Most Helpful Customer Reviews
|
|
73 of 75 people found the following review helpful:
4.0 out of 5 stars
Great Movie- Pathetic Transfer, March 26, 2000
This is the first (and only) CINERAMA film I ever saw, without doubt the most thrilling aspect of the movie is the grand scale of the Cinerama process and the multi- channel soundtrack. The transfer to DVD is an insult. In this era of digital technology it is easily possible to correct the color balance errors evident in the "seams" of this otherwise remarkable motion picture. I agree with other reviewers, lose the Turner promo. The color balance, saturation, and pictureresolution are very average, and fall well below of what the DVD process is capable. One redeeming feature is the soundtrack. Finally, after viewing the VHS tape, and Laserdisc of this movie, the DVD release incorporates the correct rear channel information of the original release. Finally, and most regrettably, this DVD release has been cropped. Don't we buy widescreen movies to see how they were originally shot? HELLO HOLLYWOOD!
|
|
|
28 of 29 people found the following review helpful:
4.0 out of 5 stars
This is it folks!, January 24, 2000
By A Customer
How The West Was Won is a true classic from the glory days of MGM. Everything about this film is done on a grand scale. The cast includes some of the biggest names ever to appear in a motion picture. Including: Gregory Peck, James Stewart, John Wayne, Debbie Reynolds, Spencer Tracy and Richard Widmark. The widescreen cinerama process appears dated and inconsistant by today's standards and it should be noted that the new DVD edition is not in anamorphic widescreen. The DVD edition appears to be a new transfer from the same previous 35mm print but contains notable improvements which include brighter more accurate colors and a clarity and definition that the picture has never had before on home video. The aspect ratio is also closer to the cinerama widescreen ratio, but there is still a noticeable cropping of the sides. The film also has the characteristic visable cinerama seams. The new DVD edition is the best the film has looked outside a cinerama theatre and is probably the best edition we will ever get. The restoration effort on "My Fair Lady" cost 1.2 Million dollars over a two year period. It probably would not be economically sound to treat HTWWW to the same restoration effort as it does not have as much consumer support. If you want HTWWW I suggest that you buy this edition, otherwise you may be in for a long wait.
|
|
|
29 of 31 people found the following review helpful:
3.0 out of 5 stars
DVD Comparative Review and Re-Inventing the American Cinema Culture, August 1, 2006
[I wrote this DVD review of "How the West Was Won" a while ago, but I have added this paragraph to account for a third DVD, released 22 May 2007, as part of a set called "The John Wayne Collection." This third DVD by Warner is the same as MGM's 1998 release. There has been no DVD re-mastering effort. All three DVDs have precisely the same content, and so all the information within my following review about the 2000 Warner release can be applied to "The John Wayne Collection" DVD of Warner in 2007. Of special importance is how it wrongly states the disc is an anamorphic DVD. It is not anamorphic.]
There are two [three] DVDs of "How the West Was Won" (1962) available in the U.S.
MGM Video's earlier disc (released on 28 July 1998) and Warner Video's second disc (released 12 Sept. 2000) [and Warner's third disc of 22 May 2007] have EXACTLY THE SAME DISC CONTENT! Even the menus are the same! They both contain the film's theatrical trailer and contain the same "Making Of" documentary with a run time of 15:30. The only difference is the earlier MGM release also includes an 8-page booklet with large essays filling all but the cover pages, including a section about the "800 pounds" of Cinerama camera equipment used for this spectacle; that plus a plastic DVD box. The later Warner release uses the cardboard case, but even its cover art does not match the disc menu screens as does the earlier MGM release.
This movie with its Cinerama glory deserves a place on the shelf of video collectors involved with American cinema culture. If one wants to buy this movie on DVD, opt for the earlier edition with the booklet. I noticed the DVDs (having the same exact imagery) have four negatives: the extremely wide screen image is only letterboxed and not anamorphic DVD, the theatrical 7-track audio has been degraded to 4-channel matrix-encoded Dolby audio, the DVD picture image suffers from film scratches and dirt, and Ted Turner's logo appears BETWEEN the prologue overture and the beginning of the film. Nevertheless, the great music is worth the price, alone. I was never a fan of the movie, but it was one of the single most ambitious film projects ever and cost a fortune! This film is a crucial landmark of a cultural evolution in American cinema and any collector serious about American film culture needs this DVD. Of course, the great John Ford directed one segment, but also the famous Henry Hathaway and George Marshall directed their segments of this film.
An interesting part of the documentary focuses on the ideas and investments behind the three-camera Cinerama format and three-screen Super Cinerama theater used for this film. Despite the success, only two fictional films used the three-, angled-screen Cinerama format: this movie and "the Wonderful World of the Brothers Grimm" (1962), the George Pal stop-motion extravaganza. Cinerama was next re-formulated into a single camera process for a curved screen using a 65mm image on Ultra Panavision 70 film, and these newer camera processes weighed a lot less than the original Cinerama cameras. The first film made in the latter process was a comedy, "It's a Mad, Mad, Mad, Mad World" (1963) and, according to that DVD, the carpet had been laid in the first of the new single curved-screen Super Cinerama theaters only three days before this comedy's release. The re-formulated Cinerama/Ultra Panavision 70 cameras were so light, Director John Frankenheimer had them mounted onto Formula Three racecars (dressed as Formula One cars) for his 1966 film, "Grand Prix."
The most critically acclaimed and remembered film made for Cinerama three-screen OR curved-screen theaters was "2001: a Space Odyssey" (1968). Read Roger Ebert's website reviews of this movie. Both, Ebert's original review from 1968 and the review from its re-release of 1997 appear on his website.
Movies made before 1952 were predominantly black and white. Because studios blamed theater ticket sale diminishment on television, film studios either invented new technologies or reinvented existing ones such as Cinerama, which at least appears very similar to Abel Gance's use of three camera images during the battle scenes of his 1927 silent epic, "Napoleon." Some of the fads blossoming during the `50s and `60s and remaining today are the use of Cinemascope anamorphic lenses, wide-screen panoramic films, color photography, epic plots, large-budget movies, multi-track stereophonic audio, and other artistic special effects. Some of the fads not quite permanent were stop motion animation like the works of Ray Harryhausen, loud musicals, "3-D" movies, and Cinerama.
However, some ideological remnants of the Super Cinerama remain with another distant format: IMAX. Both processes use curved screens about 110-feet wide although an IMAX screen is dome-shaped because it is twice as high, they both use at least 6 discrete tracks of audio, and they both use theaters specifically designed for exhibitions using their processes.
One of Cinerama and IMAX's fundamental differences is that IMAX's fictional movies are usually transferred from pre-existing wide-screen movies into the IMAX format whereas, unlike IMAX, the fictional movies in Cinerama were made FOR their Super Cinerama theaters. For instance, the IMAX production of "Apollo 13" cropped the original Super 35 film images having a length-to-width ratio of 2.39:1 down into a ratio of 1.66:1 enlarged, according to Ebert's website. Although "How the West Was Won" was mostly shot in its system of three images, some of it was actually shot in Ultra Panavision 70, the second Cinerama format, and optically converted into three-image Cinerama, according to Widescreen Review's website. This means that, even when Cinerama originally meant three screens, it still utilized Ultra Panavision 70 photography for part of "How the West Was Won," the first of the two fictional films using three-screen Super Cinerama Theaters.
The studio had researched volumes for "How the West Was Won" and the Cinerama process, which was one of the many efforts to re-invent the cinema during the 1950s and '60s. In 1963, when "How the West Was Won" released into Cinerama theaters, it was a huge hit and played for nearly two years.
Today, no three-screen Super Cinerama theater remains, and almost all (if not yet all) single-, curved-screen Super Cinerama theaters have vanished. For the sake of American culture, the government should do something to protect at least one of these theaters. America needs some history of culture to protect and a Super Cinerama theater seems worth saving since the cinema provides the largest venue of American entertainment today. The Super Cinerama theater is a landmark of American culture.
|
|
|
Most Recent Customer Reviews
|
DVD ~ John Wayne
DVD ~ Laurence Harvey
DVD ~ John Wayne
DVD ~ John Wayne
DVD ~ John Wayne
