2011 Widescreen Weekend Program
Pictureville, Bradford, England
|Read more at|
The 70mm Newsletter
|Text and images by: -||Date: 01.01.2011. Updated 06-05-22|
"Goya" - 10:30
|"Goya – oder der arge Weg der Erkenntnis" / "Goya – or the hard way to enlightment" (2:16). Filmed in: 70mm 5 perforations, 24 frames per second. Principal photography in: DEFA 70. Presented on: The curved screen in DEFA 70 with 6-track magnetic stereo. Aspect ratio: 2,21:1. Country of origin: DDR. Production year: 1970. World Premiere: 16.09.1971, Kosmos, Berlin, DDR. Czeck premiere: 20.4.1973. Kino Mir 70 premiere: 9.11.1973. UK premiere: 24.03.2011, Pictureville, Bradford|
Directed by Konrad Wolf. Director of Photography: W. Bergmann, K. Ryshow. Cinematography: Werner Bergmann, Konstantin Ryschow. Music: Kara and Faradsh Karajew. Set Design: Alfred Hischmeier, Waleri Jurkewitsch. Costume Design: Ludmilla Schildknecht, Joachim Dittrich. Dramaturge: Walter Janka, Alexander Dymschitz. Screenplay: Angel Wagenstein. DEFA 1971
Donatas Banionis (Goya), Olivera Vugo (Duchess Alba), Fred Düren (Esteve), Tatjana Lolowa (Queen Maria Luisa), Rolf Hoppe (King Carlos IV), Ernst Busch (Jovellanos), Carmen Herold (Maria Rosario)
In German, with French subtitles
DEFA 70 movies
By Ingolf Vonau, Berlin, Germany
Certainly the most important and artistic significant 70mm Feature Film Production of DEFA
Don Francisco de Goya Lucientes (1746 - 1828) is an artist to the court of Karl IV of Spain. He is well known and well-to-do, but feels himself becoming more and more remote from the daily life and suffering of the Spanish people. After meeting the singer Maria Rosario in a Madrid tavern, where she is singing revolutionary songs, he becomes even more reflective. Rosario is hauled before the Inquisition. Goya is invited to attend as a warning not to stray from the official path. But it doesn't stop him from increasingly leaving the castle to portray the desires and nightmares of simple people in his paintings. Soon the Inquisition is on his trail…
Based on Lion Feuchtwanger's novel "This is the hour – Goya", and starring the Lithuanian actor Donatas Banionis as main character, the director Konrad Wolf creates an unconventional adaptation with images of lasting impressions. Declared aim of that big DEFA co production with the Russian LENFILM was to portrait the character of the artist Goya and to show his painful process of enlightenment in realizing the true Spanish society. How closely can an artist align himself with the powers that be if he wants to be honest and creative?
A destiny of an artist as allegory to present. The film was supposed to be different to the western style of biographical illustrative screen adaptations in using the cinematographic tools. Director of Photography Werner Bergmann and his Russian Colleague Konstantin Ryshow were trying to bring to appear their special view on how to use wide-screen photography in filmmaking. According to their principle that only the task not the possibility demands the format. A point of view sometimes contrary to the western view of cinematography. At premier night the 2 part film had a length of 161 min. Some months later the director himself changed the montage and shortened the film to 134 min. It was his own decision to make the intention in portraying the painter Goya more understandable. This last version is the only available one.
Festivals and Awards:
Moscow International Film Festival, Special Jury Award, 1971
|More in 70mm reading:|
Widescreen Weekend 2011
• Gallery: 2011
• Mission Report
• WSW Home
• Through the Years
• The Best of WSW
• Academy of the WSW
• Creating the WSW
• Planning the WSW
• Projecting the WSW
• Home of CINERAMA
• Projecting CINERAMA
|allmovie.com: Revered Lithuanian actor Donatas Banionis wields the masterful brush of celebrated Spanish artist Don Francisco deo Goya Lucientes in this biopic shot in 70mm and directed by Konrad Wolf. Having attained boundless wealth and iconic status as a painter in the court of King Carlos IV, Goya falls head over heels for a beautiful princess while becoming increasingly separated from the suffering of the Spanish people. Upon hearing singer Maria Rosario sing revolutionary ballads in a Madrid tavern, however, the detached artist finds becomes better acquainted with the popular singer while growing more reflective than ever before. Later, when Marie is brought before the Inquisition, Goya is invited to witness her trial and becomes acutely aware of the dangers he should face should he be bold enough to follow her example and stray from the official path. Over time Goya finds himself unable to resist the temptation to leave the castle and reconnect with the common people, a daring action that fuels his creativity while simultaneously highlighting his disloyalty in the eyes of the Inquisition. |
"Dersu Uzala" 14:30
|“Дерсу Узала”/ "Dersu Uzala” (2:24). Filmed in: 70mm, 5 perforations, 24 frames per second. Principal photography in: Sovscope 70. Presented on: The flat screen in Sovscope 70 with 6-track magnetic stereo. Aspect ratio: 2,21:1. Country of origin: USSR. Production year: 1974 World Premiere: July 1975, Moscow. UK premiere: June 15th, 1978 Curzon Mayfair, London.|
Russian version with English subtitles
Director & writer: Akira Kurosawa. Produced by: Yoichi Matsue & Nikolai Sizov. Original Music by: Isaak Shvarts. Cinematography by: Fyodor Dobronravov, Yuri Gantman & Asakazu Nakai. Art Direction by: Yuri Raksha
Maksim Munzuk (Dersu Uzala), Yuri Solomin (Captain Vladimir Arseniev), Svetlana Danilchenko (Mrs. Arseniev), Dmitri Korshikov (Wowa son of Arsenjev), Suimenkul Chokmorov (Jan Bao), Vladimir Kremena (Turtwigin), Aleksandr Pyatkov (Olenin).
Academy Awards 1976
Best Foreign Language Film
|allmovie.com: A few months after his notorious suicide attempt, Japanese filmmaker Akira Kurosawa was regenerated by the notion of helming the first Russian/Japanese co-production. Co-scripted and directed by Kurosawa, "Dersu Uzala" is the story of an elderly guide and Goldi hunter (Maxim Munzuk), who, at the turn of the century, agrees to shepherd a Russian explorer (Yuri Solomin) and a troop of soldiers through the most treacherous passages of the Far East.|
|70mm frame scan by Schauburg Kino|
The guide has been "one" with the land almost from birth, and is thus able to save his party from perishing. Four years in the making, "Dersu Uzala" won the 1976 Best Foreign Film Oscar and restored the flagging Akira Kurosawa to the top ranks of the Japanese film industry.
Widescreen Reception for weekend delegates + Academy of the Widescreen Weekend 17:00
|Reception guests 2009 - the delegation from Kino Mir 70 in Krnov.|
The Bridge on the River Kwai - 20:15
|"The Bridge on the River Kwai" (2:32). Filmed in: 35mm 4 perforations, 24 frames per second. Principal photography in: CinemaScope. Presented on: The flat screen in a new 4K DCP print with a new 5.1 digital soundtrack. Aspect ratio: 2,55:1. Country of origin: UK/USA. Production year: 1957. World Premiere: 02.10.1957 (UK).|
Directed by David Lean. Screenplay by Michael Wilson & Carl Foreman. Produced by Sam Spiegel. Original Music by Malcolm Arnold. Cinematography by Jack Hildyard. Film Editing by Peter Taylor
William Holden (Shears), Alec Guinness (Col. Nicholson), Jack Hawkins (Maj. Warden), Sessue Hayakawa (Col. Saito), James Donald (Maj. Clipton).
Academy Awards 1958
Best Actor in a Leading Role Alec Guinness
Best Cinematography Jack Hildyard
Best Director David Lean
Best Film Editing Peter Taylor
Best Music, Scoring Malcolm Arnold
Best Picture Sam Spiegel
Best Writing, Screenplay Based on Material from Another Medium Pierre Boulle, Carl Foreman, Michael Wilson (Carl Foreman and Michael Wilson were blacklisted at the time and received no screen credit. They were posthumously awarded Oscars in 1984.)
Best Actor in a Supporting Role Sessue Hayakawa
About showing 4k DCP on a 2k projector. The server scales a 4k DCP down to 2K DCP and the projector shows it in 2K.
"Kwai"'s internet page
"The restoration gives back to the film "its original 2:55:1 aspect ratio," as the film had been "cropped and changed to 2:35:1 shortly after CinemaScope started." Crisp added: "That's another kind of little joy I think in doing something like this. We get to see it the way they actually shot it." Grover Crisp, Sony senior VP for restoration and mastering, SONY Pictures
|allmovie.com: The Bridge on the River Kwai opens in a Japanese prisoner-of-war camp in Burma in 1943, where a battle of wills rages between camp commander Colonel Saito (Sessue Hayakawa) and newly arrived British colonel Nicholson (Alec Guinness). Saito insists that Nicholson order his men to build a bridge over the river Kwai, which will be used to transport Japanese munitions. Nicholson refuses, despite all the various "persuasive" devices at Saito's disposal. Finally, Nicholson agrees, not so much to cooperate with his captor as to provide a morale-boosting project for the military engineers under his command. The colonel will prove that, by building a better bridge than Saito's men could build, the British soldier is a superior being even when under the thumb of the enemy. As the bridge goes up, Nicholson becomes obsessed with completing it to perfection, eventually losing sight of the fact that it will benefit the Japanese. Meanwhile, American POW Shears (William Holden), having escaped from the camp, agrees to save himself from a court martial by leading a group of British soldiers back to the camp to destroy Nicholson's bridge. Upon his return, Shears realizes that Nicholson's mania to complete his project has driven him mad. Filmed in Ceylon, Bridge on the River Kwai won seven Academy Awards, including Best Picture, Best Director for the legendary British filmmaker David Lean, and Best Actor for Guinness. It also won Best Screenplay for Pierre Boulle, the author of the novel on which the film was based, even though the actual writers were blacklisted writers Carl Foreman and Michael Wilson, who were given their Oscars under the table. |
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Cineramacana #1 - 10:15
|Including "Shellarama" in Super Technirama 70|
Cineramacana takes place at Bradford Film Festival each year in March as part of the Widescreen Weekend and is a fascinating programme of rare bits of films from the world of 70mm and Cinerama. It started in 1998 and has a programme that is curated by the Festival team and part created by the audience who submit or bring there own material, spare reels, shorts and trailers. The essence is that material should related to Widescreen or at a push those in the projection booth making it all work. For many this proves to be one of the highlights of the year and with the facilities of the National Media Museum's Pictureville Cinema, unique in Europe, it is an extraordinary show - not least down to one of the best projection teams in the world. Over the years, people have brought spare reels of film or extraordinary short films, such as "Internationale", stunningly made Soviet propaganda in 70mm, "A Year Along the Abandoned Road" and a short film that shows every page of the "Tanakh Bibelen al-Quran" in less than 5 minutes! For fans of the arcane it is an event not to be missed.
"The Dark Crystal" - 11:00
|"The Dark Crystal" (1:36). Filmed in: 35mm 4 perforations, 24 frames per second. Principal photography in: Panavision. Presented on: The flat screen in a vintage 70mm print with 6-track Dolby Stereo. Aspect ratio: 2,21:1. Country of origin: UK/USA. Production year: 1982. World Premiere: 17.12.1982 (USA) & 17.02.1983 (UK).|
Directed by Jim Henson & Frank Oz. Screenplay by David Odell. Produced by Jim Henson, Gary Kurtz. Original Music by Trevor Jones. Cinematography by Oswald Morris. Film Editing by Ralph Kemplen.
|allmovie.com: Jim Henson ventures into Tolkien territory in his all-Muppet fantasy feature The Dark Crystal. The titular Crystal maintains equilibrium in a mythical kingdom. When the Crystal is broken, the evil Skeksis take over, killing off the good-guy Gelflings and enslaving everyone else. Two of the Gelflings have survived: Jen was raised by the all-knowing Mystics, while Kira grew up amongst the swamp-dwelling Podlings. Jen and Kira join forces to "heal" the precious Dark Crystal and restore order to their world. Adults may find the whole affair a little precious, while children may be disturbed by the film's mortality rate. |
"How the West Was Won" - 13:30
|“How the West Was Won” (2:42) + intermission. Filmed in: 3x35mm 6 perforations, 24 frames per second. Principal photography in: Cinerama. Presented: On the curved screen in 3-strip with 7 track magnetic stereophonic sound. Angle of view: 146°. Country of origin: USA. Production year: 1961. World Premiere: 01.11.1962 Casino, London, England.|
Written by James R. Webb. Produced by Bernard Smith. Original Music by Ken Darby and Alfred Newman. Cinematography by William H. Daniels, Milton R. Krasner, Charles Lang and Joseph LaShelle. Directed by John Ford, Henry Hathaway and George Marshall.
Carroll Baker (Eve Prescott Rawlings), Lee J. Cobb (Marshal Lou Ramsey), Henry Fonda (Jethro Stuart), Gregory Peck (Cleve Van Valen), Debbie Reynolds (Lilith 'Lily' Prescott), James Stewart (Linus Rawlings), Eli Wallach (Charlie Gant)
"How the West Was Won"
Academy Award Wins:
Best Film Editing Harold F. Kress
Best Sound Franklin Milton (M-G-M SSD)
Best Writing, Story and Screenplay - Written Directly for the Screen, James R. Webb
Academy Award Nominated:
Best Art Direction-Set Decoration, Color George W. Davis, William Ferrari, Addison Hehr, Henry Grace, Don Greenwood Jr., Jack Mills
Best Cinematography, Color William H. Daniels, Milton R. Krasner, Charles Lang, Joseph LaShelle
Best Costume Design, Color, Walter Plunkett
Best Music, Score - Substantially Original Alfred Newman, Ken Darby
Best Picture Bernard Smith
in70mm.com's Cinerama page
|How Cinerama works. 3 cameras photograph a scene on threee separate side-by-side films in a 146 degree panorama. In the cinema, all three films are shown side-by-side on a curved screen. This creates a sense of depth and reality unlike anything you have ever seen. If you have not seen Cinerama yet, then this is your chance. |
allmovie.com: Filmed in panoramic Cinerama, this star-studded, epic Western adventure is a true cinematic classic. Three legendary directors (Henry Hathaway, John Ford, and George Marshall) combine their skills to tell the story of three families and their travels from the Erie Canal to California between 1839 and 1889. Spencer Tracy narrates the film, which cost an estimated 15 million dollars to complete. In the first segment, "The Rivers," pioneer Zebulon Prescott (Karl Malden) sets out to settle in the West with his wife (Agnes Moorehead) and their four children. Along with other settlers and river pirates, they run into mountain man Linus Rawlings (James Stewart), who sells animal hides. The Prescotts try to raft down the Ohio River in a raft, but only daughters Lilith (Debbie Reynolds) and Eve (Carroll Baker) survive. Eve and Linus get married, while Lilith continues on. In the second segment, "The Plains," Lilith ends up singing in a saloon in St. Louis, but she really wants to head west in a wagon train led by Roger Morgan (Robert Preston). Along the way, she's accompanied by the roguish gambler Cleve Van Valen (Gregory Peck), who claims he can protect her. After he saves her life during an Indian attack, they get married and move to San Francisco. In the third segment, "The Civil War," Eve and Linus' son, Zeb (George Peppard), fights for the Union. After he's forced to kill his Confederate friend, he returns home and gives the family farm to his brother. In the fourth segment, "The Railroads," Zeb fights with his railroad boss (Richard Widmark), who wants to cut straight through Indian territory. Zeb's co-worker Jethro (Henry Fonda) refuses to cut through the land, so he quits and moves to the mountains. After the railway camp is destroyed, Zeb heads for the mountains to visit him. In the fifth segment, "The Outlaws," Lilith is an old widow traveling from California to Arizona to stay with her nephew Zeb on his ranch. However, he has to fight a gang of desperadoes first. How the West Was Won garnered three Oscars, for screenplay, film editing, and sound production.
"Dance Craze" - 17:15
|"Dance Craze" (1:29). Filmed in: 35mm 4 perforations, 24 frames per second. Principal photography in: Super 35. Presented: on the flat screen in 70mm with 6-track magnetic Dolby stereo with split surrounds. Aspect ratio: 1,66:1. Country of origin: UK. Production year: 1980. World Premiere: 19.02.1981 Dominion, London, England. |
Directed by Joe Massot. Produced by Gavrik Losey. Cinematography by Joe Dunton. Film Editing by Ben Rayner & Anthony Sloman
Buster Bloodvessel (Himself (Bad Manners), Roddy Byers (Himself - The Specials), Rhoda Dakar (Herself (the Bodysnatchers), Jerry Dammers ... Himself (the Specials), Terry Hall (Himself (the Specials), Horace Panter (Himself - The Specials, David Wakeling (Himself - The English Beat
allmovie.com: This film is a series of loud, knock-'em-out performances by six different rock bands, and though it falls short of the slick presentation of music videos, it has no lack of upbeat, nonstop sound. The fans of Bad Manners, The Beat, The Bodysnatchers, Madness, The Selecter, or The Specials will love the unrelenting beat and the strutting, jumping, bouncing contortions of the performers -- a workout beyond the wildest aerobic class. Non-fans may want to forego the experience.
Joe Dunton (J.D.C. Scope lenses)
|Joe Dunton (J.D.C. Scope lenses). Picture by Thomas Hauerslev |
Joe wins BAFTA award 2010
The British Academy of Film and Television Arts is delighted to announce that Joe Dunton will receive the award for Outstanding British Contribution to Cinema at the Orange British Academy Film Awards ceremony at London’s Royal Opera House on Sunday 21 February 2010.
Joe Dunton is one of the off-camera heroes of the British film industry: he has supported filmmakers and has been instrumental in the development of equipment used globally by film productions in his career spanning over four decades.
During his career, Joe has revolutionised the technology that is used as standard in the industry today such as the first heated camera eyepiece, the ladderpod and his work on Oliver was crucial in the development of a system which is now commonly known as ‘video assist’, which allows filmmakers to see what is being shot.
He has worked with the great filmmakers of our generation including George Lucas, Steven Spielberg and Mike Leigh and he enjoyed a particularly close relationship with Stanley Kubrick, whom he started working with on A Clockwork Orange. He has most recently worked on the Harry Potter series and Rob Marshall’s Nine, both of which are BAFTA-nominated this year.
"Lawrence of Arabia" - 19:30
|"Lawrence of Arabia" (3:47). Filmed in: 65mm 5 perforations, 24 frames per second. Principal photography in: Super Panavision 70. Presented: on the flat screen in Super Panavision 70 with 6-track DTS stereo. Aspect ratio: 2,21:1. Country of origin: USA. Production year: 1962. World Premiere: 10.12.1962 Odeon Leicester Square, London, England. |
Directed by David Lean. Written by Robert Bolt and Michael Wilson. Produced by Sam Spiegel. Music by Maurice Jarre. Cinematography by Freddie Young. Edited by Anne V. Coates
Peter O'Toole (T.E. Lawrence), Alec Guinness (Prince Feisal), Anthony Quinn (Auda abu Tayi), Jack Hawkins (General Lord Edmund Allenby), Omar Sharif (Sherif Ali), José Ferrer (Turkish Bey, Anthony Quayle (Colonel Brighton), Claude Rains (Mr. Dryden) & Arthur Kennedy (Jackson Bentley)
Movie poster art by Howard Terpning
Restored version + full cast & credit
Academy Award Wins:
Best Picture Sam Spiegel
Best Director David Lean
Best Cinematography, Color Freddie Young
Best Film Editing Anne V. Coates
Best Music, Score - Maurice Jarre
Best Art Direction-Set Decoration, Color John Box, John Stoll, Dario Simoni
Best Sound John Cox
Academy Award Nominated:
Oscar Best Actor in a Leading Role Peter O'Toole
Best Actor in a Supporting Role Omar Sharif
Best Writing, Screenplay Based on Material from Another Medium
Robert Bolt & Michael Wilson (The nomination for Wilson was granted on 26 September 1995 by the Academy Board of Directors, after research at the WGA found that the then blacklisted writer shared the screenwriting credit with Bolt.)
Super Panavision 70 films
|Panavision 65mm rack over camera used in "Lawrence of Arabia". Panavision's Tak Miyagishima and Danish cinematographer and director Mikael Salomon in 1994. Image by Thomas Hauerslev|
allmovie.com: This sweeping, highly literate historical epic covers the Allies' mideastern campaign during World War I as seen through the eyes of the enigmatic T. E. Lawrence (Peter O'Toole, in the role that made him a star). After a prologue showing us Lawrence's ultimate fate, we flash back to Cairo in 1917. A bored general staffer, Lawrence talks his way into a transfer to Arabia. Once in the desert, he befriends Sherif Ali Ben El Kharish (Omar Sharif, making one of the most spectacular entrances in movie history) and draws up plans to aid the Arabs in their rebellion against the Turks. No one is ever able to discern Lawrence's motives in this matter: Prince Feisal (Alec Guinness) dismisses him as yet another "desert-loving Englishman," and his British superiors assume that he's either arrogant or mad. Using a combination of diplomacy and bribery, Lawrence unites the rival Arab factions of Feisal and Auda Abu Tayi (Anthony Quinn). After successfully completing his mission, Lawrence becomes an unwitting pawn of the Allies, as represented by Gen. Allenby (Jack Hawkins) and Dryden (Claude Rains), who decide to keep using Lawrence to secure Arab cooperation against the Imperial Powers. While on a spying mission to Deraa, Lawrence is captured and tortured by a sadistic Turkish Bey (Jose Ferrer). In the heat of the next battle, a wild-eyed Lawrence screams "No prisoners!" and fights more ruthlessly than ever. Screenwriters Robert Bolt and Michael Wilson used T. E. Lawrence's own self-published memoir -The Seven Pillars of Wisdom as their principal source, although some of the characters are composites, and many of the "historical" incidents are of unconfirmed origin. Two years in the making (you can see O'Toole's weight fluctuate from scene to scene), the movie, lensed in Spain and Jordan, ended up costing a then-staggering 13 million and won seven Academy Awards, including Best Picture and Best Director. The 1962 Royal Premiere in London was virtually the last time that David Lean's director's cut was seen: 20 minutes were edited from the film's general release, and 15 more from the 1971 reissue. This abbreviated version was all that was available for public exhibition until a massive 1989 restoration, at 216 minutes that returned several of Lean's favorite scenes while removing others with which he had never been satisfied.
Cineramacana #2 - 10:00
|Screentalk: Thomas Hauerslev in conversation with Mr. Stanley Long of Circlorama fame.|
From the Circlorama story:
Being by nature a technically minded film maker I was intrigued by the prospect. The process didn’t seem too much of a problem to me, and before long, after I had worked out how to do it. Leonard Urry agreed to funding a test and within a few days I was busy working out how to go about it. Firstly I worked out the geometry, and found that the eleven cameras would require to be fitted with 35mm lenses to cover the picture circle. The cameras would be mounted on a circular aluminium plate one half inch thick. Synchronisation would be achieved with mains motors.
Read the full story: The true history of Circlorama 1962-65
All about Stanley Long
"Doctor Zhivago" - 12:30
|"Doctor Zhivago" (3:17) + intermission. Filmed in: 35mm 4 perforations, 24 frames per second. Principal photography in: Panavision. Presented on: The flat screen in a new 4K DCP print with a new 5.1 digital soundtrack. Aspect ratio: 2,35:1. Country of origin: UK/USA. Production year: 1965. World Premiere: 22.12.1965 USA. 26.04.1966 UK|
Directed by David Lean. Screenplay by Robert Bolt. Produced by Carlo Ponti. Original Music by Maurice Jarre. Cinematography by Freddie Young. Film Editing by Norman Savage
Omar Sharif (Yuri), Julie Christie (Lara), Geraldine Chaplin (Tonya), Rod Steiger (Komarovsky), Alec Guinness (Yevgraf), Tom Courtenay (Pasha), Siobhan McKenna (Anna), Ralph Richardson (Alexander), Rita Tushingham (The Girl), Klaus Kinski (Kostoyed)
Academy Awards 1966
Best Art Direction-Set Decoration, Color John Box, Terence Marsh, Dario Simoni (2
Best Cinematography, Color Freddie Young
Best Costume Design, Color Phyllis Dalton
Best Music, Score - Maurice Jarre
Best Writing, Screenplay Based on Material from Another Medium Robert Bolt
Best Actor in a Supporting Role Tom Courtenay
Best Director David Lean
Best Film Editing Norman Savage
Best Picture Carlo Ponti
Best Sound A.W. Watkins (M-G-M British SSD) Franklin Milton (M-G-M SSD)
About showing 4k DCP on a 2k projector. The server scales a 4k DCP down to 2K DCP and the projector shows it in 2K.
"Zhivago"'s internet page
Robert A Harris talks about the restoration on Home Theatre Forum
Motion Picture Editors Guild
|allmovie.com: Based on the Nobel Prize-winning novel by Boris Pasternak, Doctor Zhivago covers the years prior to, during, and after the Russian Revolution, as seen through the eyes of poet/physician Yuri Zhivago (Omar Sharif). In the tradition of Russian novels, a multitude of characters and subplots intertwine within the film's 197 minutes (plus intermission). Zhivago is married to Tonya (Geraldine Chaplin), but carries on an affair with Lara (Julie Christie), who has been raped by ruthless politician Komarovsky (Rod Steiger). Meanwhile, Zhivago's half-brother Yevgraf (Alec Guinness) and the mysterious, revenge-seeking Strelnikoff (Tom Courteney) represent the "good" and "bad" elements of the Bolshevik revolution. Composer Maurice Jarre received one of Doctor Zhivago's five Oscars, with the others going to screenwriter Robert Bolt, cinematographer Freddie Young, art directors John Box and Terry Marsh, set decorator Dario Simoni, and costumer Phyllis Dalton. The best picture Oscar, however, went to The Sound of Music. |
John Barry Tribute - "The Lion in Winter" - 16:30
|"The Lion in Winter" (2:14) + intermission. Filmed in: 35mm 4 perforations, 24 frames per second. Principal photography in: Panavision. Presented on: The flat screen in a vintage 70mm print with 6-track magnetic stereo. Aspect ratio: 2,35:1. Country of origin: UK/USA. Production year: 1968. World Premiere: 30.10.1968 USA. 29.12.1968 UK|
Directed by Anthony Harvey. Screenplay by James Goldman. Produced by Martin Poll. Original Music by John Barry. Cinematography by Douglas Slocombe. Film Editing by John Bloom
Peter O'Toole (Henry II), Katharine Hepburn (Eleanor of Aquitaine), Anthony Hopkins (Richard), John Castle (Geoffrey), Nigel Terry (John), Timothy Dalton (Philip II), Jane Merrow (Alais)
Live in person Mrs. Jane Merrow
Academy Awards 1969
Best Actress in a Leading Role Katharine Hepburn
Best Music, Original Score for a Motion Picture (not a Musical) John Barry
Best Writing, Screenplay Based on Material from Another Medium James Goldman
Best Actor in a Leading Role Peter O'Toole
Best Costume Design Margaret Furse
Best Director Anthony Harvey
Best Picture Martin Poll
|allmovie.com: The year is 1183. Like many a modern-day politician, Britain's King Henry II (Peter O'Toole) finds it occasionally useful to take his wife out of mothballs and parade her before the public. Henry's Queen Eleanor (Katharine Hepburn), long exiled to a faraway castle, is "invited" to join Henry and their three sons for a family reunion. In this way, Henry hopes to maintain a stronghold on his Empire and to prevent the balance of power from shifting to Eleanor or to one of his sons: Richard the Lion-Hearted (Anthony Hopkins in his movie debut), Prince Geoffrey (John Castle), or Prince John (Nigel Terry). Also on hand for the get-together is Henry's mistress Princess Alais (Jane Merrow) -- who covets the King's influence -- and the Princess' brother, King Philip of France (Timothy Dalton). Despite Henry's efforts to keep his wife and offspring at arms' length (and away from the throne), Eleanor successfully reunites the brood, assuring that her power will not only be restored, but will last long after her death.|
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"Operation Crossbow" - 10:00
|"Operation Crossbow" (1:55). Filmed in: 35mm 4 perforations, 24 frames per second. Principal photography in: Panavision. Presented: on the curved screen in Panavision 70 with 6-track magnetic stereo. Aspect ratio: 2,21:1. Country of origin: UK. Production year: 1965. World Premiere: 19.05.1965 Empire, Leicester Square, London, England.|
Directed by: Michael Anderson. Screenplay: Emeric Pressburger, Derry Quinn & Ray Rigby. Produced by: Carlo Ponti. Original Music by Ron Goodwin. Cinematography by: Erwin Hillier. Film Editing by Ernest Walter
Multi language version, i.e. the English speak English, the Germans speak German - and everything is subtitled in French.
Sophia Loren (Nora), George Peppard (Lt. John Curtis), Trevor Howard (Professor Lindemann), John Mills (General Boyd), Richard Johnson (Duncan Sandys), Tom Courtenay (Robert Henshaw), Anthony Quayle (Bamford), Lilli Palmer (Frieda), Paul Henreid (General Ziemann), Richard Todd (Wing Cmdr. Kendall)
allmovie.com: This big-budget, big-studio espionage film is set in the last years of World War II. George Peppard, Tom Courtenay and Jeremy Kemp parachute into Germany, with orders to destroy the Nazis' V-1 rocket base at Peenemunde. Given the order of billing, guess which special operative survives the longest. This being an MGM production, Peppard has time to commiserate with Sophia Loren, the wife of the Nazi collaborator whom Peppard is pretending to be. If you're wondering about the film's outcome, remember who won the war. Operation Crossbow failed badly in its first release; MGM, deciding that the title misled moviegoers into thinking that the picture was a "Robin Hood" derivation, cleared up matters by renaming the film The Great Spy Mission.
Blake Edwards tribute: The Great Race - 12:30
|"The Great Race" (2:40). Filmed in: 35mm 4 perforations, 24 frames per second. Principal photography in: Panavision. Presented: on the curved screen in Panavision 70 with 6-track magnetic stereo. Aspect ratio: 2,21:1. Country of origin: USA. Production year: 1965. World Premiere: 01.07.1965, USA. UK premiere 10.10.1965 Coliseum Cinerama, London, England. |
Directed by Blake Edwards. Screenplay Arthur A. Ross. Produced by Martin Jurow producer. Original Music by Henry Mancini. Cinematography by Russell Harlan. Film Editing by Ralph E. Winters.
Jack Lemmon (Professor Fate / Crown Prince Frederick Hoepnick). Tony Curtis (The Great Leslie), Natalie Wood (Maggie Dubois), Peter Falk (Maximilian Meen), Keenan Wynn (Hezekiah Sturdy), Arthur O'Connell (Henry Goodbody)
Academy Awards 1966
Best Effects, Sound Effects Treg Brown
Best Cinematography, Color Russell Harlan
Best Film Editing Ralph E. Winters
Best Music, Original Song Henry Mancini (music) Johnny Mercer (lyrics) For the song "The Sweetheart Tree"
Best Sound George Groves (Warner Bros. SSD)
|allmovie.com: Tony Curtis stars as The Great Leslie, a hero among heroes whose purity of heart is manifested by his spotlessly white wardrobe. Leslie's great rival, played by Jack Lemmon, is Professor Fate, a scowling, mustachioed, top-hatted, black-garbed villain. Long envious of Leslie's record-setting accomplishments with airships and sea craft, Professor Fate schemes to win a 22,000-mile auto race from New York City to Paris by whatever insidious means possible. The problem is that Fate is his own worst enemy: each of his plans to remove Leslie from the running (and from the face of the earth) backfires. Leslie's own cross to bear is suffragette Maggie Dubois (Natalie Wood), who also hopes to win the contest and thus strike a blow for feminism. The race takes all three contestants to the Wild West, the frozen wastes of Alaska, and, in the longest sequence, the mythical European kingdom of Carpania. This last-named country is the setting for a wild Prisoner of Zenda spoof involving Professor Fate and his look-alike, the foppish Carpanian king. When Leslie and Fate approach the finish line at the Eiffel Tower, Leslie deliberately loses to prove his love for Maggie. Professor Fate cannot stand winning under these circumstances, thus he demands that he and Leslie race back to New York. The supporting cast includes Peter Falk as Fate's long-suffering flunkey Max, Keenan Wynn as Leslie's faithful general factotum, Dorothy Provine as a brassy saloon singer, Larry Storch as ill-tempered bandit Texas Jack, and Ross Martin as Baron Von Stuppe. The film also yielded a hit song, Henry Mancini and Johnny Mercer's The Sweetheart Tree. The Great Race was dedicated to "Mr. Laurel and Mr. Hardy". |
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"Appearing in "Limelight" gave me the most joy of any film I was in"
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