“Almost like a real web site”
 

IN7OMM.COM
Search | Contact
News | e-News
Rumour Mill | Stories
Foreign Language
Auf Deutsch

WHAT'S ON IN 7OMM?

7OMM FESTIVAL
Karlsruhe | Gentofte
Krnov | Varnsdorf
Banská Bystrica
Oslo | Bradford

TODD-AO PROCESS
Films | Premiere
People | Equipment
Library | Cinemas
Distortion Correcting
DP70 / AAII Projector
 

VISION, SCOPE & RAMA
1926 Natural Vision
1929 Grandeur
1930 Magnifilm
1930 Realife
1930 Vitascope
1952 Cinerama
1953 CinemaScope
1953 Panavison
1954 VistaVision
1955 Todd-AO
1955 Circle Vision 360
1956 CinemaScope 55
1957 Ultra Panavision 70
1958 Cinemiracle
1958 Kinopanorama
1959 Super Panavision 70
1959 Super Technirama 70
1960 Smell-O-Vision
1961 Sovscope 70
1962
Cinerama 360
1962 MCS-70
1963 70mm Blow Up
1963 Circarama
1963 Circlorama
1966 Dimension 150
1966
Stereo-70
1967 DEFA 70
1967 Pik-A-Movie
1970 IMAX / Omnimax
1974 Cinema 180
1974 SENSURROUND
1976 Dolby Stereo
1984 Showscan
1984 Swissorama
1986 iWERKS
1989 ARRI 765
1990 CDS
1994 DTS / Datasat
2001 Super Dimension 70
2018 Magellan 65

Various Large format | 70mm to 3-strip | 3-strip to 70mm | Specialty Large Format | Special Effects in 65mm | ARC-120 | Early Large Format
7OMM Premiere in Chronological Order

7OMM ON EARTH

Australia | Brazil | Canada | China | Denmark | England | France | Germany | Holland | India | Iran | Israel | Ireland | Mexico | Norway | Poland |  Russia | Spain | Sweden | Turkey | USA |

LIBRARY
7OMM Projectors
People | Eulogy
65mm/70mm Workshop
The 7OMM Newsletter
Back issue | PDF
Academy of the WSW

7OMM NEWS
• 2026 | 2025 | 2024
2023 | 2022 | 2021
2020 | 2019 | 2018
2017 | 2016 | 2015
2014 | 2013 | 2012
2011 | 2010 | 2009
2008 | 2007 | 2006
2005 | 2004 | 2003
2002 | 2001 | 2000
1999 | 1998 | 1997
1996 | 1995 | 1994
 

in70mm.com Mission:
• To record the history of the large format movies and the 70mm cinemas as remembered by the people who worked with the films. Both during making and during running the films in projection rooms and as the audience, looking at the curved screen.
in70mm.com, a unique internet based magazine, with articles about 70mm cinemas, 70mm people, 70mm films, 70mm sound, 70mm film credits, 70mm history and 70mm technology. Readers and fans of 70mm are always welcome to contribute.

Disclaimer | Updates
Support us | Staff
Testimonials
Table of Content
 

 
 
Extracts and longer parts of in70mm.com may be reprinted with the written permission from the editor.
Copyright © 1800 - 2070. All rights reserved.

Visit biografmuseet.dk about Danish cinemas

 

"Napoleon" in 70mm at the Coolidge Theatre in Brookline, MA, USA
Reviewed Sunday afternoon, 26. November 2023

Read more at
in70mm.com
The 70mm Newsletter
Written and photographed by: Jonathan Kleefield, M.D. Date: 27.11.2023
The Coolidge Theatre in Brookline, MA

With the encouragement of our Editor, and favorable late fall weather, yesterday I took the opportunity to walk the 3.3 miles from my home to the Coolidge Theatre in Brookline, MA. I have patronized this wonderful showplace on previous occasions. For those unfamiliar with it, the theatre was opened in 1933, after opposition of the town for the potential deleterious influence a “moving picture theatre” might have on the local populace. The theatre was built from a church converted for theatrical purposes. Originally a single screen theatre, decades later, a second theatre was added by closing off the balcony. Despite several near closures, the enthusiasm of a few generous souls rescued the facility, which was repurposed to show a mixture of “classic” and current films, as well as subjects typically seen in “art houses.”

• Go to gallery "Napoleon" in 70mm at the Coolidge Theatre

The main theatre, where
"Napoleon" was being shown, has around a 400 seat capacity, yet for this Sunday showing, there were only about 50 people in attendance. This was surprising to me, given that only five 70mm prints of Sir Ridley Scott’s latest epic were struck by Fotokem. I would have expected more cinephiles, given the sophistication of the Boston film community.

The theatre and lobby are in an Art Deco motif, and the photos clearly show the attention given to the lovely decorative painting and gold leaf in the theatre. However, the seats are more modern, and very comfortable, with cup holders, and have a rich red velour covering.

The head projectionist informed me that the film was being displayed by the very best- namely, a pair of Norelco AAII 35/70 projectors. Sound was via a DTS system, with the discs loaded onto a XD50 processor. A large array of surround speakers were clearly visible. The floor manager told me that the film was projected in the “conventional” fashion, namely individual reels, rather than a platter configuration. The projection team had to manually insert cue marks at the end of each reel. The changeovers were absolutely flawless.

I am not a historian, and therefore assumed Mr. Scott adhered to the truth in describing Napoleon’s rise to power, starting as a mere gunnery officer to gain his first triumph at the Battle of Toulon. His lust for power and ascension to the created position of Emperor was eerily reminiscent of that of Hitler. Like the Fuhrer, Napoleon used violent means to increase his control, and similarly, his downfall was caused by his belief that he could conquer Russia. In both cases, the Russian winter stopped them, with resultant massive losses for their armed forces. While Hitler committed suicide, Napoleon “got off easy”, having been exiled in palatial surroundings. The human cost of his recklessness was shown by Scott at the end of the movie, listing the millions of casualties caused by his battle tactics, arising mostly from the Russian campaign.
 
More in 70mm reading:

Gallery "Napoleon" in 70mm at the Coolidge Theatre

"Napoleon" in 7OMM

“Napoleon”: The North American 70mm Engagements

Kevin Brownlow: “EST VOUS MONSIEUR GANCE?”

"Oppenheimer" Reviews

A Nostalgic View of 70mm in New York City - 1950-1970

Eighteen Years Later

DP70s in Massachusetts (MA)

DP70s at the Vista

in70mm.com's Library

Presented on the big screen in 7OMM

Peripheral Vision, Scopes, Dimensions and Panoramas
 
The Coolidge Theatre in Brookline, MA

Concerning the film quality, the Norelco machines, under expert guidance performed flawlessly, with a rock steady image, and very minimal perceived flicker, the latter only noticeable when there were large white areas in the picture. The film gates were spotless, and the print almost entirely free of dust. There was no perceptible film grain. However, I am aware that this print represented a conversion of a digital image source to this analog medium. What I found disappointing was the perceived image sharpness, and worse, the lack of true black in scenes that would have called for it. I believe some of this problem may be the result of the excessive use of backlighting by the Director of Photography. What was equally annoying was the colorists had gone on a rampage, altering the color of nearly the entire film to either a desaturated image with a grey-blue tint, or when in the Egyptian desert, a sickening yellow reminiscent of shades best limited to bathroom fixtures in use. Also, the director of photography was either “encouraged” by Sir Ridley, or was mesmerized by John Alcott’s work in Stanley Kubrick’s 1975 “Barry Lyndon” to shoot endless interior scenes supposedly lit only by candlelight. This use of low light (which admittedly was all one had in the 18th and early 19th centuries) became extremely tiresome to watch. Alternatively, these “period piece” films love to use light streaming in from windows, with the result that the interior details are only visible to a very limited extent.

There is a night ship battle scene in the early Toulon sequence that brought a chuckle to me- I believe miniatures, rather than CGI were used, as the waves of water in the foreground were so coarse as to give away the failure of such a small tank to resemble actual water- water is the nemesis for miniature work. Much of the CGI employed (though Sir Ridley says little was used) was variably convincing, but some of the created buildings looked particularly artificial. The CGI artists tasked to depict gore had a field day, early in the picture, again in the Toulon sequence, when Napoleon’s horse is shot in the chest with a cannon ball. The innards catapulting from the poor steed are visible for a few seconds, so hopefully this production did adhere to the usual stipulation that “no animals were harmed during the making of this motion picture” (!). Later on, the responsible cannon ball is retrieved from the dead animal and tossed by Napoleon to another soldier. Also, those who love such stuff will not be disappointed with the opening of this film, depicting the decapitation of Marie Antoinette.

The theatre sound quality was excellent. I was able to discern most of the dialog, despite complaints that Joaquin Phoenix, who plays Napoleon, was accused of “mumbling.” Again, kudos to the Coolidge staff for adjusting the sound properly, as well as the sound designers in the film itself.

All in all, I found the two hour and 36 minute film absorbing, and for me, educational, as I did not know much about Napoleon before I saw this presentation. I would encourage cineastes to seek out the 1927 film of the same title, by the French film maker Abel Gance, who was incredibly groundbreaking technically, including the use of a three panel “triptych” system to show both panoramas or multiple images simultaneously. Nevertheless, I still feel that aside from the experience of communal viewing, the capabilities of a good home theatre system have the potential to provide better image quality than the “big screen,” as well as sound fidelity quite competitive with that experienced in a large auditorium.
 
 
   
   
   

• Go to
Review: "Napoleon" in 70mm at the Coolidge
 
Go: back - top - back issues - news index
Updated 28-07-24