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Author Topic: Remastered Fistful to be shown at Cannes Film Festival  (Read 8731 times)
Cusser
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« on: May 13, 2014, 11:02:01 PM »

Remastered Fistful to be shown at Cannes Film Festival. 

"The Cannes Film Festival has set a screening of a restored version of 1964′s “A Fistful of Dollars” for May 24 with Quentin Tarantino hosting the closing-night event.

The screening will commemorate the 50th anniversary of the release of the first Spaghetti Western, directed by Sergio Leone  and starring Clint Eastwood and Gian Maria Volonte.

The film will be screened after prizes have been awarded, using a new copy restored by the Cineteca di Bologna. The restoration was undertaken by the Cineteca di Bologna and Unidis Jolly Film (the original producer and distributor); the Hollywood Foreign Press Association and Martin Scorsese’s Film Foundation were also involved.

The Immagine Ritrovata film restoration laboratory digitized the original Techniscope camera negative and restored it to 4K resolution. Cinematographer Ennio Guarneri oversaw the digital calibration.

The digital restoration of the sound used two optical negatives of the English version owned by Unidis Jolly Film and MGM, remixed with two separate magnetic sets containing the original pre-mixes of the music and the effects."

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drinkanddestroy
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« Reply #1 on: May 14, 2014, 02:06:57 AM »

nice  Smiley Smiley Smiley Smiley

does this mean another BRD is coming?

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« Reply #2 on: May 14, 2014, 10:27:50 AM »

nice  Smiley Smiley Smiley Smiley

does this mean another BRD is coming?
Undoubtedly.

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« Reply #3 on: May 14, 2014, 07:25:56 PM »

Great news.

Let's hope this blu-ray.com poster's concerns are unfounded:

Quote
As a Cineteca di Bologna supporter, I have mixed feelings about the new restorations scheduled for Cannes. Tag Gallagher has already pointed out some controversy about Angst, whose Italian version wasn't directly supervised by Rossellini. But I am also worried about the three Sergio Leone films. As a matter of fact, the 2009 Cineteca di Bologna restoration of The Good, the Bad, the Ugly had major issues concerning the soundtrack (Morricone's score was also inadvertedly altered), and I wonder if this new resto is going to fix this (Bologna never acknowledged the problems existed). Moreover, in 2007 Cineteca Nazionale already did a beautiful restoration of A Fistful of Dollars, using 2k resolution and Fuji 8511RDI film stock (budget: 300.000 €). Since the film was shot in low resolution Techniscope, I am not sure the new 4k format will actually improve the picture quality. Also, since legal issues prevented access to the 2007 restoration, I am also concerned about the soundtrack: in 2007, Morricone and his personal sound designer reconstructed the 1964 mono mix working on the original sound elements, but who is doing the new Bologna restoration?

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« Reply #4 on: May 14, 2014, 08:34:11 PM »

The poster says he is worried about "the three Sergio Leone films." Does that mean they are remastering the entire Dollars trilogy?

I really hope these remasterings are an improvement. In the case of Leone's movies, crazy fans like us will probably just buy every release for the sake of having it; unless I hear terrible things about it, I'l probably buy it no matter what.

I already own the Ripley's blu-ray of FOD (an Italian DVD, but it has the English-language option and is region-free), as I've discussed on other threads, I think it looks absolutely beautiful; I don't know much about technical stuff, and really wonder if subsequent restorations will add anything significant? As the poster said, there is a certain limitation to any film, based on its source; (at least with the present technology), it's never gonna look like stuff that is shot with today's HD cameras... and really, would you want it to? I am all for making a film look the best it can look, ie. as close as possible to how it looked when released, but I really fear that it often crosses the line to "improving" the original look, which to me is bullshit. As I said recently in the Shane thread after watching that BRD, the colors look so different now, I wonder if the restorers are just trying to "improve" it and therefore we are not seeing the movie that George Stevens intended. How he would have have made it if he had access to 2014 technology is irrelevant; we should be focused on preserving how it was made and that's all. (I discuss this issue in this post RE: Shane http://www.fistful-of-leone.com/forums/index.php?topic=486.msg171627#msg171627 and also provide this link to a discussion by Martin Scorsese about restoration vs. improvement http://www.fistful-of-leone.com/forums/index.php?topic=10908.msg160282#msg160282 )

I think DJ recently said, RE: the new BRD of BMTHO Alfredo Garcia, something like "I'm absolutely convinced the film never looked this good." I just wonder if that's a good thing. I mean, we all criticized ted Turner for colorizing old b/w films, but is "improving" the color of old color films really that much different?

With all that being said, the fact that there are all these restorations is a great positive because it shows there are still people and film restorers that care about Leone's films, so we can (hopefully) be assured that his films will never be neglected; the very fact that all these restoration attempts are being made lets me know that these films will never fall into neglect  Smiley Now, if we can only get a proper restoration of DYS with the correct audio. (In the interviews  Scorsese did after the recent restoration of OUATIA, I remember that he discussed what a great film DYS is and that it is still under-appreciated. Maybe he'll decide to undertake a proper restoration on that  Wink )

« Last Edit: May 14, 2014, 08:43:27 PM by drinkanddestroy » Logged

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« Reply #5 on: May 17, 2014, 12:36:39 PM »

Some different thoughts on the different restorations:


https://www.facebook.com/notes/ripleys-home-video/a-fistful-of-dollars-re-restored/10152425272305056


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« Reply #6 on: May 17, 2014, 01:47:11 PM »

Actually, a lot of thoughts on the earlier restoration, the new one, not so much.

From what I understand, the changing technology makes it possible to do better restorations now then ones done even 7 years ago. So it's possible that this new restoration will be an improvement over the Ripley's one. Which is all to the good. Leone's films are among the greatest works in all of cinema. We should have them in the best possible form at all times. If it's possible to continue to improve them forever, then I say have at it. The rest of the crap that's called cinema can wait its turn.

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« Reply #7 on: May 19, 2014, 02:46:31 AM »

Well according to that statement by Ripley it seems me they think their version looks like it is supposed to look.

The new restoration supposedly looks like this: http://video.repubblica.it/dossier/cannes-2014/per-un-pugno-di-dollari-restaurato-a-cannes-e-poi-in-sala/165118/163609

(new vs old)

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« Reply #8 on: May 19, 2014, 08:14:37 AM »

I favor the new yellow-ized approach. I think SL was going for a sepia effect in his Dollars films. Salvati seems to think so too. Now that we can see the contrasting colors, the blues and pinks of the older transfers seem like so much BS. The flesh tones in these old transfers have never been correct. And Leone's West was a very dusty place. Bring on the Good, the Brown, and the Urological.

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« Reply #9 on: May 19, 2014, 08:58:59 AM »

Well according to that statement by Ripley it seems me they think their version looks like it is supposed to look.

The new restoration supposedly looks like this: http://video.repubblica.it/dossier/cannes-2014/per-un-pugno-di-dollari-restaurato-a-cannes-e-poi-in-sala/165118/163609

(new vs old)


that shot on the left is awful, awful, awful. You can't even see the mountains, it's all hazy in back. The mountains of the Spanish desert are one of the recognizable features of Leone's Westerns, and now we can't even see them properly?  Angry

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« Reply #10 on: May 19, 2014, 10:16:32 AM »

We will have to see this in motion to be sure. Don't be hasty.

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« Reply #11 on: May 19, 2014, 12:18:01 PM »

I think SL was going for a sepia effect in his Dollars films. Salvati seems to think so too. Now that we can see the contrasting colors, the blues and pinks of the older transfers seem like so much BS. The flesh tones in these old transfers have never been correct. And Leone's West was a very dusty place. Bring on the Good, the Brown, and the Urological.

But Ripley Film says about their restoration "virtually faithfully reproduce the charm of the original colors of the copies printed and distributed in 1964, especially the reds and blacks. " They are lying? Wink

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« Reply #12 on: May 19, 2014, 12:25:12 PM »

But Ripley Film says about their restoration "virtually faithfully reproduce the charm of the original colors of the copies printed and distributed in 1964, especially the reds and blacks. " They are lying? Wink
No, I'm sure they did their best. But we can't go back to 1964 and see what the prints actually looked like then. And people's memories are unreliable.

But the skin tones of actors were never that red on film. We never saw complexions like that until the DVD age. They may have got some things right, but Ripley's blew it on the skin tones.

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« Reply #13 on: May 19, 2014, 12:38:48 PM »

But but...
http://en.wikipedia.org/wiki/Technicolor
"Because the dye transfer process used stable acid dyes, Technicolor prints are considered of archival quality. A Technicolor print from the dye transfer era will retain its original colors virtually unchanged for decades with proper storage"

?

And the new GBU colors are said to be the way they are because Salvati said yellow AND the restoration team took a look at vintage IB prints of the film.

Then again there's already one guy at blu-ray.com who says his IB print of GBU does not look like the screenshots from the new disc. Wink

Also it has been reported the new AFOD restoration would be based on one technicolor print. If they are not reliable no wonder the new restoration looks so shitty.

Wink

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« Reply #14 on: May 19, 2014, 12:52:17 PM »

As far as I know, Techniscope and Technicolor are two different processes. But that's all I know. I don't know how reliable Techniscope archive materials are. I did not think they were a dye transfer process. But I don't know much about any of this.

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