Setting aside the super heroes for a moment, I will remember this decade as pivotal in terms of the projection (i.e. digital, 3-D, Imax, etc.) and sound technology shifts. The future is now…
Pesonally, I still prefer 70 MM. I have high hopes for Ron Fricke’s upcoming “Samsara”, shot in Super Panavision. But in all fairness , I don’t think it will be a game-changer at this point.
The answer is NO. 50 years from now, people will still go to the show.
The situation is dire in many multiplexes. The presentation, the ads, the patrons, and on and on. Yes, it’s ugly. I know the trouble spots, and avoid them accordingly. When it comes to movies, there’s nothing like going out on the town with friends and family, and experience the big screen. Watching “Up” in the Ziegfeld or “Dark Knight” at the Cinerama Dome is a whole lot more fun than sitting in front of the HD tube.
With all those edits, how the heck can the story make any sense? And how’s the movie supposed to end if the final scene (i.e. Ben-Hur’s return to his mother and sister) is cut out!!??
Kirk: They probably cut the overture, skipped the intermission and its music, and who knows what else. Anything to squeeze in another show. I have seen TV presentations with the entire prologue edited out, along with a few other scenes.
I first saw “Ben-Hur” when I was in the fifth grade, on a special presentation for school. It was an overhwelming experience for me. It instanly became one of my all-time favorites pictures, and still is to this day. The sea battle and the chariot race sequences are masterpieces in their own right. Miklos Rozsa’s score is one of the most beautiful pieces of film music.
I finally saw it on 70 MM at the Cinerama Dome during a 1990 engagement.
And last but not least, my thanks to Michael Coate. You’ve done it again!
Like Martin Hart stated in the Widescreen Museum site regarding “Krakatoa…”, the fact that it was actually west of Java was “the least of its problems”. The movie was repackaged with the title “Volcano”.
Thanks for the info regarding the 1972 install. And yes, in perspective, it makes more sense as a single strip setup.
And I know how you feel about the no-win situation in regards to 3-strip vs. single strip. When I posted my Cinerama poll ( http://cinematreasures.org/polls/322/ ) a few weeks ago, that was one of the first things I noticed from the comments. I bet that if only 3-strip films were listed, someone would have come out askking “Where is "2001” in this list?"
Finally, let me assure you that there are a few of us CT members that appreciate the work, effort and time you’ve put into this series. Hopefully in the future I’ll be able to contribute with information regarding two theatres, but right now I’m not even close to being complete. In the meantime, we look forward to the next installment!
I attended last night’s “Mad World” show, and had a wonderful time. First, many thanks to the crew at the Dome. The argument can be made that the film needs a proper restoration, but the fact is that the print looked and sounded terrific. Although there were empty seats, I thought it was a good turnout considering it was Monday night.
Mrs. Kramer shared two interesting anecdotes. First, how a bet between Stanley Kramer and a NYT film critic eventually resulted in IMMMMW. The critic bet Mr. Kramer that he could not direct a comedy. Second, during the initial roadshow engagements a lady had complained that she heard a man’s voice inside the women’s restroom, completely unaware that these were the infamous police calls!
What a difference a decade makes: Hollywood went from “The Green Berets” in 1968 to “Apocalypse Now” in ‘79.
Initially, I did not see the film as a “Vietnam War” film per se. In my opinion, Vietnam served as a contemporary setting to bring forth an updated adaptation of Joseph Conrad’s “Heart of Darness”. That is, until the “Redux” version came around, with more explicit commentary on the Vietnam, specially on the supper scene with the French.
I often compare this film to “Bridge on the River Kwai”, and not to the other Vietnam War films (i.e. Deer Hunter, Platoon, Full Metal Jacket). To me there are paralells between Martin Sheen and William Holden’s respective characters. And then there is the “madness” line at the end of Kwai, as compared to “the horror..”.
In terms of Coppola’s career, I rank it #2, after “Godfather II”, with # 3 being “The Conversation”.
Bill, I’m hoping to at least catch “This is Cinerama”. It all depends on a pending business trip that has been tentatively scheduled for that week. Ironically, the trip is to Seattle, and I would be staying not too far from the Seattle Cinerama!
Too bad you can’t join us in the fun this time. Hopefully next time you’ll be able to make it!
Reading the hype for some of these presentations is a hoot, specially “South Seas Adventure”, “Battle of the Bulge”, “Circus World” and “Grand Prix”. But they saved the best one for last: “Krakatoa”.
“YOU will want your money back!”
Kirk, you bring up a good point. In the case of Stanley Kramer, I don’t know if UA demanded the cuts but allowed him to trim the movie. Or, if he came in and edited out footage because of one reason or other.
In the case of Kubrick, the decision was his. He personally supervised the cuts to “2001” shortly after the premiere. The last time someone “ordered” him around was during “Spartacus”, and after that he packed his bags, left Hollywood and headed for London.
Before passing judgement on the cuts made to IMMMMW, it would be fitting to figure out how much of them were approved by Stanley Kramer. I understand that he cut the film from 210 to around 196 minutes. Then UA cut the remainder balance of the 30 min. Then the question has to be asked: “How big was the loss to the film’s narrative due to the cuts?”. My take is that not much. Personally, I like the 161 min version on DVD. As it is, the movie has enough yelling and car crashes to last a lifetime…
As for “2001”, Kubrick himself made the cuts.
jwr: 3-Strip Cinerama may return this September to the Dome. Stay tuned!
raysson: This version of IMMMMW is not “restored”. A proper restoration is still years away. We can only hope that Rober Harris will get the opportunity to work on this film.
When it comes to the first two (“Breaking Away” & “Chariots of Fire”), I don’t necessarily agree. The premises behind them have commercial appeal. Not in the sense of “Transformers”, but their themes do strike a universal chord. Assuming that they were never made, it would not surprise me that a director, producer or actor with clout would find these stories compelling, and make them happen with a major studio.
J.Sittig:Thanks for the information. Hopefully 3-strip Cinerama will return to the Dome!
Manwithnoname: Yes, I’m aware that the Dome is capable to show 70 MM format. But there is a difference in quality between the prints that the studios will allow to be presented in a platter vs reel to reel. From my understanding the “2001” print shown last year at the Dome was run in a platter. Not a bad show, (actually a terrific show) but nevertheless there were some visible and audible issues. In contrast, the 70 MM “2001” print screened at the Academy a few months later was in pristine condition.
While on vacation at PR, this last weekend, I took a late night drive on the Fernandez Juncos Ave., and was shocked to see how much it has changed. The Cinerama is still somewhat recognizable from the outside, but it looks like it’s all boarded up and no longer functioning as a carpet store. Very depressing. And don’t get me going on the Metropolitan…
Well, I believe that the 192 min. version is the so-called “uncut” roadshow version. If so, then is this a restored version? Or a work in progress? Or a faded/scratched print?
I was left with the impression that reel-to-reel presentations at the Dome were a thing of the past, thus effectively killing the possibility of screening quality 70 MM prints…
Anyway, did not mean to sound negative: I’ll be there regardless!
Interesting to see that “Windjammer” was advertised in Cinerama. I suppose that the Cinemiracle format did not have enough steam after a few years.
JSA
For me, some of the most satisfying movies in recent years have been animated. Two recent examples are “Up” and “Coraline”.
Also, Clint Eastwood produced some of his best work as Director during this decade.
JSA
Setting aside the super heroes for a moment, I will remember this decade as pivotal in terms of the projection (i.e. digital, 3-D, Imax, etc.) and sound technology shifts. The future is now…
Pesonally, I still prefer 70 MM. I have high hopes for Ron Fricke’s upcoming “Samsara”, shot in Super Panavision. But in all fairness , I don’t think it will be a game-changer at this point.
BTW, the decade ends in 2010.
JSA
The answer is NO. 50 years from now, people will still go to the show.
The situation is dire in many multiplexes. The presentation, the ads, the patrons, and on and on. Yes, it’s ugly. I know the trouble spots, and avoid them accordingly. When it comes to movies, there’s nothing like going out on the town with friends and family, and experience the big screen. Watching “Up” in the Ziegfeld or “Dark Knight” at the Cinerama Dome is a whole lot more fun than sitting in front of the HD tube.
JSA
With all those edits, how the heck can the story make any sense? And how’s the movie supposed to end if the final scene (i.e. Ben-Hur’s return to his mother and sister) is cut out!!??
JSA
Kirk: They probably cut the overture, skipped the intermission and its music, and who knows what else. Anything to squeeze in another show. I have seen TV presentations with the entire prologue edited out, along with a few other scenes.
I first saw “Ben-Hur” when I was in the fifth grade, on a special presentation for school. It was an overhwelming experience for me. It instanly became one of my all-time favorites pictures, and still is to this day. The sea battle and the chariot race sequences are masterpieces in their own right. Miklos Rozsa’s score is one of the most beautiful pieces of film music.
I finally saw it on 70 MM at the Cinerama Dome during a 1990 engagement.
And last but not least, my thanks to Michael Coate. You’ve done it again!
JSA
Pierre Cabrol, lead architect for the Cinerama Dome, died on Oct. 8 at age 84. Here’s the obituary from the LA Times:
View link
JSA
Like Martin Hart stated in the Widescreen Museum site regarding “Krakatoa…”, the fact that it was actually west of Java was “the least of its problems”. The movie was repackaged with the title “Volcano”.
Can’t wait for Seattle’s turn…
JSA
Michael,
Thanks for the info regarding the 1972 install. And yes, in perspective, it makes more sense as a single strip setup.
And I know how you feel about the no-win situation in regards to 3-strip vs. single strip. When I posted my Cinerama poll ( http://cinematreasures.org/polls/322/ ) a few weeks ago, that was one of the first things I noticed from the comments. I bet that if only 3-strip films were listed, someone would have come out askking “Where is "2001” in this list?"
Finally, let me assure you that there are a few of us CT members that appreciate the work, effort and time you’ve put into this series. Hopefully in the future I’ll be able to contribute with information regarding two theatres, but right now I’m not even close to being complete. In the meantime, we look forward to the next installment!
JSA
I find it interesting, and rather odd, that a 3-trip installation was completed as late as 1972!
JSA
I attended last night’s “Mad World” show, and had a wonderful time. First, many thanks to the crew at the Dome. The argument can be made that the film needs a proper restoration, but the fact is that the print looked and sounded terrific. Although there were empty seats, I thought it was a good turnout considering it was Monday night.
Mrs. Kramer shared two interesting anecdotes. First, how a bet between Stanley Kramer and a NYT film critic eventually resulted in IMMMMW. The critic bet Mr. Kramer that he could not direct a comedy. Second, during the initial roadshow engagements a lady had complained that she heard a man’s voice inside the women’s restroom, completely unaware that these were the infamous police calls!
JSA
What a difference a decade makes: Hollywood went from “The Green Berets” in 1968 to “Apocalypse Now” in ‘79.
Initially, I did not see the film as a “Vietnam War” film per se. In my opinion, Vietnam served as a contemporary setting to bring forth an updated adaptation of Joseph Conrad’s “Heart of Darness”. That is, until the “Redux” version came around, with more explicit commentary on the Vietnam, specially on the supper scene with the French.
I often compare this film to “Bridge on the River Kwai”, and not to the other Vietnam War films (i.e. Deer Hunter, Platoon, Full Metal Jacket). To me there are paralells between Martin Sheen and William Holden’s respective characters. And then there is the “madness” line at the end of Kwai, as compared to “the horror..”.
In terms of Coppola’s career, I rank it #2, after “Godfather II”, with # 3 being “The Conversation”.
JSA
Bill, I’m hoping to at least catch “This is Cinerama”. It all depends on a pending business trip that has been tentatively scheduled for that week. Ironically, the trip is to Seattle, and I would be staying not too far from the Seattle Cinerama!
Too bad you can’t join us in the fun this time. Hopefully next time you’ll be able to make it!
I’ll be attending the Aug 24 “Mad World” show.
JSA
If you’re in and around the Los Angeles area, by all means go and support these screenings.
JSA
Reading the hype for some of these presentations is a hoot, specially “South Seas Adventure”, “Battle of the Bulge”, “Circus World” and “Grand Prix”. But they saved the best one for last: “Krakatoa”.
“YOU will want your money back!”
JSA
It’s not sold out. Plenty of seats avaialable. You will find it scrolling down on “August at Arclight” under “California Dreamin”.
View link
JSA
Possible scene in a not-too distant future:
“Broadcasting from the world famous Grauman’s Chinese, located in the heart of Hollywood, it’s… Wheel…of…Fortune!!”
Yikes.
JSA
The DVD version that we have at home has a 2.55 aspect ratio, coming a little closer to Ultra-Panavision’s 2.76:1.
JSA
Kirk, you bring up a good point. In the case of Stanley Kramer, I don’t know if UA demanded the cuts but allowed him to trim the movie. Or, if he came in and edited out footage because of one reason or other.
In the case of Kubrick, the decision was his. He personally supervised the cuts to “2001” shortly after the premiere. The last time someone “ordered” him around was during “Spartacus”, and after that he packed his bags, left Hollywood and headed for London.
JSA
Before passing judgement on the cuts made to IMMMMW, it would be fitting to figure out how much of them were approved by Stanley Kramer. I understand that he cut the film from 210 to around 196 minutes. Then UA cut the remainder balance of the 30 min. Then the question has to be asked: “How big was the loss to the film’s narrative due to the cuts?”. My take is that not much. Personally, I like the 161 min version on DVD. As it is, the movie has enough yelling and car crashes to last a lifetime…
As for “2001”, Kubrick himself made the cuts.
jwr: 3-Strip Cinerama may return this September to the Dome. Stay tuned!
raysson: This version of IMMMMW is not “restored”. A proper restoration is still years away. We can only hope that Rober Harris will get the opportunity to work on this film.
JSA
The in70mm site has posted the dates of Sep 8 & 10 for the Cinerama presentations of “How the West was Won” & “This is Cinerama”.
JSA
When it comes to the first two (“Breaking Away” & “Chariots of Fire”), I don’t necessarily agree. The premises behind them have commercial appeal. Not in the sense of “Transformers”, but their themes do strike a universal chord. Assuming that they were never made, it would not surprise me that a director, producer or actor with clout would find these stories compelling, and make them happen with a major studio.
JSA
J.Sittig:Thanks for the information. Hopefully 3-strip Cinerama will return to the Dome!
Manwithnoname: Yes, I’m aware that the Dome is capable to show 70 MM format. But there is a difference in quality between the prints that the studios will allow to be presented in a platter vs reel to reel. From my understanding the “2001” print shown last year at the Dome was run in a platter. Not a bad show, (actually a terrific show) but nevertheless there were some visible and audible issues. In contrast, the 70 MM “2001” print screened at the Academy a few months later was in pristine condition.
JSA
While on vacation at PR, this last weekend, I took a late night drive on the Fernandez Juncos Ave., and was shocked to see how much it has changed. The Cinerama is still somewhat recognizable from the outside, but it looks like it’s all boarded up and no longer functioning as a carpet store. Very depressing. And don’t get me going on the Metropolitan…
JSA
Well, I believe that the 192 min. version is the so-called “uncut” roadshow version. If so, then is this a restored version? Or a work in progress? Or a faded/scratched print?
I was left with the impression that reel-to-reel presentations at the Dome were a thing of the past, thus effectively killing the possibility of screening quality 70 MM prints…
Anyway, did not mean to sound negative: I’ll be there regardless!
JSA