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From Marty Hart's American Widescreen Museum:

http://www.widescreenmuseum.com/widescreen/wingto5.htm

"This required different camera setups and somewhat altered staging to produce the 35mm version. With the recent availability of the film on laser disc, transferred from the 30fps 65mm negative, most people agree that the Todd-AO version is superior in every way."

And from Steve Kraus's website:

http://www.govst.edu/users/gaskrau/technote.html

"Because 30 fps does not convert readily to 24 fps to make general release prints, Oklahoma! was also shot on alternate takes in 35mm CinemaScope. The 35mm version, with distinctly different performances is the more widely seen version. The 2nd film, Michael Todd's Around the World in 80 Days was shot with alternate takes at 24 fps and 30 fps, in both cases on 65mm film."

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John P. Pytlak, Senior Technical Specialist
Worldwide Technical Services, Entertainment Imaging
Research Labs, Building 69, Room 7525A
Rochester, New York, 14650-1922 USA
Tel: +1 585 477 5325 Cell: +1 585 781 4036 Fax: +1 585 722 7243
e-mail: john.pytlak@kodak.com
Web site: http://www.kodak.com/go/motion

I once showed a 70mm print of The Sand Pebbles - very pink as I recall, but the sound was excellent. The play-in and play-out music was all still there.

List of Todd-AO films

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Cheers, Thomas
www.in70mm.com
www.dp70.com
www.70mm.dk

After the intermission, as Jud is supposed to be escorting Laurey to the dance, a scary runaway buggy scene plays out. This scene was surely added to be the “roller coaster” type ride in the film, narrowly missing various trees and things.

At the auction, when Aunt Eller yells “sold”, her gavel hits down and breaks off as planned. What was not planned, is that in the Todd-AO version the gavel head flies off hitting the camera lens area. The actors are stunned for a moment, but the director hasn’t yelled “cut”. They pick right back up… a real keeper for Todd-AO.

A major goof in the Todd-AO version, probably because the shot was filmed first, is when Gordon MacRae and Shirley Jones come out of the farm house singing “Oklahoma!” Gordon grabs a porch column that is supposed to be holding up the porch. The column comes completely off its base before he puts it back with a little “whoops” in his eyes.

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The last two titles I know of with the 'TODD-AO 35' credit were 'Flash Gordon'(1980) and 'Legend Of The Lone Ranger'(1981)

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There were also dual versions shot of the Fox Grandeur film The Big Trail: the two versions had separate directors of photography (Arthur Edeson for the 70mm version, Lucien Andriot for the 35).

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As I and others had mentioned here, there was only one version of "OKLAHOMA" in Todd AO and it was the one filmed in 30fps. The one that was shot in 24fps was the 35mm CinemaScope version.

-Claude

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The last two titles I know of with the 'TODD-AO 35' credit were 'Flash Gordon'(1980) and 'Legend Of The Lone Ranger'(1981)

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I'm aware of a couple other "Todd-AO 35" productions made *after* the two you mention: RAGTIME, CONAN THE BARBARIAN, and DUNE. I believe DUNE would be the last production filmed with the Todd-AO anamorphic lenses. I'm unaware of any productions beyond that, anyway.

And speaking of credits, not all of the "Todd-AO 35" productions have been appropriately billed on-screen and/or in advertising materials. Many of them, including LOGAN'S RUN, FLASH GORDON, and CONAN THE BARBARIAN, are misleadingly billed as 'Filmed in Todd-AO," giving some the false impression they may have been originated in the 65mm version of Todd-AO.

Aaron,
Having never seen THE LEGEND OF THE LONE RANGER I'll take your word for it, but many sources note that production was shot in Panavision.