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October 13, 2018.
First time I’ve ever seen a film composer up on the marquee right next to the star of the movie.
All I know is that the Brothers Grimm print belonged to a private collector from, I think, Australia. Maybe this person wouldn’t allow it to be used for anything except those few Dome screenings. I’m sure someone else knows more than that about it.
Mr. Sittig, I just wanted to use this space to thank you personally for the 3-strip showing of Brothers Grimm. I came in from New Jersey to see it and while sitting in the theater, I felt like the most privileged of all movie fans, seeing one of the rarest of all big studio films in the best possible way. Unfortunately I can’t attend Grand Prix, but I look forward to the next time I get to experience Cinerama at the Dome. Thanks again, and I hope the 55th anniversary shows are a big success.
Another 2001 achievement: it’s been re-released so many times, from exclusive showings in the big cities to nationwide runs, that it’s effectively been in an off-and-on theatrical release for the past 50 years.
The Fathom/TCM screening events are very cool too. I saw Jaws, North by Northwest, The Ten Commandments, and just recently West Side Story. But 2001 is still in a class by itself. It’s been in almost continuous release all summer, since the middle of May. In NYC it played 8 weeks at the Village East Theater, in its initial 70mm run. After that it played in NJ (thanks, markp) and Astoria, Queens. Now it’s in IMAX. It’s had a longer run in 2018 than some brand-new movies.
Having just returned from a front-row viewing of the 70mm IMAX version, I have to give it the edge over the digital. This is based solely on how easy it was to read the buttons in the space pod. Every one of those buttons has a label on it, and they were easier to read in 70mm. The level of small details that were put into every facet of that film is astounding. It really is like no other.
On the way out I met a couple who came all the way to New York City from Boston just to see 2001 at this theater, on that screen.
Maybe it was because I sat in the front row for the digital edition. Level of detail was excellent in both versions.
I did notice another change in digital: the last shot of the Russians sequence, which for 50 years ended in a fade to black, is now a cut to black. I don’t know why changes like this have to be made, or if there’s any reason for them. The 70mm version has the advantage in this regard.
No trailers before the 70mm version or the digital version. There was an IMAX promo before the digital version, announcing they were going to show what will be coming soon in IMAX, but it led right into the overture of 2001.
The digital version is also showing at the AMC Kips Bay on 2nd Ave. and 32nd St. in Manhattan, as well as the Empire 42nd St.
I just saw the digital version in Clifton, NJ. It was quite beautiful. You could easily see all the incredible details in so many scenes. For example, the dinner recommendation on the wall of the kitchen on the Jupiter ship included roast beef, mashed potatoes, blueberry pie and coffee. I had never been able to read that before.
But it wasn’t perfect. One shot near the end, part of the “last meal” sequence, came out wrong somehow. It was too dark and a little blurry. Don’t know if all digital prints have this problem. The opening MGM logo also looked like the wrong color.
Overall, definitely worth seeing. Can’t believe it’s in 350 theaters across the US. What other 50-year-old movie could accomplish that?
Thanks, Al. Very funny. It reminded me of the time I saw the soundtrack album of Hello, Dolly!, not too long after its big 70mm premiere at the Rivoli on Broadway, in the cutout bin at a record store, selling for $1.99.
Pete: Thanks for answering Joe’s question better than I ever could. Seeing your name brings back great memories of a certain beautiful movie theater in Suffern, NY.
As for Exodus, I’m grateful that the Blu-ray looks as good as it does. The original DVD was a blurry mess.
Joe, I wish I knew. I’m just glad the long version is at least available. It wasn’t on the previous DVD release.
The logo came on screen at the very beginning. I guess Quentin thought: it was shot in Ultra Panavision 70, and if it was made in 1965, it would be shown on Cinerama screens. Just like The Greatest Story Ever Told and Battle of the Bulge.
I loved seeing the Cinerama logo. I even loved seeing it on Quentin Tarantino’s The Hateful Eight, where it was totally unwarranted.
The Blu-ray includes the roadshow cut as a special feature. It’s a non-anamorphic transfer. The short version has been properly transferred and looks much better on the screen, but the longer version is a much better movie.
markp, will you be running the 70mm IMAX show of “2001” at this theater? If yes, congratulations. I’ll be there on 8/24 for my 79th theatrical viewing. It should be astounding.
The long cut also played at the Capitol for a couple of days. Kubrick shortened the film in New York City, in the basement of the MGM building, about 7 blocks from the Capitol.
I’ve seen photos of the Capitol screen when The Wonderful World of the Brothers Grimm played there in 3-strip, and I’m pretty sure it was the same screen on which I saw 2001 in 70mm Cinerama.
I was wondering a similar thing. When a 70mm blowup like Doctor Zhivago played the Capitol, did it fill the entire screen space the way 2001 in 70mm Cinerama did?
Mark: I hope it does go into Lincoln Square. It’s still at the Village East (6th week) which proves it does well in Manhattan.
Pete: I tried measuring the screen with my feet pressed together and walking the length of it at intermission, but I gave up because people were still in the theater and I probably looked like some kind of a nut up there. Your method sounds much better.
alpinedownhiller: Sorry I overestimated the screen size in #15. When I sat in the front row and the movie started, it reminded me of the same scale I experienced from the front row of the Ziegfeld, where I saw 2001 many times, but even bigger. The Ziegfeld had a 50' screen, but the screen at the Garden State is positioned closer to the front row. Without taking that into account, I jumped to the conclusion that it was bigger than the Ziegfeld.
But it was still a great show, and I have new respect for AMC for bringing the 70mm print to NJ. Wish I could go again.
Next screening for me (unless it pops up somewhere else in the area like the Garden State engagement did): 7/29 in Queens, NY.
They’d still do that during the movie. Imagine having to wait 90 minutes or more to check on your phone. :)