“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

 

I Was There

Read more at
in70mm.com
The 70mm Newsletter
Written by: Franz Nangle Date: 01.06.2009
"The Alamo" poster from Yugoslavia. Herbert Born collection.

November 24, 1990 will be one of those dates that I will never forget. It was on this date that I had the pleasure of attending one of the most exciting film events of the decade. Was it the Oscars? The Festival of Festivals? The Cannes Film Festival in France? No way. How about a rare viewing of the full, uncut, 70mm, 192 minute version of the John Wayne classic “The Alamo”. I don 't want to make this sound too much like a religious experience but I was one of the chosen few who got to see a piece of film history right before my very eyes. Many people including UA thought that there were no more original copies of this great film in existence. At this very moment I'm still amazed that the media hasn’t really caught on to this amazing discovery. (except the CBC who did a segment about it on their evening radio show "Prime Time". I 'm still trying generate some interest to my favourite film magazine Premiere). Now, being invited to a private screening is one thing. But to actually witness the rediscovery of a work of art is another matter.

I had first seen this John Wayne film while watching late night T.V. (this was before the days 'of David Letterman) when I was in my early teens. Back then I was in the habit of staying up late after digesting the late night news. I had no idea that this film was coming on, so it was a very "virgin" experience for me.

What has always impressed me about the film were two things; Lawrence Harvey's excellent portrayal of the egocentric Travis, and the fantastic battle scenes. That was the only time that I had seen film. I had no idea that the film that I had seen on TV was not the complete version.
 
More in 70mm reading:

"The Alamo" lost 70mm version - This letter which started it all

The Finding Of The Lost Alamo

Remember the Alamo?

November 24, 1990: In Retrospect

There are two things which have tormented me for most of my adult life

One Morning In November

An Update On The Long Version


The Reconstruction and Restoration of John Wayne's "The Alamo"

Internet link:

"The Alamo"
articles and letters appeared in "The Spirit of the Epic" magazine in June 1990. Reprinted here with permission from Robert Bryden

bobbryden.com
Danish Newspaper advert. Editors collection.

That was until October of 1990. My wife and I paid a timely visit to Bob Bryden and his wife Lynn to catch up on lost time. His place is like a museum to me because of the film memorabilia that Bob collects. While we were there I noticed a copy of a book that Bob had recently purchased called "The John Wayne Scrap Book". The book is a wonderful catalogue on everything dealing with John Wayne and his films. Knowing that "The Alamo" was Bobs favourite movie of all time I zipped over to the section that described the making of “The Alamo”. I read it intently. This is where the excitement and mystery began to unravel. In the book the author claimed that all original prints of the film were destroyed by 1979. Yet, Bob had claimed to have seen the film in Toronto in 1981. Bob just couldn't let this puzzle pass on by. He passionately believed that what he saw was the 192 minute uncut version. So the big question was this; Was Bob crazy? Did he really see an original version the film or was he just in La, la, land? This film crusader was determined to find out the truth. To help him in this endeavour Bob got in contact with Alamo enthusiast Ashley Ward who was willing to rent the Eglinton cinema in Toronto for a private screening in order to find out if this was an original print. This was no simple screening. What was at stake here was Bob's reputation. A few weeks later I received a private invitation to attend the screening. So, on a cool November morning under the cover of darkness everyone who could make it converged on the Eglinton theatre to view a bit of film history. We took our positions and began to watch as film history was being made. Within 5 minutes into the film I heard joys of crying and excitement as the film reel was rolling. Bob had indeed found the only surviving print of "The Alamo" and I WAS THERE.

P.S. What ever became of Lawrence Harvey?
 
 
   
 
Go: back - top - back issues - news index
Updated 28-07-24