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Cinerama Birthday
Bradford Celebrates Cinerama’s 60th. Anniversary |
Read more at in70mm.com The 70mm Newsletter
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Written by: Mark Trompeteler. All photographs by the author with thanks to the museum’s press office |
Date:
31.07.2014 |
Old & Rare
Cinema professionals, writers, academics and fans travelled from all
over the world to this year’s Widescreen Weekend, at the National Media
Museum in Bradford. Mark Trompeteler reports on Cinerama’s very own UK
based
“Diamond Jubilee” celebrations.
The largest number of core delegates, in the region of 180, that the
museum staff can ever remember attending the Widescreen Weekend gathered
at the museum’s Pictureville Cinema in late April. Not only to celebrate
all things widescreen, but particularly this year, Cinerama’s sixtieth
birthday. So why in these days of digital and automated screenings of
crisp, stable, high resolution images in Cinemas does a dedicated
hardcore of professionals, academics and fans still enthuse about and
celebrate such an old and now very rare projection system? Furthermore
that system not only highlights all the problems with film prints, but
threefold, not to mention join lines when the three prints are projected
side by side. Pictureville Cinema at the museum is also only one of
three remaining public cinemas in the world capable of being able to
screen Cinerama “three strip” prints, which are so rare and
deteriorating.
Quite simply it is because Cinerama irrevocably, in one fell swoop,
totally changed the shape and sound of the movies for evermore.
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More in 70mm reading:
Widescreen Weekend, Bradford,
England
Internet link:
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Big Screen Impact
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At a time of the rapid growth of television in America and falling
cinema audiences, the premiere of “This is Cinerama“ in 1952,
even with its limitations of the join lines, caused an audience
sensation. The major Hollywood studios subsequent rapid introduction of
widescreen aspect ratios and stereophonic sound made a counter attack on
television, which in its turn eventually adopted widescreen and
multi-channel sound itself. Despite only nine “three strip” feature
films ever being made, and some arguably coming across as quite dated in
narrative appeal by today’s standards – the impact of Cinerama is worthy
of celebration and this year’s Widescreen Weekend did just that so well.
It is also easy to forget with its encompassing deeply curved screen and
the very wide field of vision presented to the viewer that Cinerama
also, in its own way, addressed the immersive effect of big screen
Cinema and 3D that audiences could find attractive both then and today.
Two years ago in another article, I alluded to this when I said: “To my
mind one of the particular relevancies of Cinerama to digital age young
people is that it was a utilisation of the peak of moving image
projection technology, photographic emulsions, presentation and sound
technology of the day to produce probably the very first mass audience
immersive virtual reality or virtual world experience. “ It was the film
Imax of its day.
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Cinerama Legacy
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On asking some delegates what they thought the importance of Cinerama
has been in the history of cinema similar strands of thoughts were
expressed:
"Nearly 60 years after the dawn of the cinema, Cinerama brought the
third generation of movie-goers a vivid reminder of the visceral thrill
of moving images that had first entranced their grandparents to jump out
of their seats thinking a steam train was going to come right off the
screen and run right over them.”
Randy Gitsch, Hollywood, (Cinerama Expert & Historian, Film Archivist,
Producer “Keepers of The Frame”, “Cinerama Adventure”,
Collaborator on Digital Cinerama Presentations.)
“The historical importance of Cinerama, cannot be overstated. Cinerama
gave the cinema, an industry nearly killed by television, a whole new
lease of life.“
Mark Lyndon, London, (Writer and Regular Contributor to www.in70mm.com)
“The importance of Cinerama in the history of cinema was that its box
office success opened the eyes of the film industry to the advantageous
use of improved technology to enhance the realism of the movie going
experience and using this as a tool to combat the inroads of television
on their business. “
David Coles, Australia, (A Career in Cinema Exhibition, Cinerama Expert
& Historian.)
“The Hollywood studios, unable to ignore Cinerama's phenomenal success,
adopted numerous copy-cat formats during the years that followed. As a
result, Cinerama was the driving force for changes that can still be
seen in how films are made to this day.“
Tom March, Canada, ( Ex Broadcast Engineer, Cinerama Expert &
Collaborator on Current Cinerama Projects. )
“Cinerama forever changed the way movies were both made and presented
because the very first film in the process gave birth to an era of
widescreen cinema which has remained to this day and which is still as
pertinent and relevant as it was in 1952.”
Duncan McGregor, (Projection Manager and Programmer, Widescreen
Weekend.)
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Gance, Brownlow & Cinerama
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Kevin Brownlow & Mark Lyndon
share a joke
I recently wrote about a Photoplay Productions’ magnificent Parisian
screening of “Napoleon” and the impact of Able Gance’s final
twenty minute triptych and how I thought in many ways Gance had
conceived of and achieved Cinerama well ahead of Fred Waller’s
development of it. It’s a view held by some. Kevin Brownlow was one the
speakers at this year’s weekend and very kindly agreed to an interview
with me about Cinerama, “The Artist” and Digital Cinema – more of which
perhaps in a future issue of CT. However, during our interview and
conversation he told me that his partner at Photoplay, Patrick Stanbury
firmly believes Cinerama is very significantly a development on and
different from Gance’s triptych. Brownlow told me that Stanbury argues
it’s the arrangement of the projectors cross projecting onto the deeply
curved screen that makes it significantly different – which causes me to
re-evaluate my former view that Gance got their first.
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The Glories of “Three Strip”
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Cinerama Magnetic Multi Channl Sound Reader
Of the nine* “three strip” feature films made five were screened over
the weekend either in original “three strip” prints or digitally,
together with excellent introductions and accompanying presentations.
( * Cinerama experts can disagree on this point – please note “Scent
of Mystery” aka “Holiday in Spain” was shot in 70mm and then
“three stripped” afterwards. “The Best of Cinerama” was not a new
film but a compilation, and other titles from the Cinerama Library were
originated on 70mm, so some experts maintain that only nine original
“three strip” feature films were ever made. )
The three strip prints screened were “This Is Cinerama”, (TIC),
“How The West Was Won”, (HTWWW), and a long awaited and highly
anticipated screening of “The Wonderful World of the Brothers Grimm”,
(WWWOTBG). The first two are well known and have been viewed by
Widescreen Weekend regulars quite frequently over the years but
improvements have been made to the museum’s print of TIC by the
reprinting of a section or two of the print. (courtesy of Cinerama
Aficionado Tom March).
Something worth mentioning is the point that Duncan McGregor of the
museum staff highlighted at the weekend. “The prints of HTWWW and
WWWOTBG were made possible by a few dedicated and generous widescreen
enthusiasts who enabled this project to happen, by helping sponsor the
cost of shipping these prints from Australia. If I hadn’t been able to
raise this money from the outset, then the weekend would have been very
different as we couldn’t afford to ship them for just one or two
screenings – so the sponsorship was vital. “
This year’s screening of HTWWW was made special in that it was a print
obtained from private collector, John Mitchell, and a screening of a
short documentary of the cast reminiscing about the making of the film
was also included. Also particularly by the attendance of and a
presentation by Loren Janes – a veteran Hollywood stunt man and stunt
co-ordinator, who has worked on many Hollywood classics, and worked with
many Hollywood “greats”. His presentation on the work that he did on
HTWWW made the screening this year particularly special.
What was probably the Cinerama highlight of the weekend and which
probably accounted for many people travelling around the world to come
to see, was the incredibly rare public screening of a “three strip”
print of “The Wonderful World of the Brothers Grimm”. Probably
one of the last surviving “three strip” prints of the film – it had been
rescued and looked after over the years, along with other Cinerama
prints and equipment by legendary, almost folkloric, Australian private
Cinerama collector John Mitchell. Now a retired telecommunications
professional, and at one time, a part-time projectionist, and dedicated
film enthusiast, John had rescued Cinerama prints and equipment and
saved them from oblivion many years ago and to this day has a private al
fresco Cinerama installation in his back garden. As generous a “diamond
jubilee” gesture as you can imagine he had parted with this extremely
rare print which was shipped over from Australia for this very highly
awaited screening. John also made a brand new 35mm full coat oxide, 7
channel soundtrack to accompany the print, as his original sound print
was in the final stages of vinegar syndrome and almost beyond saving. It
was rescued at the last minute and once again generously sponsored by
Tom March. Furthermore, after delicate negotiations with Duncan
McGregor, he agreed to donate this unique Cinerama print – along with
HTWWW – to the National Media Museum’s film archive.
On the Saturday night a full house buzzed with excitement knowing this
was understood to be the first public screening of this film in original
“three strip” Cinerama for some forty years! As soon as the film
appeared on the screen I was reminded at just how amazing Cinerama still
can be and must have been in its heyday. The rich Technicolor print,
remarkably crisp and in good condition in large sections presented so
much visual information and detail on the screen, so much so that even
in this 4K digital age, it still took my breath away. Particularly in
one sequence - in the gypsy camp - the deep rich use of Technicolor
combined with the immersive and detailed Cinerama experience really did
create a convincing virtual reality kind of experience. For me this old
Hollywood family “feel good” type of movie, which I had never seen
before, was a revelation in the way it showcased Cinerama and worked so
effectively as a film of its type, and of its time.
It was a particularly moving moment when a skype broadcast from the
museum to John’s home in Australia brought an image of John onto the
cinema screen in Bradford which was greeted with immediate spontaneous
and enthusiastic audience applause. Bill Lawrence chatted on skype with
John and conferred admission to The Widescreen Academy to John, in
recognition of his amazing contribution to the preservation of the
legacy of Cinerama.
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Digital Cinerama
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Dave Strohmaier & Randy Gitsch & Projecting Cinerama
Dave Strohmaier and Randy Gitsch often point out that they do not
undertake full blown film restorations of Cinerama feature films. What
they have been doing on amazingly low budgets is a digital scanning in
of the best film material they can obtain of the these films, and then a
digital “clean up” and colour restoration within the digital file and
then the production of the final file. It is a kind of re-mastering,
transmutation or transformation of film material to 2K digital files.
The purpose of this is to have material available for screening on
digital formats and to make available commercial Blu-ray DVDs so that
people could buy and add to their collections and make this film
heritage available to the home market. This is something that is being
achieved at a fraction of the cost of a full blown restoration back onto
film material.
In achieving this work Tom March says, “Enough cannot be said about
Image Trend’s contribution in restoring the four travelogues. Their
contribution included drawing up a special contract to scan all four
travelogues while staying within Cinerama’s budget. They also funded the
modification of their digital scanning equipment to accommodate the now
discontinued 6-perf Cinerama format and they came up with the software
to combine the three digital panels into one digital image.” Clearly
Image Trends made a significant contribution to help preserve these
Cinerama classics.
This year Dave & Randy introduced and screened two of their digital
“re-masters” - “Russian Adventure” and “South Seas Adventure”.
Invariably file sizes and the variation in the quality of the original
film material they are able to obtain is going to affect the outcome.
From memory, the re-mastering of “South Seas Adventure” on the
Pictureville’s screen looked somehow perceptibly better than the digital
version of “Windjammer” screened a couple of years ago. But a
simple piece of information from Randy confirms that with their work on
“Windjammer” the best material they could obtain were dupes of
dupes, whilst they were able to obtain original negative material for
“South Seas Adventure” – whilst such variations show up on a very
big cinema screen – such variations will be far much less noticeable on
home cinema screens. The screening of “South Seas Adventure” was
again made special by the guest attendance of Ramine – who featured
prominently in the film and attended the world première of the film in
1958. This year was the première of the digital version of the film and
her attendance at this second one, some 54 years later, must have
established some kind of Cinema world record! David Coles from Australia
also gave a detailed presentation on the history of the making of the
film.
The contribution that Dave and Randy continue to make to the
preservation and championing of Cinerama heritage is truly outstanding.
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Other Widescreen Items
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The presentation of 70mm prints of “Ryan’s Daughter”, “Around
The World in 80 Days”, “Star Chamber” and “Black Rain”
ensured that Cinerama wasn’t the only item on the weekend’s programme.
Kevin Brownlow presented a lecture: “From Biograph to Fox Grandeur.
Early Experiments in Large Format Presentations”. His attendance and
contribution were greeted enthusiastically.
Another highlight was the Sunday evening presentation of the film
“Samara” shot on 65mm and projected in 4K digital. It was the UK
première of the film and the closing film of the whole Bradford
International Film Festival. It was also Pictureville’s first
presentation featuring 7.1 surround sound made possible via the UK’s
first install of Datasat Digital’s latest audio processor – the AP20
(more of which will feature later in a separate article in CT.)
Directed by Ron Fricke it is his follow up to his “Baraka” and
these are reminiscent of the beautiful non verbal films of Godfrey
Reggio “Koyaanisqatsi” and “Powaqqatsi”. It’s a non
narrative observational documentary with no dialogue or voiceover, a
thematically edited film exploring certain traditions, religious
ceremonies, customs, the beauty of landscape and beautiful locations set
against an increasingly urbanised and modern world with aspects of
modern life also depicted. The film is visually stunning, shot with an
acute photographic / cinematographic eye. A film constructed in such a
way that shown to audiences so used to narrative films with a story and
dialogue, it may not be something that is to everybody’s taste. I really
enjoyed it. It is visually fabulous and subtley evokes questions in the
viewer about the world, our beliefs and values, and modern life. As a
showcase that demonstrates the visual beauty of stunning 65mm film
origination quality and the stunning crisp stable quality of 4K
presentation - it was brilliant.
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Justified Recognition
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Loren Janes & Tom March
The number of people who contributed to this year’s very special
Widescreen Weekend must have been many and varied and as always
recognition must go to the this year’s programming team of Bill Lawrence
and the museum’s Duncan McGregor, and all the museum staff involved.
Mention has already been made of the public recognition bestowed by the
organisers of the invaluable contribution of John Mitchell to the legacy
and heritage of Cinerama. Similarly the organisers gave very special
recognition of the work of Kevin Brownlow and his contribution to
widescreen and cinema appreciation and history. Organisers also bestowed
public recognition to Tom March who following a successful career in
Television, “has dedicated his retirement to the promotion and
restoration of the Cinerama classics, the filming of a new short
Cinerama ‘journey’ and his fascination with all things to do with
“How the West Was Won”. Without his support, this year’s 60th
anniversary celebrations would have been a shadow of what you have been
able to enjoy this weekend.”
Tom March has, unbeknown to many, been a quiet, modest, dedicated,
generous philanthropist, developing and negotiating, and acting as a
catalyst for many of the Cinerama projects and widescreen projects and
screenings associated with this year’s Cinerama celebrations and
previous widescreen weekends.
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In the Picture
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One thing that this Cinerama Celebration year has brought home is the
amazing longevity of the film process and its equipment. Imagine that
you “mothball” a high resolution “state of the art” digital motion
picture camera today and in 2062 you decide to get it out of its box,
switch it on, shoot, edit and present a digital movie in exactly the
very same high resolution format. The problem is that no one can
accurately predict now that you could. Is it likely?
The intrepid Strohmaier and Gitsch and a dedicated team of collaborators
and sponsors like Fuji in LA and Tom March, have done just exactly that
with a “three strip” Cinerama camera in Los Angeles. For the past few
months that dedicated team have been shooting a short subject promo /
drama using one of the original “three strip” cameras and are making a
film called “In The Picture” to present in “three strip” in late
September at Hollywood’s Cinerama Dome. Delegates at the weekend were
treated to previews of “three strip” “dailies” and footage of this small
dedicated Cinerama production crew on location.
Fascinating reports and stills of the first Cinerama film production in
fifty years can be seen at: www.in70mm.com also search “Cinerama 2012”
in You Tube.
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A Great Event in Challenging Times
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In these challenging times of cost consciousness and the spectacular
advance of all things digital and some of the advantages that 4K can
bring to high quality presentation, I was particularly impressed by the
quality of “Samara” on the Pictureville screen. As there are a
finite repertoire of Cinerama and 70mm. titles and prints available,
which are sometimes increasingly faded or in poor condition, one wonders
what future there might be in digital screenings of digitally fully
restored pristine digital files of both classic and more contemporary
widescreen and large format films, and the contribution this could make
to increasing the demographic, interest and audience for this important
cinema heritage. Just like the regular moviegoer, the existing body of
widescreen and large format enthusiasts are viewing movies in
challenging, fast developing and rapidly changing times.
This year’s widescreen weekend was particularly special and successful
with record attendances. It is interesting to note how vital sponsorship
is to the success of any film festival or event these days, especially
in the current ongoing financial climate. Again, the cost of shipping
film prints is re–enforcing changes in all aspects of our industry. The
widescreen weekend was extremely fortunate in being able to have
benefited from sponsorship even down to individual delegate level
The team and the museum are to be congratulated for marking “Cinerama at
60” in such a very successful way.
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Some “Cinerama at 60” Essentials
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Cinerama
Magnetic Multi Channel Sound Reader
As well as The Widescreen Weekend 2012 these include:
• Dave Strohmaier’s & Randy Gitsch’s personal crusade and collaboration
with Cinerama Inc., and numerous contacts in Hollywood and around the
world, to digitise the ten Cinerama feature films is nearing completion.
How many will be released on DVD will depend on the sales of the initial
two.
• “This is Cinerama” & “Windjammer” are available for the
first time this year on Blu-ray/DVD from an American company called
Flicker Alley that say their mission is “to bring film history to new
audiences”. The “Smilebox” aspect ratio simulation of the deeply curved
screen is a really an interesting and effective innovation of simulating
the impact of Cinerama on flat screens. www.flickeralley.com
• The digital “This Is Cinerama” was showcased to an audience at
BFI Southbank in London in early May.
• As the September issue of CT magazine is being distributed and reaches
the magazine shelves a week long celebration of Cinerama to mark its
60th anniversary is taking place at The Cinerama Dome in Hollywood. The
Dome event is scheduled for Sept. 28th. through to Oct. 4th. It is set
to include the première of the first film produced in “three strip”
Cinerama for 50 years – the short subject “In The Picture.”
• I cannot recommend Thomas Hauerslev’s website www.in70mm.com highly
enough for more detailed information and updates about Cinerama, and
more photos and details of Cinerama’s sixtieth anniversary celebrations
and events.
• “The Cinerama Story” a detailed booklet was advertised in the previous
issue of CT magazine and is available from www.70mmpublishers.nl
• Issue 22, of volume 8, of “Cinema Retro” magazine celebrates the 60th.
anniversary of Cinerama and as well as interesting overview articles
includes a richly illustrated ten page article on “How The West Was
Won” by one of this year’s Widescreen Weekend delegates, Sir
Christopher Frayling.
uk email: solopublishing@gmail.com usa email: cinemaretro@hotmail.com
• The conference of The Association of Moving Image Archivists takes
place in Seattle in December which houses one of the three remaining
public Cinerama cinemas in the world. Discussions and correspondence
about possible Cinerama screenings then or in 2013 have taken place. Let
us hope the Seattle Cinerama holds fast with its other two Cinerama
compatriot cinemas and doesn’t let this important anniversary pass
without marking it in some way with Cinerama screenings.
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