early 90’s. William Wyler’s masterpiece is simply spectacular, deserving every single one of its 11 Academy Awards. Since then, I have refused to watch it on TV, no matter what format.
In the Ziegfeld’s CT page, I suggested a coast-to-coast classics revival that could take place simultaneously at flagship theaters in both the East and West Coasts. My thoughts were that, if successfully executed, such an event could demonstrate that there is substantial audience interest in classic films, in terms of proper theatrical presentation. In addition, this revival could offer industry, enthusiasts and the general public, with an opportunity to discuss in an open forum issues of interest such as restoration, preservation, and presentation of classic films. The Cinerama Dome would be the ideal place to host this event, particularly when it comes to 70 mm.
As Bill pointed out, the Ziegfeld is planning another classics series for this November. It would certainly be interesting if both venues coordinated efforts, along with the film distributors, the studios and other technical professionals, to bring out the best possible prints and stage a large-scale classic series.
I share your enthusiasm for the Cinerama Dome 100 %. And I understand your position regarding the Egyptian, since there are some who feel the same way as you do. However, in the case of the upcoming presentation of “Around the World…â€, I am willing to give them and America Cinematheque some slack. In my opinion, this is a rare opportunity to see this classic in Todd-AO. Unfortunately, in all likelihood we will see another installment of “Scary Movie†before “Around the World†is properly restored and presented at the Dome or the Ziegfeld.
Bill Huelbig,
I’m glad to see that someone is taking a stand on behalf of “Around the World”. Event though time has not been kind to some of its aspects, I think it is a wonderful picture. Shortly after this year’s Oscars, an article in the LA Times Calendar section declared it (and Ben-Hur) as some of the worst winners ever for Best Picture.
Gary,
To follow up on Chris’s response on Cinerama, see my Apr. 6 comment on this page.
Peter: I appreciate your response. Thank you! We agree, it is indeed a rare opportunity. I am going to skip work that day, certainly don’t want to miss it! If you wish, I’ll let you know how it turns out.
To the best of your knowledge, how good is that “Around the World” print? Until I read the Egyptian schedule at the in70mm website, I was not aware that a Todd-AO print was in existence!
In 1989, Big Newport presented the Director’s cut of “Lawrence of Arabia”. It was an amazing experience, and an excellent show: A beautiful 70 MM print, with great sound, an overture, intermission, no commercials, and no previews. A true class act!
HTWWW was shown in 3-strip format at the Cinerama Dome in LA as recently as last November. The next engagement is supposed to be in 2007. “This is Cinerama” may play this year. However, no official announcement has been made for either presentation.
Robert Harris: Yes, of course there is innocence in my comments. There is also hope, optimism and romanticism as well. With all that comes my ignorance relative to the subject matter, since I would not be able to tell which classic films are in condition to be screened properly. I am aware that many of our classic motion pictures are either in a state of disrepair or presently unavailable for proper widescreen presentation. However, I was not suggesting a program per se, but rather the concept of a large-scale classic revival taking place simultaneously in premier venues at LA and NYC. Logistically difficult? Yes. Risky? Absolutely. Obstacles on the way? More than we can imagine. Will it happen? Probably not. But if a) such an event would ever come to fruition and b) if sufficient financial returns are realized from such an event, maybe this could send a signal to the studios. And maybe, just maybe, instead of spending $ 100 million “adapting†another bad TV show for the screen, someone in the Hollywood executive suites could instead put an end to that insanity. Take that money, invest in the studio archives and budget funds for restoration and preservation with the intent of proper theatrical release.
Robert, I sincerely appreciate the work and effort that has been put into classic film restoration, and have a high sense of gratitude and respect towards everyone involved in that endeavor. And thank you for sharing your insight relative to MW, and the 35 & 70 mm issues. Seeing the restored “Lawrence of Arabia†on the big screen back in the late 80’s was indeed a remarkable and definitive cinematic experience, not only because of the spectacular presentation, but also because up to that time I thought that such an event would have been impossible.
Some of this may sound corny, but now that this Classics series is near its end, I would like to make some comments. Here at no-so sunny California (yes, it rains here from time to time), I just realized that, despite the setbacks encountered by the Ziegfeld and posted here in explicit detail, in many ways you guys had all the luck this time. While our “flagship†theaters were delighting audiences with “Underworld: Evolutionâ€, “Running Scaredâ€, the new “Pink Pantherâ€, and on and on, you guys had “Chinatownâ€, CE3K, “The Godfatherâ€, “Ben-Hurâ€, WSS, LOA and “2001â€. So, all in all, kudos to the Ziegfeld for doing this, and to all who showed up and supported the program. Not only do we all virtually love the same movies (well, I’m not too crazy about MFL, but that’s beside the point), but we all have the same high standards when it comes to proper film presentation. Hopefully the Ziegfeld will take to heart the recommendations posted by the various CT members and lessons learned during this series, and they will find their way to the next classics presentation. I for one would like to visit the Ziegfeld, the Lafayette and the Loew’s in Jersey in a not-so distant future.
For Craig and Clearview: In the spirit of “friendly†rivalry between the East and West Coast let me propose a challenge. Take note when there is a classic widescreen series at either the American Cinematheque, Cinerama Dome or at Cal State Long Beach. Schedule an “alternative†series at the same time. If we have “Cleopatraâ€, throw “Spartacus†at us. If they show “Agony and the Ecstasyâ€, proudly present “Lust for Lifeâ€. “The Great Raceâ€? No problem, here’s “Those Magnificent Men in their Flying Machinesâ€. “Magnificent Seven†you say? Show off with “The Alamoâ€. “Dirty Harry†vs. “Bullittâ€. The possibilities are endless. Most important, we all win…
Lastly, I would like to pay my respects in this site to Richard Fleischer (20,000 Leagues Under the Sea, Fantastic Voyage, Tora! Tora! Tora!, Soylent Green), who passed away last Saturday at the age of 89.
Just want to throw my two cents regarding the roadshow presentations: I have attended many classic film engagements in the LA and Orange County areas. It’s my experience that, with only one notable exception, intermissions and overtures are generally handled well. A minor discrepancy may be proper light fading during the overtures, but it’s not that big of a deal. I emphasize, “may be”. I’ll have to pay more attention to that next time. The notable exception was a presentation of “El Cid” in a theatre at Orange County, which shall remain nameless, to protect the guilty. I just barely had time to return to my seat from the restroom during the, er, “intermission”.
As far as CE3K, I’ll reiterate that the ‘77 version is much better in terms of story continuity. The '80 scenes with Neary inside the spaceship were, in my opinion, a waste of time. The Director’s Edition is not bad, and I try to catch it on the big screen when possible.
The Heights Theatre in Minneapolis is currently running a 70 mm DTS engagement of “Lawrence of Arabia”.
El Capitan Theatre in Hollywood has shown several Disney classics on the big screen for a limited time, prior to their DVD release. They’ve done it recently for “Lady and the Tramp”, and also for the 40th anniversary of “Mary Poppins”, among others. With all the resources that Disney has, I wonder why New York and other major cities are not included in these engagements. And, I can only speak for my 7 year old son, but yes he can sit through “Mary Poppins”!!! It’s one of his favorite films. I am a firm believer in the power and beauty of cinema, and try to pass on that appreciation to my kid. Last fall, he saw “Close Encounters” for the first time on the big screen, and he was in total awe, a jaw dropping experience for him.
Close Encounters: Some deletions from the 1977 version included a scene that takes place in the power station before Dreyfuss' first encounter. One Special Edition scene that made its way to the recent Definitive iteration is the Gobi Desert sequence. Over the years, mixed versions have been broadcast on TV, so who really knows how many permutations are out there? I still consider the original 1977 release the best, one of the finest American films of the 70’s. I failed to see what was so “Special” in the 1980 edition. The 2001 version is a good compromise.
Yes, Peter and Ed: I recently saw a presentation of “Close Encounters…” at California State University, Long Beach. The film was introduced by none other than cinematographer Vilmos Zsigmond, and he mentioned that the special effects sequences were shot in 70 mm, while the other dramatic scenes were shot in 35 mm. It would have been interesting to ask him Ed’s question! “Close Encounters…” is indeed a beautiful film, both visually and conceptually. A good 35 mm print will do justice to this important picture. But oh, that 70 mm/6-track…
Regarding Lawrence of Arabia’s ability to impact present-day audiences, my thoughts are that it will. By virtue of its powerful images and literate script, it will connect emotionally with anyone who’s passionate about film, regardless of political or social inclination.
Ed: you’re right, the MGM lion doesn’t roar on Ben-Hur. He did roar financially however, since Ben-Hur was the top grossing picture for 1959 & 1960. And the 11 Academy Awards didn’t hurt him.
I believe that for its 40th Anniversary, some 70 MM/DTS prints of “Lawrence†were made.
From what I can gather, there are probably only two 70 MM prints of “Ben-Hur†in existence. Hopefully someone can correct me.
The last time I heard of a 70 MM print of “West Side Story†was in 1993.
“Lawrence of Arabiaâ€â€¦ 70 mm… March 24… Director’s cut , I presume…humm… Jetblue has $ 119 each-way fare to JFK from Burbank… I wonder how I’m going to explain this one to the wife…
Craig: Good choices! Wish I could make it for the “Out of this World†week!
To HowardBHaas (and all those interested in Cinerama):
Regarding the screen required for Cinerama, check out the recent comment posted by haineshisway on the Cinerama Dome section. Technically he’s correct. However, I have seen “How The West Was Won” at the Dome, and it is a truly spectacular experience.
I got the above dates from the program that was handed during the engagements (I’ve been doing some spring cleaning!). I recall a later date for Columbia’s 75th Anniversary, but can’t exactly remember when. I just hope they bring back those films, right where they belong!
From May 20 until June 16 1994, The Cinerama Dome presented a “Columbia Classic Film Retrospectiveâ€, advertised as “The way they were made to be seenâ€. The films screened included “Bridge on the River Kwaiâ€, “Lawrence of Arabiaâ€, “The Guns of Navarone†and “Tommyâ€. I had the chance to see “Kwaiâ€and “Navaroneâ€. They sounded and looked majestic on the giant screen. I don’t believe that a retrospective such as this has been presented in recent years. The last one I recall was done right before the renovation.
It’s about time for the Dome to host another event like this…
I sincerely hope that your “classics†series is the beginning of a positive trend for New York City. In the spirit of constructive suggestions, I have a few brief comments. First, you may want to reconsider associating the term “classics†with films like “Chicagoâ€, “Lord of the Ringsâ€, “Gladiator†and so on. This is not to be taken as a negative comment on neither the movies themselves, nor on the management at the Ziegfeld. Those films do have a proper place in contemporary American popular culture, and no doubt they help bring around the “bottom lineâ€. Having said that, “Braveheart†is not in the same class as “Ben-Hurâ€, and “Chicago†is no “West Side Storyâ€. They have not passed that “oh so subjective†test of time. Some of the Cinema Treasures’ members have given very good suggestions as to what constitutes a “classic motion pictureâ€, so I will not repeat them. Hopefully your next revival festival will include proper 35 and 70 mm presentations of those true “classicsâ€.
And finally, someone with the resources, connections and vision may just notice someday that Cinerama is alive, well, and doing business in Seattle and Los Angeles. I’m not sure if the logistics will allow the Ziegfeld to go in that direction. But for New York, it may just be a matter of “when†it will happen, and not “if”. The clock is ticking…
I echo the sentiments expressed by Vincent and allanb: New York â€" or any other city in the US for that matter â€" does not need another multiplex. The city will be well served if this theatre is restored to its original condition, as much as economically and technically possible. A restored De Mille could not only showcase the latest independent films, but also host revivals of restored classics in their original formats, i.e. CinemaScope, Super Panavison, etc. In addition, may I also suggest that serious consideration be given to adding 3-strip Cinerama projection capability, as an integral part of the restoration. I am a resident of the Los Angeles area, and I do business frequently in Seattle. Both cities have Cinerama theatres, which in addition to running regular fare, 3-strip Cinerama films are successfully shown. It’s not fair that we in the West Coast have all the fun!
Catherine: I commend you for taking this very first important step towards a noble cause. Restoring, preserving and enhancing our nation’s cultural artifacts deserve praise, encouragement and support. Regardless of the final outcome, I only wish success for the project.
To Peter Apruzzese and Bill Huelbig:
Last Friday night I attended the Todd-AO 30 fps presentation of “Around the World in 80 Days” at the Egyptian in LA. According to the gentleman that introduced the picture, this print was struck in 1968. It was a bit more faded than I expected, but still enjoyable. The real minus for me was that the introduction by Ed Murrow was cut short: the “Trip to the Moon” and the rocket firing sequences were missing. I could be wrong, but it seemed that the introduction edit was similar to the one made for network TV. I can only imagine how this picture would look and sound if fully restored. Overall, we had a good time, but I wouldn’t necessarily recommend this print for the general public. It all depends on how much fading you can tolerate. Certainly fans and enthusiasts of the film will enjoy it. My 7-year old son got a kick out of it! As an extra before the picture, a recently restored “The Miracle of Todd-AO” was shown. The roller coaster and motorcycle ride scenes were fantastic! The other noteworthy 70 mm presentations during the weekend were “Patton†and “South Pacificâ€. Unfortunately, I missed those. Next time perhaps!
Regards,
JSA
Maybe a place to start would be to show classics at the Dome Saturdays and/or Sundays, at a special matinee or other regularly established time. Some smaller theaters do this already.
JSA
When it comes to classics such as “Ben-Hur†and “Around the World…†my experience is that people who dislike them fall into two main categories. The first category consists of those who have seen them on a small screen, thus missing essential dramatic impact elements and production values. The second group includes people that have not seen the movies at all, and rely on the judgment of people who happen to fall into the first category. There are variations on these themes, which include “political correctnessâ€, the “it’s too long†factor, and so on. Still, there are some who watch these films in their full glory only to come out disappointed. My grandmother saw “Ben-Hur†way back when, and she hated it. It was too long and perhaps too violent for her sensibilities.
I had the privilege of seeing “Ben-Hur†at the Dome in the early 90’s. William Wyler’s masterpiece is simply spectacular, deserving every single one of its 11 Academy Awards. Since then, I have refused to watch it on TV, no matter what format.
JSA
In the Ziegfeld’s CT page, I suggested a coast-to-coast classics revival that could take place simultaneously at flagship theaters in both the East and West Coasts. My thoughts were that, if successfully executed, such an event could demonstrate that there is substantial audience interest in classic films, in terms of proper theatrical presentation. In addition, this revival could offer industry, enthusiasts and the general public, with an opportunity to discuss in an open forum issues of interest such as restoration, preservation, and presentation of classic films. The Cinerama Dome would be the ideal place to host this event, particularly when it comes to 70 mm.
As Bill pointed out, the Ziegfeld is planning another classics series for this November. It would certainly be interesting if both venues coordinated efforts, along with the film distributors, the studios and other technical professionals, to bring out the best possible prints and stage a large-scale classic series.
JSA
Chris,
I share your enthusiasm for the Cinerama Dome 100 %. And I understand your position regarding the Egyptian, since there are some who feel the same way as you do. However, in the case of the upcoming presentation of “Around the World…â€, I am willing to give them and America Cinematheque some slack. In my opinion, this is a rare opportunity to see this classic in Todd-AO. Unfortunately, in all likelihood we will see another installment of “Scary Movie†before “Around the World†is properly restored and presented at the Dome or the Ziegfeld.
Bill Huelbig,
I’m glad to see that someone is taking a stand on behalf of “Around the World”. Event though time has not been kind to some of its aspects, I think it is a wonderful picture. Shortly after this year’s Oscars, an article in the LA Times Calendar section declared it (and Ben-Hur) as some of the worst winners ever for Best Picture.
Gary,
To follow up on Chris’s response on Cinerama, see my Apr. 6 comment on this page.
Regards to all,
JSA
Peter: I appreciate your response. Thank you! We agree, it is indeed a rare opportunity. I am going to skip work that day, certainly don’t want to miss it! If you wish, I’ll let you know how it turns out.
Regards,
JSA
Peter:
To the best of your knowledge, how good is that “Around the World” print? Until I read the Egyptian schedule at the in70mm website, I was not aware that a Todd-AO print was in existence!
Regards,
JSA
In 1989, Big Newport presented the Director’s cut of “Lawrence of Arabia”. It was an amazing experience, and an excellent show: A beautiful 70 MM print, with great sound, an overture, intermission, no commercials, and no previews. A true class act!
JSA
Hello Gary,
HTWWW was shown in 3-strip format at the Cinerama Dome in LA as recently as last November. The next engagement is supposed to be in 2007. “This is Cinerama” may play this year. However, no official announcement has been made for either presentation.
JSA
Robert,
Thank you for your response. It has completely changed the way I feel and think about the subject. Can’t wait to see your next project.
Regards,
JSA
Robert Harris: Yes, of course there is innocence in my comments. There is also hope, optimism and romanticism as well. With all that comes my ignorance relative to the subject matter, since I would not be able to tell which classic films are in condition to be screened properly. I am aware that many of our classic motion pictures are either in a state of disrepair or presently unavailable for proper widescreen presentation. However, I was not suggesting a program per se, but rather the concept of a large-scale classic revival taking place simultaneously in premier venues at LA and NYC. Logistically difficult? Yes. Risky? Absolutely. Obstacles on the way? More than we can imagine. Will it happen? Probably not. But if a) such an event would ever come to fruition and b) if sufficient financial returns are realized from such an event, maybe this could send a signal to the studios. And maybe, just maybe, instead of spending $ 100 million “adapting†another bad TV show for the screen, someone in the Hollywood executive suites could instead put an end to that insanity. Take that money, invest in the studio archives and budget funds for restoration and preservation with the intent of proper theatrical release.
Robert, I sincerely appreciate the work and effort that has been put into classic film restoration, and have a high sense of gratitude and respect towards everyone involved in that endeavor. And thank you for sharing your insight relative to MW, and the 35 & 70 mm issues. Seeing the restored “Lawrence of Arabia†on the big screen back in the late 80’s was indeed a remarkable and definitive cinematic experience, not only because of the spectacular presentation, but also because up to that time I thought that such an event would have been impossible.
Much regards,
JSA
To all CT NYC colleagues:
Some of this may sound corny, but now that this Classics series is near its end, I would like to make some comments. Here at no-so sunny California (yes, it rains here from time to time), I just realized that, despite the setbacks encountered by the Ziegfeld and posted here in explicit detail, in many ways you guys had all the luck this time. While our “flagship†theaters were delighting audiences with “Underworld: Evolutionâ€, “Running Scaredâ€, the new “Pink Pantherâ€, and on and on, you guys had “Chinatownâ€, CE3K, “The Godfatherâ€, “Ben-Hurâ€, WSS, LOA and “2001â€. So, all in all, kudos to the Ziegfeld for doing this, and to all who showed up and supported the program. Not only do we all virtually love the same movies (well, I’m not too crazy about MFL, but that’s beside the point), but we all have the same high standards when it comes to proper film presentation. Hopefully the Ziegfeld will take to heart the recommendations posted by the various CT members and lessons learned during this series, and they will find their way to the next classics presentation. I for one would like to visit the Ziegfeld, the Lafayette and the Loew’s in Jersey in a not-so distant future.
For Craig and Clearview: In the spirit of “friendly†rivalry between the East and West Coast let me propose a challenge. Take note when there is a classic widescreen series at either the American Cinematheque, Cinerama Dome or at Cal State Long Beach. Schedule an “alternative†series at the same time. If we have “Cleopatraâ€, throw “Spartacus†at us. If they show “Agony and the Ecstasyâ€, proudly present “Lust for Lifeâ€. “The Great Raceâ€? No problem, here’s “Those Magnificent Men in their Flying Machinesâ€. “Magnificent Seven†you say? Show off with “The Alamoâ€. “Dirty Harry†vs. “Bullittâ€. The possibilities are endless. Most important, we all win…
Lastly, I would like to pay my respects in this site to Richard Fleischer (20,000 Leagues Under the Sea, Fantastic Voyage, Tora! Tora! Tora!, Soylent Green), who passed away last Saturday at the age of 89.
Regards to all
JSA
Hello to all,
Just want to throw my two cents regarding the roadshow presentations: I have attended many classic film engagements in the LA and Orange County areas. It’s my experience that, with only one notable exception, intermissions and overtures are generally handled well. A minor discrepancy may be proper light fading during the overtures, but it’s not that big of a deal. I emphasize, “may be”. I’ll have to pay more attention to that next time. The notable exception was a presentation of “El Cid” in a theatre at Orange County, which shall remain nameless, to protect the guilty. I just barely had time to return to my seat from the restroom during the, er, “intermission”.
As far as CE3K, I’ll reiterate that the ‘77 version is much better in terms of story continuity. The '80 scenes with Neary inside the spaceship were, in my opinion, a waste of time. The Director’s Edition is not bad, and I try to catch it on the big screen when possible.
The Heights Theatre in Minneapolis is currently running a 70 mm DTS engagement of “Lawrence of Arabia”.
JSA
Michael,
Thank you for the Columbia Pictures 75th Anniversary info.
JSA
El Capitan Theatre in Hollywood has shown several Disney classics on the big screen for a limited time, prior to their DVD release. They’ve done it recently for “Lady and the Tramp”, and also for the 40th anniversary of “Mary Poppins”, among others. With all the resources that Disney has, I wonder why New York and other major cities are not included in these engagements. And, I can only speak for my 7 year old son, but yes he can sit through “Mary Poppins”!!! It’s one of his favorite films. I am a firm believer in the power and beauty of cinema, and try to pass on that appreciation to my kid. Last fall, he saw “Close Encounters” for the first time on the big screen, and he was in total awe, a jaw dropping experience for him.
I have hope for the future!
Regards,
JSA
Close Encounters: Some deletions from the 1977 version included a scene that takes place in the power station before Dreyfuss' first encounter. One Special Edition scene that made its way to the recent Definitive iteration is the Gobi Desert sequence. Over the years, mixed versions have been broadcast on TV, so who really knows how many permutations are out there? I still consider the original 1977 release the best, one of the finest American films of the 70’s. I failed to see what was so “Special” in the 1980 edition. The 2001 version is a good compromise.
JSA
Yes, Peter and Ed: I recently saw a presentation of “Close Encounters…” at California State University, Long Beach. The film was introduced by none other than cinematographer Vilmos Zsigmond, and he mentioned that the special effects sequences were shot in 70 mm, while the other dramatic scenes were shot in 35 mm. It would have been interesting to ask him Ed’s question! “Close Encounters…” is indeed a beautiful film, both visually and conceptually. A good 35 mm print will do justice to this important picture. But oh, that 70 mm/6-track…
JSA
Regarding Lawrence of Arabia’s ability to impact present-day audiences, my thoughts are that it will. By virtue of its powerful images and literate script, it will connect emotionally with anyone who’s passionate about film, regardless of political or social inclination.
Ed: you’re right, the MGM lion doesn’t roar on Ben-Hur. He did roar financially however, since Ben-Hur was the top grossing picture for 1959 & 1960. And the 11 Academy Awards didn’t hurt him.
I believe that for its 40th Anniversary, some 70 MM/DTS prints of “Lawrence†were made.
From what I can gather, there are probably only two 70 MM prints of “Ben-Hur†in existence. Hopefully someone can correct me.
The last time I heard of a 70 MM print of “West Side Story†was in 1993.
Regards,
JSA
“Lawrence of Arabiaâ€â€¦ 70 mm… March 24… Director’s cut , I presume…humm… Jetblue has $ 119 each-way fare to JFK from Burbank… I wonder how I’m going to explain this one to the wife…
Craig: Good choices! Wish I could make it for the “Out of this World†week!
Regards,
JSA
Re Andreco’s Feb. 15 comment:
You are quite welcome! I only wish the best to all back East!
JSA
To HowardBHaas (and all those interested in Cinerama):
Regarding the screen required for Cinerama, check out the recent comment posted by haineshisway on the Cinerama Dome section. Technically he’s correct. However, I have seen “How The West Was Won” at the Dome, and it is a truly spectacular experience.
JSA
I got the above dates from the program that was handed during the engagements (I’ve been doing some spring cleaning!). I recall a later date for Columbia’s 75th Anniversary, but can’t exactly remember when. I just hope they bring back those films, right where they belong!
JSA
From May 20 until June 16 1994, The Cinerama Dome presented a “Columbia Classic Film Retrospectiveâ€, advertised as “The way they were made to be seenâ€. The films screened included “Bridge on the River Kwaiâ€, “Lawrence of Arabiaâ€, “The Guns of Navarone†and “Tommyâ€. I had the chance to see “Kwaiâ€and “Navaroneâ€. They sounded and looked majestic on the giant screen. I don’t believe that a retrospective such as this has been presented in recent years. The last one I recall was done right before the renovation.
It’s about time for the Dome to host another event like this…
JSA
To Craig,
I sincerely hope that your “classics†series is the beginning of a positive trend for New York City. In the spirit of constructive suggestions, I have a few brief comments. First, you may want to reconsider associating the term “classics†with films like “Chicagoâ€, “Lord of the Ringsâ€, “Gladiator†and so on. This is not to be taken as a negative comment on neither the movies themselves, nor on the management at the Ziegfeld. Those films do have a proper place in contemporary American popular culture, and no doubt they help bring around the “bottom lineâ€. Having said that, “Braveheart†is not in the same class as “Ben-Hurâ€, and “Chicago†is no “West Side Storyâ€. They have not passed that “oh so subjective†test of time. Some of the Cinema Treasures’ members have given very good suggestions as to what constitutes a “classic motion pictureâ€, so I will not repeat them. Hopefully your next revival festival will include proper 35 and 70 mm presentations of those true “classicsâ€.
And finally, someone with the resources, connections and vision may just notice someday that Cinerama is alive, well, and doing business in Seattle and Los Angeles. I’m not sure if the logistics will allow the Ziegfeld to go in that direction. But for New York, it may just be a matter of “when†it will happen, and not “if”. The clock is ticking…
Regards,
JSA
I echo the sentiments expressed by Vincent and allanb: New York â€" or any other city in the US for that matter â€" does not need another multiplex. The city will be well served if this theatre is restored to its original condition, as much as economically and technically possible. A restored De Mille could not only showcase the latest independent films, but also host revivals of restored classics in their original formats, i.e. CinemaScope, Super Panavison, etc. In addition, may I also suggest that serious consideration be given to adding 3-strip Cinerama projection capability, as an integral part of the restoration. I am a resident of the Los Angeles area, and I do business frequently in Seattle. Both cities have Cinerama theatres, which in addition to running regular fare, 3-strip Cinerama films are successfully shown. It’s not fair that we in the West Coast have all the fun!
Catherine: I commend you for taking this very first important step towards a noble cause. Restoring, preserving and enhancing our nation’s cultural artifacts deserve praise, encouragement and support. Regardless of the final outcome, I only wish success for the project.
Regards and best of luck,
JSA