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| | |-+  Check one off my bucket list! Viewing 35mm print of GBU tonight!
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Author Topic: Check one off my bucket list! Viewing 35mm print of GBU tonight!  (Read 2028 times)
Lil Brutto
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« on: April 19, 2013, 11:11:27 AM »

Nearly 30 years after first watching (and instantly falling in love with) this film I'm finally going to experience it on the silver screen tonight! I'm so excited.

I found it was playing locally through another forum. This is what the forum member had to say:

Quote
Can't remember whether there was discussion of the color timing on this or not, but I watched a 35mm print of the 2003 restored Extended cut last night in Vancouver. It varied a bit by the reel, but at the start the clouds were yellowish and skies cyan. Skin tones looked more ordinary than the Italian screencaps though. Sunbaked but not yellowed. "The End" didn't look white. The print started with a BBFC rating card, but I was too busy reading it to note the white balance there. It was pretty blurry; not sure if that's down to the print or the optics at the Pacific Cinematheque.

All of the opticals looked godawfully dirty. Wow.

Honestly, I don't care how bad it looks. I'm just curious about the color timing issue. The color timing of the Italian and International home releases (DVD, BD) is very different. Can I assume that a theatrical print of the 2003 restoration is the intended color timing?


« Last Edit: April 19, 2013, 11:12:40 AM by Lil Brutto » Logged

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dave jenkins
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« Reply #1 on: April 19, 2013, 04:16:45 PM »

Intended by who? Leone was dead when it was made.

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« Reply #2 on: April 19, 2013, 06:26:34 PM »

Let us know how it goes. Afro

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Lil Brutto
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« Reply #3 on: April 20, 2013, 09:18:59 AM »

I went into the theater with high expectations and walked out thoroughly impressed. I truly understand now what others have said for years about SL's film-making style (juxtaposing extreme close ups with extreme wide shots) having the most impact on the silver screen.

I sat a bit closer than I usually do - and in the center of course - because I wanted it to be a sensory overload. I wanted the screen to exceed my field of view slightly so I would have shift my gaze to see some of the peripheral details. I wanted to see the film grain, the pores in the actors' skin, etc. I swear I didn't blink for the entire film! I can't remember being this excited (but not as much) about watching a film in the theater since Star Wars (Special Edition) was re-released back in 1997.

The comments above about the print quality were accurate. Lots of damage. The print was slightly faded, sometimes blurry, had plenty of dirt and scratches, and there was some inconsistency between reels. BUT THAT'S WHAT I LOVED ABOUT IT! In an era of flawless digital presentations it was cool/fun/refreshing to watch an imperfect 35mm print. Besides, if I want to watch a pristine version of this film I can do that at home. I believe those imperfections add "character" to a film that's nearly 50 years old, much like old school craftsmanship adds character to a 100 year old home. I must admit that I didn't expect a print from a 2003 restoration would have this many flaws.

However, there were some issues that detracted from the experience. After all, this was the 2003 extended cut with botched 5.1 audio and crappy dubs for the added scenes. Before last night I was ambivalent about the grotto scene and the actors' voices in the other added scenes. Not anymore. They simply don't work. (Actually, only 'The Fort' scene works in my opinion; Simon Prescott was convincing as LVC and the visuals are amazing. I would be happy to have that magnificent scene included.) Consistent with the consensus that George Lucas should never have messed with his trilogy, the International cut should have been left alone.

Overall, extremely happy (privileged?) to finally had the opportunity to experience SL's masterpiece the way it was meant to be experienced.

That was fun.  Afro

« Last Edit: April 20, 2013, 09:34:55 AM by Lil Brutto » Logged

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cigar joe
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« Reply #4 on: April 20, 2013, 02:49:44 PM »

Great to hear you had a good time, I remember watching it numerous times in Times Square on huge screens in the late 60's and then once again on a big screen in the 90s at the Museum of the Moving Image. Another bonus is watching with an audience. Afro

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« Reply #5 on: April 20, 2013, 04:25:45 PM »

Thanks for sharing your experience; we should all be so lucky. Afro

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dave jenkins
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« Reply #6 on: April 20, 2013, 05:49:14 PM »

Another bonus is watching with an audience. Afro
Yes, I saw a DCP presentation at Film Forum last summer and the audience really added a lot. The place was packed, too.

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« Reply #7 on: May 27, 2013, 05:46:42 AM »

Yup, i saw it at Film Forum on the fall. Good crowd, laughed at all the right places

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Sensitive Mule
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« Reply #8 on: July 15, 2013, 03:30:23 PM »

The restored 35mm print is good and far better than the pitiful video transfer it got. The BD shows how much post processing was done and it isn't pretty. That said, it isn't as good as it should be and was rather oddly color timed to my eyes when i saw in a Leone program with other restored and vintage prints.

Triage had to time by eye against as US dupe print and at times resort to it, which I'm sure is the same one MGM used for their VHS/LD/DVD release. As I posted in the FAFDM LD thread, I think that source was a International cut interpositive, as the original MGM videos from this same source had Italian captions which were later swapped for English ones in later video releases.

Also, 1967 release prints were handled by Technicolor which handled their own invented process's limitations by their dye transfer printing process. This gave beautiful deep and unique color that also covered up some of the increased grain by shooting a Techniscope frame (2 frames on a single 35mm 4 perf frame, roughly 16mm each).

This is why a vintage battered print of FAFDM (the only one MGM has) absolutely blew away the GBU restoration and even for the most part the Italian restored AFOD.

This was not replicated by Triage. Their work on FAFDM is far better because they were able to work from the original camera Techniscope negative. And of course somehow MGM still missed the edits and correcting audio sync.

Lastly, I wanted to cry watching the restoration theatrically, on hearing that awful butchered 5.1 remix and not being able to turn it off.

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