It is currently Tue Feb 20, 2018 11:14 pm

All times are UTC - 5 hours [ DST ]




Post new topic Reply to topic  [ 322 posts ]  Go to page Previous  1, 2, 3, 4, 5, 6, 7 ... 13  Next
Author Message
PostPosted: Tue Jan 17, 2012 3:44 pm 
User avatar

Joined: Sat Nov 29, 2008 8:37 pm
Location: Rhode Island, USA
DVDBeaver on Wings blu-ray


Top
 Profile  
 

PostPosted: Tue Jan 17, 2012 4:40 pm 
User avatar

Joined: Fri Jun 20, 2008 12:02 pm
Location: nYc
Stunning.

I can't believe the level of detail in some of those frames.


Top
 Profile  
 
PostPosted: Wed Jan 18, 2012 7:33 pm 
Dot Com Dom
User avatar

Joined: Wed Jan 11, 2006 2:42 pm
Clueless, Hondo, Barbarella, and Clue Blus teased by the studio


Top
 Profile  
 
PostPosted: Wed Jan 18, 2012 8:12 pm 
User avatar

Joined: Sun Apr 20, 2008 11:59 pm
Location: Somewhere between here and there
Clue is fantastic news, childhood favorite of mine.


Top
 Profile  
 
PostPosted: Wed Jan 18, 2012 11:06 pm 

Joined: Wed May 05, 2010 11:06 pm
I don't understand the reasoning behind these titles. Paramount has films such as Sunset Blvd, Stalag 17, Shane, A place in the sun, Paper moon, Hud, The man who shot Liberty Valance, and instead they celebrate their centennial with releases like Hondo, Clue and Barbarella? Really?


Top
 Profile  
 
PostPosted: Wed Jan 18, 2012 11:26 pm 
User avatar

Joined: Thu Nov 04, 2004 8:22 am
Location: The Room
Don't you talk about Clue. Clue is fucking great.


Top
 Profile  
 
PostPosted: Thu Jan 19, 2012 12:04 am 
User avatar

Joined: Tue May 30, 2006 9:45 pm
Location: Portland, OR
You'll corner the Al Bundy market.


Top
 Profile  
 
PostPosted: Thu Jan 19, 2012 1:08 am 
User avatar

Joined: Sat Sep 06, 2008 6:49 pm
CSM126 wrote:
Don't you talk about Clue. Clue is fucking great.

Don't under exaggerate. It's the fucking greatest. Plus it fed into a great Duckman joke.


Top
 Profile  
 
PostPosted: Thu Jan 19, 2012 1:54 pm 
User avatar

Joined: Mon Nov 08, 2004 4:30 pm
Location: Chapel-en-le-Frith, Derbyshire, UK
It is excellent for a whole number of reasons, not least this one!


Top
 Profile  
 
PostPosted: Thu Jan 19, 2012 2:05 pm 
User avatar

Joined: Mon Mar 21, 2011 3:14 pm
Location: California
For those in the SF bay area, there will be several Paramount/Universal noirs at the upcoming Noir City festival. Only The Maltese Falcon has been released on dvd (and belongs to Warners).

Sunday January 29th is an all Dashiell Hammett day

Matinee:
Roadhouse Nights (1930)
The Maltese Falcon (1931)
City Streets (1932)
Mister Dynamite (1935)

Evening:
The Glass Key (1942)
The Maltese Falcon (1941)

This would make a great Criterion box.

The night before is also an interesting double bill not on dvd:

The Great Gatsby (1949, Paramount)
Three Strangers (1946, Warners)


Top
 Profile  
 
PostPosted: Sat Feb 04, 2012 8:19 pm 
User avatar

Joined: Sat Sep 06, 2008 6:49 pm
For those who haven't pulled the trigger yet on Wings really needs to. On VHS it's a mediocre film, but the Blu really boosts it to show off material and is really great. The extras are skimpy, but very thorough and I'm not sure what else could be added on. I hope this does well enough for Paramount to consider putting out the other silents they still have the rights to.


Top
 Profile  
 
PostPosted: Sat Feb 04, 2012 9:20 pm 
User avatar

Joined: Sat Jan 27, 2007 2:11 pm
Location: The hills of East Tennessee
knives wrote:
For those who haven't pulled the trigger yet on Wings really needs to. On VHS it's a mediocre film, but the Blu really boosts it to show off material and is really great. The extras are skimpy, but very thorough and I'm not sure what else could be added on. I hope this does well enough for Paramount to consider putting out the other silents they still have the rights to.

My wife and I watched it this morning and I second your enthusiastic recommendation. I think the BD really brings home what a stunning technical achievement the film was. I'm not sure I realized before today what fine performances both Richard Arlen and Buddy Rogers turn in. I had not known until watching one of the extras that they both did their own flying in the film. (I also thought it was pretty cool the way they worked through all the Paramount logos in reverse chronological order.)


Last edited by triodelover on Sat Feb 04, 2012 9:38 pm, edited 1 time in total.

Top
 Profile  
 
PostPosted: Sat Feb 04, 2012 9:23 pm 
User avatar

Joined: Sat Sep 06, 2008 6:49 pm
I was absolutely giddy about the logo thing too. It beautifully emphasizes what a history they have and I'm curious what they do with the other releases in that regard.


Top
 Profile  
 
PostPosted: Sat Feb 04, 2012 9:43 pm 
User avatar

Joined: Sat Jan 27, 2007 2:11 pm
Location: The hills of East Tennessee
Which soundtrack did you listen to? We chose the orchestral version and I thought
[Reveal] Spoiler:
the choice of Mendelssohn's Overture for A Midsummer Night's Dream was a bit of an odd choice for the dogfights leitmotif.

Aside from that, I thought the orchestral track was excellent, and the use of "My Buddy" inspired.


Top
 Profile  
 
PostPosted: Sat Feb 04, 2012 9:45 pm 
User avatar

Joined: Sat Sep 06, 2008 6:49 pm
I did the other score which I thought worked very well. The sound effects especially were nice. Just the right amount to make them powerful when they were used.


Top
 Profile  
 
PostPosted: Sun Feb 05, 2012 2:08 pm 
User avatar

Joined: Sun Sep 19, 2010 3:38 am
knives wrote:
I did the other score which I thought worked very well. The sound effects especially were nice. Just the right amount to make them powerful when they were used.

Knives, I'm glad to hear that the sound effects are unobtrusive, because that sort of thing typically annoys the bejesus out of me. There's a version of Eisenstein's October produced, I believe, by Mosfilm that uses whatever visual cue possible as an excuse to add sound effects (carriage wheels, feet tramping on snow, crowds exclaiming, etc., etc.). It totally diminishes the impact of the film. Are the effects in Wings continual, and what are some examples? And does only one soundtrack attempt this?


Top
 Profile  
 
PostPosted: Sun Feb 05, 2012 2:19 pm 
User avatar

Joined: Sat Jan 27, 2007 2:11 pm
Location: The hills of East Tennessee
gcgiles1dollarbin wrote:
Are the effects in Wings continual, and what are some examples? And does only one soundtrack attempt this?

The effects are on both soundtracks. They are judiciously applied and were part of the original release, at least in major outlets. It's mostly battlefield sounds and dogfights, although there are some others (e.g. the original Shooting Star at the film's beginning). I'm trying to remember other examples but the fact I saw it 24 hours ago and can't recall anything egregious probably means they were well chosen and properly blended.


Top
 Profile  
 
PostPosted: Sun Feb 05, 2012 2:25 pm 
User avatar

Joined: Sun Sep 19, 2010 3:38 am
Quick response! Much obliged. I'm definitely sold on this.


Top
 Profile  
 
PostPosted: Sun Feb 05, 2012 3:04 pm 

Joined: Sat Jun 07, 2008 3:31 am
Location: Somerset, England
I used to own some commercially pressed Brunswick 12 inch records that were used for the alternative method of presenting Wings with a live score (whether orchestral or just a piano/organ) and a "cued disc" system using two or more turntables. When I mentioned this on Nitrateville, my impression was that nobody else had even heard about these and that other sound effects discs were supplied to the restorers. I remember the "Gotha Bomber" was especially impressive for a late 1920s recording! From: "Very Nearly To Talkies Without the Costs" by Simon Murphy, p.25-7:
Simon Murphy wrote:
Donald Crafton mentions that Paramount’s head of special effects, Roy Pomeroy, had devised two sound systems for Wings, and that one used what he calls ‘cued discs’. Emphasising the use of RCA speakers in the set-up, he fails to mention that this system employed a unit comprising four Brunswick Panatrope turntables with individual amplifiers and volume controls.

These details were recalled in a paper presented at the Audio Engineering Society’s 1971 convention, by Robert J Callen. As a young disc recording engineer at Brunswick, Callen was called in by Pomeroy to make adjustments to a trial installation of the equipment at New York’s Rivoli Theatre, using discs of aeroplane, machine gun and bombing sounds, recorded especially by Brunswick for the film. After the necessary adjustments the rig was moved to the Criterion, where it reportedly remained for the duration of Wings’ one year run. With the four turntables, he recalls, ‘a clever operator (in this instance Roy Deshart* of Paramount) could follow with sound the flight of a plane across the screen’ - an early attempt at stereo (or even surround-sound) presentation, giving an impression of movement through the manipulation of the turntable faders.

In London, at the Carlton Theatre in April 1928, copies of the same records were used to accompany the film’s live music setting. Although there is no mention of anything other than a standard dual turntable Panatrope in use in London, the effects were still impressive and novel, drawing particular praise from Edwin Evans, a Bioscope writer nominally reviewing the musical setting for the film, composed by J S Zamecnik. Evans concluded that whilst the score was ‘admirable ... I confess it was the Panatrope effects that most conveyed dramatic conviction.’Their dramatic impact was heightened by pauses in the music at key points, allowing the ‘whirr of the engines, the rattle of machine guns and the noise of falling planes’ to be heard alone, prompting another Bioscope man to comment: ‘It is difficult to believe that all this roar and noise is being produced from a small gramophone record.’

Milking the novelty value for all it was worth, The Carlton arranged for the effects for one screening in May to be broadcast live from the Criterion in New York as a further publicity stunt. The Brunswick effects records for Wings were subsequently offered to any cinema in the country with a reproducer: ‘For the first time it is possible for the smallest hall in the country to present its pictures with the identical effects used at the London and New York presentations.'

* Albert W Desart, according to Jack Theakston on Nitrateville.


Top
 Profile  
 
PostPosted: Sun Feb 05, 2012 3:09 pm 
User avatar

Joined: Sat Sep 06, 2008 6:49 pm
triodelover wrote:
gcgiles1dollarbin wrote:
Are the effects in Wings continual, and what are some examples? And does only one soundtrack attempt this?

The effects are on both soundtracks. They are judiciously applied and were part of the original release, at least in major outlets. It's mostly battlefield sounds and dogfights, although there are some others (e.g. the original Shooting Star at the film's beginning). I'm trying to remember other examples but the fact I saw it 24 hours ago and can't recall anything egregious probably means they were well chosen and properly blended.

There was also the occasional punch sound effect. If something like Sunrise is as noisy as silents get this is a far way away from that.


Top
 Profile  
 
PostPosted: Wed Feb 22, 2012 3:01 pm 
User avatar

Joined: Sat Feb 12, 2005 1:39 pm
Location: Uffa!
DVD Beaver on To Catch a Thief


Top
 Profile  
 
PostPosted: Wed Feb 22, 2012 5:50 pm 
User avatar

Joined: Thu Aug 16, 2007 7:30 pm
Location: Texas
kinjitsu wrote:
DVD Beaver on To Catch a Thief

Why does Gary say, "Unfortunately, it is still in the 1.78:1 frame"? Is this the wrong aspect ratio?


Top
 Profile  
 
PostPosted: Wed Feb 22, 2012 6:20 pm 
User avatar

Joined: Tue Nov 02, 2004 8:01 pm
Location: WellyYeller
Well, yes, by then Paramount had settled on 1.85 as the default mask for Vistavision productions. Given most people's ovescan I doubt anyone will notice the slightest difference. In any case the original VV 8 perf was always printed down to 35mm reductions with the mask normally inherent in the 35mm print. But the original horizontal 8 perf has more picture info than was ever ultimately projected.


Top
 Profile  
 
PostPosted: Wed Feb 22, 2012 8:09 pm 
Dot Com Dom
User avatar

Joined: Wed Jan 11, 2006 2:42 pm
kinjitsu wrote:
DVD Beaver on To Catch a Thief

Looks amazing, can't wait for this to arrive \:D/

Between this and the Olive Tashlins, thank God for VistaVision's ultra-crisp resolution lending itself to super stellar Blu transfers


Top
 Profile  
 
PostPosted: Thu Feb 23, 2012 1:17 am 
User avatar

Joined: Tue Nov 02, 2004 2:24 pm
Location: Teegeeack
domino harvey wrote:
Between this and the Olive Tashlins, thank God for VistaVision's ultra-crisp resolution lending itself to super stellar Blu transfers

Apparently the Olive Tashlins weren't actually transferred from VV elements, though.


Top
 Profile  
 
Display posts from previous:  Sort by  
Post new topic Reply to topic  [ 322 posts ]  Go to page Previous  1, 2, 3, 4, 5, 6, 7 ... 13  Next

All times are UTC - 5 hours [ DST ]


Who is online

Users browsing this forum: No registered users


You cannot post new topics in this forum
You cannot reply to topics in this forum
You cannot edit your posts in this forum
You cannot delete your posts in this forum

Jump to:  
Powered by phpBB® Forum Software © phpBB Group




This site is not affiliated with The Criterion Collection