If you look at the two links the one in in 2006 the entire roadshow print was restored:
‘FotoKem Restores “South Pacific” “Bigfoot” Scanner Restores 65mm Classic to Better Than Original Condition with 14 Minutes of Lost Footage’
But at the second link the AFI print was 157 minutes.
The current Bluray and TCM showing completely ignore the restoration as if it never happened. So did it? And if so why is that not acknowledged? What happened to it?
I should also say that as a record collector from way back the current young people who run companies sometimes have no idea what they are doing(not always.) They ruin older recordings with compression or brightening or they do not find the best sources for a reissue.
Not having been around way back when their sense of what things should sound like or how to go about finding the best sources is severely compromised.
And why was the individual saying that the colors were worse than usual at the TCM showing?
Sound is 5.1 DTS HD Master Audio or 4.0 Dolby Surround.-Does this equate to the 6 track original?
‘All 70mm/35mm prints are archived, including audio tracks and separation negatives. Release on home video is at the discretion of the copyright holders.’
I’m not annoyed at you Cinema70 but I’m pretty annoyed that a great opportunity was thrown away and I would have known nothing if I hadn’t happened upon it on a theater chat site.
‘All 70mm/35mm prints are archived, including audio tracks and separation negatives. Release on home video is at the discretion of the copyright holders.’
Big deal. What difference does it make if the copyright owners have no interest in properly restoring the 70m version and making it available to the public?
This bluray and the TCM showing were clearly deceptive.
It’s really the anniversary of the general release which would be what year?
Nice packaging for a shoddy product.
And the reviewer of the bluray.com review should be ashamed of himself for not pointing this out.
I just perused the bluray.com review. Yes the high definition is the general release version so I would assume it comes from a 35mm print. It does not mention coming from the Todd AO print. The roadshow is a supplement in SD with the additional sequences in noticeably poorer quality.
I don’t know what happened to the print you saw. Or the print I saw. But all the executives at Fox should be flayed. They sure did not give it the attention it deserved. I should have read the review more clearly the first time. I would have never gotten the blu ray. There seems to be no reason for this but cost cutting.
I found this out on a theater chat site. Somebody asked if anybody went(I myself was not even aware of it.)
They asked what was shown: general release or roadshow? Somebody who went responded the blu ray of the general release version. So it could have been a 2k or 4k scan. This wasn’t specified. They said the colors looked even worse on the screen. That should not have been the case with a properly scanned print.
I have the blu ray which I haven’t even opened yet. I’ve just assumed it was a 4k restoration of the Todd AO roadshow original. I’ll be pretty annoyed if it’s not. I saw it in'78 in Todd AO at the Warner Cinerama and though the print was somewhat worn it was tremendous.
And that sound! Good lord it had you pinned to the back of the theater. I mean that in a positive way not a headache inducing let the entire multiplex hear modern way.
Did anyone know there was just a TCM theatrical showing of South Pacific?
It was a showing of the blu ray of the general release not roadshow version. What in the world was the point of that? Does the Todd AO original release no longer exist or can no longer be restored? Shades of Hawaii as concerns the roadshow cut.
CC Cinema Treasures would not be nearly as good without you here.
But you are at times a curmudgeon. Sometimes we all meet on one page and then go off on tangents which might interest some if not all of us. Discussing the best possible way of seeing a roadshow print in 2018 of Hawaii on a page devoted to the theater where it had its world premiere seems especially apropos.
Unless somebody decides to rebuild the theater and show a roadshow print its blu ray is the best we can do. It seems the contributors who attended these theaters when they were single theaters are fewer and fewer.
Thank you for posting it. I’ll check it out. Some of those Mad magazine parodies of the films themselves were pretty funny. Especially Sound of Music and the combined parody of 3 films: On a Clear Day You Can See a Funny Girl Singing Hello Dolly Forever. Still the best most scathing send up of Streisand and I’m a fan of hers and those 3 films.
Any many of those big roadshow lps ended up in the bargain bins which is how I was able to afford them as a kid.
It was the bombs not the hits.
You wouldn’t find Funny Girl, Oliver or Sound of Music.
The cutout of Finian’s Rainbow came wrapped with the souvenir program.
Anybody remember the MAD magazine parody of reserved seat newspaper film advertising? A picture of IMPORTANCE and that kind of thing? Yes it was funny but I think those old advance ads for big movies was very cool.
Thank you for that billboard photo. Those old painted Times Square movie ‘spectaculars’ were quite wonderful. Correct me if I’m wrong but I think that the two small boats were sticking out making it 3D but maybe my eyes were playing tricks on me as it doesn’t look that way there.
Also on the blu ray.com review it says even first run 70mm blow up engagements were in mono. How odd for a roadshow epic film made in'65.
I saw it when it came to the suburbs so I obviously saw the cut version. But I remember the boys in elementary school talking about the topless women(wow!) which were not cut out. I guess they considered it a family film because it was in a National Geographic natives are different way.
I remember seeing the Demille billboard spectacular for Hawaii when I was a boy and was it ever impressive.
I’d love to see a close up color photo of it.
Why wouldn’t Twilight Time put out the roadshow version like they did for Khartoum? The problem with that film is the soundtrack used was a DTS-HD Master Audio 2.0 mix when a 6 track exists. Also their Exodus transfer was taken from a 35mm print and not 70mm as the movie was filmed.
You’ve got to be careful with these blu rays. I understand though Khartoum is in any case visually stunning so I’ll end up paying through the nose for it on ebay.
MC I believe that advert was ‘76 not '77(correct me if I’m wrong). That was the ad used for the Rivoli where I saw the film in Oct of that year. It was Columbus Day.
It was an overwhelming experience and at the end the print said Cinerama with the logo. I remember this distinctly because I had never seen a Cinerama film. I believe two years later when the Rivoli had it again they might have used a smaller screen because it was not nearly as impressive and at the end it said 70mm. In fact I believe it said Super Panavision 70.
Somebody on this site said that Sweet Charity used a smaller screen because Universal did not want to pay for the D150 screen. Of course the specifics and accuracy of all this minutiae is lost with time.
Ken Roe, interesting about the Astoria getting a new large screen in ‘65 because on its page it says after the successful run of Half a Sixpence through much of '68 the theater was then gutted and remodeled for the 70mm CCBB. Sixpence was Panavision.
I still find 46 ft incredibly small for major first run showings of SOM and SP in the huge Dominion. I would have been very disappointed. But these must hold the record for the longest movie runs in the world. Anybody know of any films that played longer elsewhere? Rocky Horror midnight shows do not count.
Anybody know the size of the screen when it was a 70mm roadshow house? Never a roadshow musical unlike every other roadshow house. Always epics. I believe the last roadshow film there was Shoes of the Fisherman.
Also interesting but I believe Hawaii was in Panavision and mono. This seems incredible for such a huge film in the mid 60s. But then unfortunately The Sand Pebbles and Zhivago were Panavision as well.
On the Dominion page it says its Todd AO screen was 45 ft wide? It is this possible? It is pretty darn small for London’s most successful roadshow house in terms of lengths of runs.
Also 47 ft for the Odeon LSQ is pretty small as well. Hardly screens that are going to envelope you in vast theaters. I’d like to know what the size of the Warner screen was for its 60s 70mm films before it became a quad sadly before my trip to London in the mid 70s.
Sorry looks like I asked you this last year and you gave the dimensions. Honestly I think the two multiplexes where I saw Cleopatra 5 years ago had larger screens. NY is a frustrating place for those of us in love with wide screen revivals. I’m jealous of those on the west coast.
I saw Cleopatra twice in a week when it was released for its 50th anniversary. I had only seen bits and pieces on TV. I thought it magnificent. I find its reputation bewildering. Poor Joe M. He really never recovered. A longer film than GWTW and it flew by.
How large is the screen at the Museum of the Moving Image for 70mm? I saw a cinemascope film there once and found it disappointingly small. Last time I saw Dolly in 70mm was at the Warner Cinerama in ‘78. The Blu Ray is excellent.
Just saw that the roadshow Astoria Theater in London played Paint Your Wagon for an amazing 79 weeks opening in Jan of ‘70. Anybody know how many weeks it played at the State 2? I’m not sure it even play till Easter of '70. That’s a great run considering roadshows were bombing in NY. That’s a great run even at the height of the roadshow era. Around the World played at the Astoria for 104 weeks and I think it was 35mm!
I don’t believe World has played in Todd AO in NY since its initial Rivoli run. Does a 70mm print even exist or is it a lost film? Maybe it’s played in CA or Europe? I’ve never seen it listed in any 70mm festivals. Strange for a film that was so enormously popular.
Allora perche la pubblicita' e' in inglese?(tranne ‘parlato in italiano’)
If you look at the two links the one in in 2006 the entire roadshow print was restored:
‘FotoKem Restores “South Pacific”
“Bigfoot” Scanner Restores 65mm Classic to Better Than Original Condition with 14 Minutes of Lost Footage’
But at the second link the AFI print was 157 minutes.
The current Bluray and TCM showing completely ignore the restoration as if it never happened. So did it? And if so why is that not acknowledged? What happened to it?
I should also say that as a record collector from way back the current young people who run companies sometimes have no idea what they are doing(not always.) They ruin older recordings with compression or brightening or they do not find the best sources for a reissue.
Not having been around way back when their sense of what things should sound like or how to go about finding the best sources is severely compromised.
If they restored the master why is it in SD?
And what did HowardBHaas see at AFI?
And why was the individual saying that the colors were worse than usual at the TCM showing?
Sound is 5.1 DTS HD Master Audio or 4.0 Dolby Surround.-Does this equate to the 6 track original?
‘All 70mm/35mm prints are archived, including audio tracks and separation negatives. Release on home video is at the discretion of the copyright holders.’
What about what Cinema70 wrote?
Nothing is adding up.
I’m not annoyed at you Cinema70 but I’m pretty annoyed that a great opportunity was thrown away and I would have known nothing if I hadn’t happened upon it on a theater chat site.
‘All 70mm/35mm prints are archived, including audio tracks and separation negatives. Release on home video is at the discretion of the copyright holders.’
Big deal. What difference does it make if the copyright owners have no interest in properly restoring the 70m version and making it available to the public? This bluray and the TCM showing were clearly deceptive. It’s really the anniversary of the general release which would be what year? Nice packaging for a shoddy product. And the reviewer of the bluray.com review should be ashamed of himself for not pointing this out.
Is this a part documentary/part fiction full length film that played with a stage show?
I just perused the bluray.com review. Yes the high definition is the general release version so I would assume it comes from a 35mm print. It does not mention coming from the Todd AO print. The roadshow is a supplement in SD with the additional sequences in noticeably poorer quality.
I don’t know what happened to the print you saw. Or the print I saw. But all the executives at Fox should be flayed. They sure did not give it the attention it deserved. I should have read the review more clearly the first time. I would have never gotten the blu ray. There seems to be no reason for this but cost cutting.
I found this out on a theater chat site. Somebody asked if anybody went(I myself was not even aware of it.)
They asked what was shown: general release or roadshow? Somebody who went responded the blu ray of the general release version. So it could have been a 2k or 4k scan. This wasn’t specified. They said the colors looked even worse on the screen. That should not have been the case with a properly scanned print.
I have the blu ray which I haven’t even opened yet. I’ve just assumed it was a 4k restoration of the Todd AO roadshow original. I’ll be pretty annoyed if it’s not. I saw it in'78 in Todd AO at the Warner Cinerama and though the print was somewhat worn it was tremendous.
And that sound! Good lord it had you pinned to the back of the theater. I mean that in a positive way not a headache inducing let the entire multiplex hear modern way.
Did anyone know there was just a TCM theatrical showing of South Pacific?
It was a showing of the blu ray of the general release not roadshow version. What in the world was the point of that? Does the Todd AO original release no longer exist or can no longer be restored? Shades of Hawaii as concerns the roadshow cut.
CC Cinema Treasures would not be nearly as good without you here.
But you are at times a curmudgeon. Sometimes we all meet on one page and then go off on tangents which might interest some if not all of us. Discussing the best possible way of seeing a roadshow print in 2018 of Hawaii on a page devoted to the theater where it had its world premiere seems especially apropos.
Unless somebody decides to rebuild the theater and show a roadshow print its blu ray is the best we can do. It seems the contributors who attended these theaters when they were single theaters are fewer and fewer.
A 1953 film got a GP rating?
All the kids of the early 50s seeing this film without parental supervision is wrong.
Thank you for posting it. I’ll check it out. Some of those Mad magazine parodies of the films themselves were pretty funny. Especially Sound of Music and the combined parody of 3 films: On a Clear Day You Can See a Funny Girl Singing Hello Dolly Forever. Still the best most scathing send up of Streisand and I’m a fan of hers and those 3 films.
Any many of those big roadshow lps ended up in the bargain bins which is how I was able to afford them as a kid. It was the bombs not the hits. You wouldn’t find Funny Girl, Oliver or Sound of Music. The cutout of Finian’s Rainbow came wrapped with the souvenir program.
Anybody remember the MAD magazine parody of reserved seat newspaper film advertising? A picture of IMPORTANCE and that kind of thing? Yes it was funny but I think those old advance ads for big movies was very cool.
Thank you for that billboard photo. Those old painted Times Square movie ‘spectaculars’ were quite wonderful. Correct me if I’m wrong but I think that the two small boats were sticking out making it 3D but maybe my eyes were playing tricks on me as it doesn’t look that way there. Also on the blu ray.com review it says even first run 70mm blow up engagements were in mono. How odd for a roadshow epic film made in'65.
I saw it when it came to the suburbs so I obviously saw the cut version. But I remember the boys in elementary school talking about the topless women(wow!) which were not cut out. I guess they considered it a family film because it was in a National Geographic natives are different way.
I remember seeing the Demille billboard spectacular for Hawaii when I was a boy and was it ever impressive.
I’d love to see a close up color photo of it.
Why wouldn’t Twilight Time put out the roadshow version like they did for Khartoum? The problem with that film is the soundtrack used was a DTS-HD Master Audio 2.0 mix when a 6 track exists. Also their Exodus transfer was taken from a 35mm print and not 70mm as the movie was filmed.
You’ve got to be careful with these blu rays. I understand though Khartoum is in any case visually stunning so I’ll end up paying through the nose for it on ebay.
Star Wars was'77 so MC you are correct.
MC I believe that advert was ‘76 not '77(correct me if I’m wrong). That was the ad used for the Rivoli where I saw the film in Oct of that year. It was Columbus Day.
It was an overwhelming experience and at the end the print said Cinerama with the logo. I remember this distinctly because I had never seen a Cinerama film. I believe two years later when the Rivoli had it again they might have used a smaller screen because it was not nearly as impressive and at the end it said 70mm. In fact I believe it said Super Panavision 70.
Somebody on this site said that Sweet Charity used a smaller screen because Universal did not want to pay for the D150 screen. Of course the specifics and accuracy of all this minutiae is lost with time.
Ken Roe, interesting about the Astoria getting a new large screen in ‘65 because on its page it says after the successful run of Half a Sixpence through much of '68 the theater was then gutted and remodeled for the 70mm CCBB. Sixpence was Panavision.
I still find 46 ft incredibly small for major first run showings of SOM and SP in the huge Dominion. I would have been very disappointed. But these must hold the record for the longest movie runs in the world. Anybody know of any films that played longer elsewhere? Rocky Horror midnight shows do not count.
Wasn’t there a huge Kodachrome print of this hanging in the Grand Central Concourse? Certainly one of the best photos of the Rockettes I’ve seen.
It seemed to be famous at the time.
Anybody know the size of the screen when it was a 70mm roadshow house? Never a roadshow musical unlike every other roadshow house. Always epics. I believe the last roadshow film there was Shoes of the Fisherman. Also interesting but I believe Hawaii was in Panavision and mono. This seems incredible for such a huge film in the mid 60s. But then unfortunately The Sand Pebbles and Zhivago were Panavision as well.
On the Dominion page it says its Todd AO screen was 45 ft wide? It is this possible? It is pretty darn small for London’s most successful roadshow house in terms of lengths of runs.
Also 47 ft for the Odeon LSQ is pretty small as well. Hardly screens that are going to envelope you in vast theaters. I’d like to know what the size of the Warner screen was for its 60s 70mm films before it became a quad sadly before my trip to London in the mid 70s.
Sorry looks like I asked you this last year and you gave the dimensions. Honestly I think the two multiplexes where I saw Cleopatra 5 years ago had larger screens. NY is a frustrating place for those of us in love with wide screen revivals. I’m jealous of those on the west coast.
I saw Cleopatra twice in a week when it was released for its 50th anniversary. I had only seen bits and pieces on TV. I thought it magnificent. I find its reputation bewildering. Poor Joe M. He really never recovered. A longer film than GWTW and it flew by.
How large is the screen at the Museum of the Moving Image for 70mm? I saw a cinemascope film there once and found it disappointingly small. Last time I saw Dolly in 70mm was at the Warner Cinerama in ‘78. The Blu Ray is excellent.
Just saw that the roadshow Astoria Theater in London played Paint Your Wagon for an amazing 79 weeks opening in Jan of ‘70. Anybody know how many weeks it played at the State 2? I’m not sure it even play till Easter of '70. That’s a great run considering roadshows were bombing in NY. That’s a great run even at the height of the roadshow era. Around the World played at the Astoria for 104 weeks and I think it was 35mm!
I don’t believe World has played in Todd AO in NY since its initial Rivoli run. Does a 70mm print even exist or is it a lost film? Maybe it’s played in CA or Europe? I’ve never seen it listed in any 70mm festivals. Strange for a film that was so enormously popular.