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because we have the 15k tone throughout the film.

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quote: Bill Gabel

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You mean the 12kHz tone, don't you. They were missing the cat. 93 card from the MPU for these screenings.

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The filters are not perfect; I've often heard 12kHz. tone in the past. These days that's probably at the limit of my hearing anyway. It's only recently that I've realised how much of the top end I've now lost, and it's happened over just a few years.

The Cat.93 cards are not easy to obtain; I managed to get one from Boston Light & Sound a few years ago.

Mitchell, are you still involved with the Loew's Jersey? I see they are just starting this year's season of events. If you can get them to finish installing the DP-70s they could run this print there
 

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Posted by Mark Gulbrandsen (Member # 72) on 09-29-2007, 08:15 AM:
 
You can even hear the 12khz tone in some scenes of L.O.A. where they used the sound from that format.

Mark
 

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Posted by Christian Appelt (Member # 1067) on 09-29-2007, 08:42 AM:
 
There exists a vintage 70mm Todd-AO print of PORGY AND BESS (original version with small subtitles in German), I believe it was shown at the London National Film Theatre some years ago. Image was dark red when I saw it the last time, but amazing sharpness and mag sound. The guy who owns the print told me that it has been shown at a film festival in the U.S., (maybe Seattle?) six or seven years ago IIRC.

I really would like to see new 70 prints of that one, but there seems to be some trouble with parts of the 65mm original negative.
In my opinion, Preminger made good use of Todd-AO in P&B and, in a totally different way, when he did EXODUS. Maybe the movie with greatest number of visible camera shadows showing nice Super Panavision cameras.
 

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Posted by Frank Angel (Member # 248) on 09-29-2007, 06:20 PM:
 
There was allot of litigation nonsense with it being withdrawn from distribution for many years by the Gershwin estate -- seems they were of the mind that since they didn't like the film, no one should see it. Typical aristocratic bullcrap mindset. So maybe they saw the light recently (or more likely they got paid lots and lots of money) and agreed to let it be shown here at the Zeigfeld. Mitchell, do you recall if it was still under the Samuel Goldwyn's logo? I wonder if they are releasing theatrically.

Sidney Poitier, it is rumored, who at first said he loved doing the film, later changed his mind; the change came after many in the black community were very upset with the vision of a black man on his knees for an entire film, as well as the sleazy nature of the Sammy Davis Jr. Sportin Life drug dealer character (which I think was a great role played deliciously by Davis). Evidently enough disapproval and pressure were brought to bare on Poitier that he eventually would denounce the film and join the Gerswhins in the move to get it squashed.

Maybe he should have been more upset about the bad dubbing -- the awfully obvious transitions between his voice and Robert McFerrin who dubbed him. In fact, the whole film is a veritable dubbing fest -- nearly EVERYONE's dubbed except, I think, the great Pearl Bailey.

Anyone know if it is yet on DVD? Seeing as how it has a commercial theatrical release at the Zegfield, perhaps it means that finally the Gerswhins who opposed it have relented (or died) and it may finally get the DVD release it deserves, now in HD!

It's a very flawed film, but has much going for it and certainly should be made available for the public to decide if they like it or not.
 

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Posted by Claude S. Ayakawa (Member # 1401) on 09-29-2007, 11:45 PM:
 
I did get to see "PORGY & BESS" in 35mm IB mag stereo at the long defunct Princess Theatre in downtown Honolulu during it's first run many years ago and enjoyed it very much. Like many, I am also waiting for the day when the Gershwin estate gives in and permit Columbia to release the movie on DVD

-Claude
 

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Posted by Mitchell Dvoskin (Member # 751) on 10-01-2007, 08:53 AM:
 
The print in question came from a private collector from California, and was licenced for exhibition by The Samual Goldwyn company and the Gershwin estate. We were told that a representative of the Gershwin estate was present in the theatre to gauge the public's reaction to it.
 

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Posted by John Wilson (Member # 269) on 10-01-2007, 10:06 AM:
 
I hope their reaction was good...maybe then they'll see reason and release it.
 

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Posted by Jack Theakston (Member # 4484) on 10-01-2007, 11:15 PM:
 
I was at the same screening as Mitchell, and had to get up several times to complain about the focus. While the film was enjoyable, I was not thrilled with the presentation.

Not only did they not filter the surround tone out, there was no surround. Focus was extremely poor, partly due perhaps to the print and the theater's optics, but partly due to the operator (there were reel changes where it took up to a minute for the projectionist to focus). Reel 2 started with the gate open (oops)!

There was effort put into it (curtain cues, general roadshow stuff), but it was a fairly lackluster performance for an upscale venue as the Ziegfeld.
 

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Posted by Frank Angel (Member # 248) on 10-02-2007, 03:58 AM:
 
Again, knowing how badly mag IBT prints can warp, the focus COULD have been a print problem. And of course it could have very well be as you say, someone who, union or not, didn't know the focusing knob from the threading light switch.
 

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Posted by Tim Reed (Member # 137) on 10-02-2007, 06:08 AM:
 
I wouldn't be a bit surprised if the focus shifts were due to warpage of the mag print.
 

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Posted by Robert Throop (Member # 61) on 10-02-2007, 07:55 AM:
 

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I wouldn't be a bit surprised if the focus shifts were due to warpage of the mag print.

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