“Almost like a real web
site”
|
IN7OMM.COM
• Search |
Contact
• News |
e-News |
• Rumour Mill |
Stories
• Foreign Language
• in70mm.com auf Deutsch
WHAT'S ON IN 7OMM?
7OMM FESTIVAL
• Todd-AO Festival
• KRRR! 7OMM Seminar
• GIFF 70, Gentofte
• Oslo 7OMM Festival
• Widescreen Weekend
TODD-AO
• Premiere |
Films
• People |
Equipment
• Library |
Cinemas
• Todd-AO Projector
• Distortion Correcting
PANAVISION
• Ultra Panavision
70
• Super Panavision
70
|
|
VISION, SCOPE & RAMA
1926
Natural Vision
1929 Grandeur
1930 Magnifilm
1930 Realife
1930 Vitascope
1952 Cinerama
1953
CinemaScope
1955 Todd-AO
1955 Circle Vision
360
1956
CinemaScope 55
1957 Ultra
Panavision 70
1958 Cinemiracle
1958 Kinopanorama
1959 Super
Panavision 70
1959 Super Technirama 70
1960 Smell-O-Vision
1961 Sovscope
70
1962
Cinerama 360
1962 MCS-70
1963 70mm Blow Up
1963 Circarama
1963 Circlorama
1966 Dimension 150
1966
Stereo-70
1967 DEFA 70
1967 Pik-A-Movie
1970 IMAX / Omnimax
1974 Cinema
180
1974 SENSURROUND
1976 Dolby Stereo
1984 Showscan
1984 Swissorama
1986 iWERKS
1989 ARRI 765
1990 CDS
1994 DTS / Datasat
2001
Super Dimension 70
2018 Magellan 65
•
Various Large format
| 70mm to 3-strip |
3-strip to 70mm |
Specialty Large Format |
Special Effects in 65mm |
ARC-120 |
Super Dimension 70
| Early Large Format
• 7OMM Premiere in
Chronological Order
7OMM FILM & CINEMA
• Australia |
Brazil
• Canada |
Denmark
• England |
France
• Germany |
Iran
• Mexico |
Norway
• Sweden |
Turkey
• USA
LIBRARY
• 7OMM Projectors
• People |
Eulogy
• 65mm/70mm Workshop
• The 7OMM Newsletter
• Back issue |
PDF
• Academy of the WSW
7OMM NEWS
• 2026 | 2025 | 2024
• 2023 |
2022 |
2021
• 2020 |
2019 |
2018
• 2017 |
2016 |
2015
• 2014 |
2013 |
2012
• 2011 |
2010 | 2009
• 2008 | 2007 |
2006
• 2005 | 2004 |
2003
• 2002 |
2001 |
2000
• 1999 |
1998 |
1997
• 1996 |
1995 |
1994
|
in70mm.com Mission:
• To record the history of the large format movies and the 70mm cinemas
as remembered by the people who worked with the films. Both during
making and during running the films in projection rooms and as the
audience, looking at the curved screen.
•
in70mm.com, a unique internet based magazine, with articles about 70mm
cinemas, 70mm people, 70mm films, 70mm sound, 70mm film credits, 70mm
history and 70mm technology. Readers and fans of 70mm are always welcome
to contribute.
•
Disclaimer |
Updates
• Support us
• Testimonials
• Table of Content
|
|
|
Extracts and longer
parts of in70mm.com may be reprinted with the written permission from
the editor.
Copyright © 1800 - 2070. All rights reserved.
Visit biografmuseet.dk about Danish cinemas
|
| |
"Napoleon" in 70mm at the Coolidge Theatre in
Brookline, MA, USA
Reviewed Sunday afternoon, 26. November 2023 |
Read more at in70mm.com The 70mm Newsletter
|
Written
and photographed by: Jonathan
Kleefield, M.D. |
Date:
27.11.2023 |
The
Coolidge Theatre in Brookline, MA
With the encouragement of our Editor, and
favorable late fall weather, yesterday I took the opportunity to walk
the 3.3 miles from my home to the Coolidge Theatre in Brookline, MA. I
have patronized this wonderful showplace on previous occasions. For
those unfamiliar with it, the theatre was opened in 1933, after
opposition of the town for the potential deleterious influence a “moving
picture theatre” might have on the local populace. The theatre was built
from a church converted for theatrical purposes. Originally a single
screen theatre, decades later, a second theatre was added by closing off
the balcony. Despite several near closures, the enthusiasm of a few
generous souls rescued the facility, which was repurposed to show a
mixture of “classic” and current films, as well as subjects typically
seen in “art houses.”
• Go to gallery "Napoleon" in 70mm at the
Coolidge Theatre
The main theatre, where
"Napoleon" was being shown, has around a 400
seat capacity, yet for this Sunday showing, there were only about 50
people in attendance. This was surprising to me, given that only five
70mm prints of Sir Ridley Scott’s latest epic were struck by Fotokem. I
would have expected more cinephiles, given the sophistication of the
Boston film community.
The theatre and lobby are in an Art Deco motif, and the photos clearly
show the attention given to the lovely decorative painting and gold leaf
in the theatre. However, the seats are more modern, and very
comfortable, with cup holders, and have a rich red velour covering.
The head projectionist informed me that the film was being displayed by
the very best- namely, a pair of
Norelco AAII 35/70 projectors. Sound
was via a DTS system, with the discs loaded onto a XD50 processor. A
large array of surround speakers were clearly visible. The floor manager
told me that the film was projected in the “conventional” fashion,
namely individual reels, rather than a platter configuration. The
projection team had to manually insert cue marks at the end of each
reel. The changeovers were absolutely flawless.
I am not a historian, and therefore assumed Mr. Scott adhered to the
truth in describing Napoleon’s rise to power, starting as a mere gunnery
officer to gain his first triumph at the Battle of Toulon. His lust for
power and ascension to the created position of Emperor was eerily
reminiscent of that of Hitler. Like the Fuhrer, Napoleon used violent
means to increase his control, and similarly, his downfall was caused by
his belief that he could conquer Russia. In both cases, the Russian
winter stopped them, with resultant massive losses for their armed
forces. While Hitler committed suicide, Napoleon “got off easy”, having
been exiled in palatial surroundings. The human cost of his recklessness
was shown by Scott at the end of the movie, listing the millions of
casualties caused by his battle tactics, arising mostly from the Russian
campaign.
|
More in 70mm reading:
Gallery "Napoleon" in 70mm at the
Coolidge Theatre
"Napoleon" in 7OMM
“Napoleon”: The North American 70mm Engagements
Kevin Brownlow:
“EST VOUS MONSIEUR GANCE?”
"Oppenheimer"
Reviews
A Nostalgic View of 70mm in
New York City - 1950-1970
Eighteen Years Later
DP70s in
Massachusetts (MA)
DP70s at the Vista
in70mm.com's Library
Presented on the big screen in 7OMM
Peripheral Vision, Scopes,
Dimensions and Panoramas |
The
Coolidge Theatre in Brookline, MA
Concerning the film quality, the Norelco machines, under expert guidance
performed flawlessly, with a rock steady image, and very minimal
perceived flicker, the latter only noticeable when there were large
white areas in the picture. The film gates were spotless, and the print
almost entirely free of dust. There was no perceptible film grain.
However, I am aware that this print represented a conversion of a
digital image source to this analog medium. What I found disappointing
was the perceived image sharpness, and worse, the lack of true black in
scenes that would have called for it. I believe some of this problem may
be the result of the excessive use of backlighting by the Director of
Photography. What was equally annoying was the colorists had gone on a
rampage, altering the color of nearly the entire film to either a
desaturated image with a grey-blue tint, or when in the Egyptian desert,
a sickening yellow reminiscent of shades best limited to bathroom
fixtures in use. Also, the director of photography was either
“encouraged” by Sir Ridley, or was mesmerized by John Alcott’s work in
Stanley Kubrick’s 1975
“Barry Lyndon” to shoot endless interior scenes
supposedly lit only by candlelight. This use of low light (which
admittedly was all one had in the 18th and early 19th centuries) became
extremely tiresome to watch. Alternatively, these “period piece” films
love to use light streaming in from windows, with the result that the
interior details are only visible to a very limited extent.
There is a night ship battle scene in the early Toulon sequence that
brought a chuckle to me- I believe miniatures, rather than CGI were
used, as the waves of water in the foreground were so coarse as to give
away the failure of such a small tank to resemble actual water- water is
the nemesis for miniature work. Much of the CGI employed (though Sir
Ridley says little was used) was variably convincing, but some of the
created buildings looked particularly artificial. The CGI artists tasked
to depict gore had a field day, early in the picture, again in the
Toulon sequence, when Napoleon’s horse is shot in the chest with a
cannon ball. The innards catapulting from the poor steed are visible for
a few seconds, so hopefully this production did adhere to the usual
stipulation that “no animals were harmed during the making of this
motion picture” (!). Later on, the responsible cannon ball is retrieved
from the dead animal and tossed by Napoleon to another soldier. Also,
those who love such stuff will not be disappointed with the opening of
this film, depicting the decapitation of Marie Antoinette.
The theatre sound quality was excellent. I was able to discern most of
the dialog, despite complaints that Joaquin Phoenix, who plays Napoleon,
was accused of “mumbling.” Again, kudos to the Coolidge staff for
adjusting the sound properly, as well as the sound designers in the film
itself.
All in all, I found the two hour and 36 minute film absorbing, and for
me, educational, as I did not know much about Napoleon before I saw this
presentation. I would encourage cineastes to seek out the
1927 film of the same
title, by the French film maker
Abel Gance, who was incredibly
groundbreaking technically, including the use of a three panel
“triptych” system to show both panoramas or multiple images
simultaneously. Nevertheless, I still feel that aside from the
experience of communal viewing, the capabilities of a good home theatre
system have the potential to provide better image quality than the “big
screen,” as well as sound fidelity quite competitive with that
experienced in a large auditorium.
|
|
|
|
|
|
|
|
• Go to
Review: "Napoleon" in
70mm at the Coolidge |
|
Go: back - top - back issues - news index Updated
21-01-24 |
|
|