“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.
No Vindanpar, I never saw Todd AO and I think the travelogue novelty on the big screen was better suited for the 1950’s. I found the fake sets in “SOUTH PACIFIC” impossible to imagine being anywhere except inside a theatre. “ICE STATION ZEBRA” also loses its charm on TV.
I liked “GOODBYE, MR. CHIPS”, “PAINT YOUR WAGON”, “CLEOPATRA”, “THE FALL OF THE ROMAN EMPIRE”, “ICE STATION ZEBRA” and “PORGY AND BESS”. All have been trashed over the years. I disliked “AROUND THE WORLD IN 80 DAYS”, “SOUTH PACIFIC”, and “LAWRENCE OF ARABIA”, all classics today. I found the latter beautiful to watch and about an hour too long.
There is no answer to that, bigjoe. If the boxoffice pre-sales were weak the studio would start planning the wide release immediately but run the roadshow for snob appeal prestige. “MARAT/DESADE” and “FAR FROM THE MADDING CROWD” would be examples. In the case of “STAR!” they were just tried to salvage whatever income they could get with the edited version entitled “THOSE WERE THE HAPPY TIMES”.
Any film that did not meet their budget AND marketing costs and didn’t even receive many good reviews could be seen as a “bomb”. “HELLO,DOLLY!”, “PAINT YOUR WAGON” and “TORA! TORA! TORA!” failed to do all three. Okay, how about “flop”, “turkey”, “stinker”, “dud” or “failure”? Only until “Heaven’s Gate” made the term epic did this become an issue.
Mike (saps) makes a good point. But cinema is a matter of personal choice. “Hello, Dolly” and “Tora!” could have been better. Channing over Streisand or no Japanese opinions could have been better. But “Vertigo”, in my opinion, still sucks, anyway.
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?
ridethectrain, the movie’s title was “Boccaccio ‘70”, not “Three Stories of the Sexes”. That ad continues on the next page.
No Vindanpar, I never saw Todd AO and I think the travelogue novelty on the big screen was better suited for the 1950’s. I found the fake sets in “SOUTH PACIFIC” impossible to imagine being anywhere except inside a theatre. “ICE STATION ZEBRA” also loses its charm on TV.
I liked “GOODBYE, MR. CHIPS”, “PAINT YOUR WAGON”, “CLEOPATRA”, “THE FALL OF THE ROMAN EMPIRE”, “ICE STATION ZEBRA” and “PORGY AND BESS”. All have been trashed over the years. I disliked “AROUND THE WORLD IN 80 DAYS”, “SOUTH PACIFIC”, and “LAWRENCE OF ARABIA”, all classics today. I found the latter beautiful to watch and about an hour too long.
There is no answer to that, bigjoe. If the boxoffice pre-sales were weak the studio would start planning the wide release immediately but run the roadshow for snob appeal prestige. “MARAT/DESADE” and “FAR FROM THE MADDING CROWD” would be examples. In the case of “STAR!” they were just tried to salvage whatever income they could get with the edited version entitled “THOSE WERE THE HAPPY TIMES”.
bigjoe, nobody makes a movie to break even.
Any film that did not meet their budget AND marketing costs and didn’t even receive many good reviews could be seen as a “bomb”. “HELLO,DOLLY!”, “PAINT YOUR WAGON” and “TORA! TORA! TORA!” failed to do all three. Okay, how about “flop”, “turkey”, “stinker”, “dud” or “failure”? Only until “Heaven’s Gate” made the term epic did this become an issue.
Mike (saps) makes a good point. But cinema is a matter of personal choice. “Hello, Dolly” and “Tora!” could have been better. Channing over Streisand or no Japanese opinions could have been better. But “Vertigo”, in my opinion, still sucks, anyway.