Criterion’s Bluray of Wim Wenders‘ The American Friend (’77), which was announced today, will be presented within a 1.66:1 aspect ratio, which is how it was projected at the New York Film Festival a little more than 38 years ago. The American Friend “is one of those films that I wanted to literally move into,” … Read more
There’s a five-minute visual essay on Criterion’s new On The Waterfront Bluray called “On The Aspect Ratio.” It explains why Criterion went with three aspect ratios — 1.66 (the preferred default version), 1.33 and 1.85. Here’s the narration. I’m warning the 1.85 fascists right now that they won’t like it. This is the end of … Read more
This morning Kino Lorber announced a new Bluray of Mark Robson‘s The Bridges at Toko Ri (’54); ditto a forthcoming 4K Bluray of John Frankenheimer‘s The Manchurian Candidate (’62). I immediately wrote KL’s Frank Tarzi, who became a true HE hero nine years ago after releasing a boxy (1.37:1) Bluray of Delbert Mann‘s Marty, and … Read more
If you listen to a typical 1.85 aspect-ratio fascist (i.e., a film enthusiast who has unfortunately subscribed to the movie-projection and video-mastering theology of Bob Furmanek), they’ll tell you that outside of the various widescreen processes that were birthed in the ’50s and early ’60s, 1.85 aspect ratios became the law of the land starting … Read more
The VistaVision fanfare image on top is composed at 1.85…no problem. The clip below is/was composed at 1.66 in 1954. The clip below that (third down) is composed at 1.85. The three static images at the bottom [after the jump] are, in this order, 1.42 (call it 1.37), 1.66 and 1.75. A 1.85 VistaVision fascist … Read more
There is no joy in 1.85 Mudville this morning with DVD Beaver having posted 1.33:1 screen captures from the upcoming BFI Bluray of Werner Herzog‘s Aguirre, The Wrath of God (’77). Herzog’s dp Thomas Mauch obviously framed each shot to allow for 1.66 or 1.85 cleavering, but the fact that Herzog and the producers of … Read more
I’ve watched Mark Robson‘s The Bridges at Toko-Ri (’54) four or five times since the mid ’90s. I’m a fan for several reasons but one of the biggest is Loyal Griggs‘ richly Technicolored, perfectly lighted cinematography. But I’d never seen it in high-def until renting it last night on Vudu, and lo and behold this … Read more
Yes, Virginia — during the first few years of the 21st Century there really was a thing called 1.85 fascism. For a while there it seemed as if non-Scope movies of the ’50s and early ’60s were going to be compressed and trapped inside severe 1.85 to 1 rectangles. But that scenario is finished now, … Read more
I just watched the Fox Home Video Bluray of Gentlemen Prefer Blondes, and it’s absolutely beautiful, scrumptious, dazzling. A breathtaking Technicolor high. Watching it is like eating an ice cream sundae with whipped cream and a cherry. On top of which it’s been mastered at a 1.37 aspect ratio…heavens! Jane Russell, Marilyn Monroe in Gentlemen … Read more
Alfred Hitchcock‘s Dial M For Murder may well have been composed so that 1.85 projections would look presentable, but that doesn’t mean that a 1.78 or 1.85 version will look better than the basic and very pleasing boxy proportion that people have been watching for decades. I’ve been examining Dial M for Murder all my … Read more
If nothing else, the men and women of the Criterion Collection are known for adhering to purist principles in transferring older films to DVD and Bluray. Whatever and however a film in question looked to audiences when it first came out, this is how the Criterion team will present it — no ifs, ands or … Read more
Obviously the Masters of Cinema guys who prepared the double-disc Bluray release of Orson Welles‘ Touch of Evil didn’t get the memo from the 16 x 9 fascists that all 1950s films have to masked at 1.85 or 1.78 to 1 because that was how they were shown from 1953 on. Who needs the boxy … Read more