“Almost like a real web site”

Search | Contact
News | e-News |
Rumour Mill | Stories
Foreign Language
in70mm.com auf Deutsch


Todd-AO Festival
KRRR! 7OMM Seminar
GIFF 70, Gentofte
Oslo 7OMM Festival
Widescreen Weekend

Premiere | Films
People | Equipment
Library | Cinemas
Todd-AO Projector
Distortion Correcting

Ultra Panavision 70
Super Panavision 70

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
Cinerama 360
1962 MCS-70
1963 70mm Blow Up
1963 Circarama
1963 Circlorama
1966 Dimension 150
1967 DEFA 70
1967 Pik-A-Movie
1970 IMAX / Omnimax
1974 Cinema 180
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 70Early Large Format
7OMM Premiere in Chronological Order


Australia | Brazil
Canada | Denmark
England | France
Germany | Iran
Mexico | Norway
Sweden | Turkey

7OMM Projectors
People | Eulogy
65mm/70mm Workshop
The 7OMM Newsletter
Back issue | PDF
Academy of the WSW

• 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
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


David Lean’s Film of “Ryan’s Daughter” Photographed in Super Panavision 70 by Freddie Young, BSC
Rare screening in 70mm at the Irish Film Institute, Dublin, 4.6.2013 + 9.6.2013

The 70mm Newsletter
Written by: Brian Guckian. Photos (35mm) by the writer Date: 03.08.2013
Poster advertising mini-season of 70mm screenings

Cinemagoers were treated to a rare 70mm screening of David Lean’s underrated
"Ryan's Daughter" at the Irish Film Institute in Dublin this June, from a print held by the Swedish Film Institute.

In English with Swedish subtitles, the print was in excellent condition, with little or no colour fading, and provided an ideal opportunity to encounter anew Freddie Young, BSC’s outstanding cinematography on what was to be Lean’s penultimate work.

It is a pity that much of the discussion about this film has centred on the circumstances of its production and in particular the economic bonanza it brought at the time to the local community on the Dingle Peninsula, at the southwest tip of the country. This has been to the detriment of the film’s story and themes, which to this writer seem intimately bound to the political background of the time in which it was made, additional to the historical political events alluded to in the film.
More in 70mm reading:

70mm In the Emerald Isle

Memories of Ryan's Daughter

Todd-AO & Cinerama in Ireland

Tuairisc Todd-AO agus Cinerama in Éirinn

On the trail of "Ryan's Daughter" & "Far and Away"

65/70mm Workshop

DP70 / Universal 70-35 / Norelco AAII - The Todd-AO Projector

Internet link:

Pete Walsh

Irish Film Institute

The lobby prior to the screening. The poster advertises the most recent film from Irish director Neil Jordan

Academic writing on “Ryan’s Daughter” has possibly picked up on this aspect. The film and its production could be read as a metaphor for the Irish-British relationship: as well as the obvious symbolism of the presence in the area of the film crew (particularly in light of the politics of the time) and the massive set construction and shooting effort, the final scenes where Shaughnessy and Rosy are forced to flee the village of Kirrary play more like a cameo of the expulsion of foreign occupiers than the casting out of members of the community. Likewise, the essential Englishness of Rosy in the film – intriguingly permitted by Lean – makes her seem more like an interloper than the daughter of the village publican (whose own role as an informer seems more than coincidental). Meanwhile Trevor Howard plays the parish priest far more like a stern Protestant minister than the worldly Catholic prelate beloved of cinematic cliché.
Gate of one of pair of Cinemeccanica Vic8 35/70mm projectors installed June 2012 replacing Philips DP70 (now in storage)

It may be because of these political complexities and sensitivities (perhaps obscured over the years by the film’s overt romantic themes) that “Ryan’s Daughter” is rarely screened in Ireland, and even rarer still in the 70mm format it should be seen in. This is a shame, because like other 65mm-photographed titles – exemplified most recently by Paul Thomas Anderson’s “The Master” (inexplicably still withheld from release on 70mm in Ireland) – the film can only fully be appreciated this way.

Despite the more than 40 years that separate “Ryan’s Daughter” and Anderson’s work, interesting similarities are apparent in both Directors’ use of close-ups in 65mm to provide greater intimacy, a heightened emotional response and deeper engagement with the story. Also, together with the powerful and well-known storm sequence, several dramatic shots portraying Major Doryan in silhouette recalled, for this writer, the cinematography of Michael Powell’s “The Edge of the World” (1937), with its similar remote coastal setting.
Flight case with reel #8 of "Ryan's Dotter"

Like Anderson’s recent film, Lean’s masterfully-crafted work really plays as an epic of the interior, an approach born of the influence of Flaubert’s “Madame Bovary” on Robert Bolt’s screenplay. A misunderstanding about this introspection (as with “The Master”) may account for the negative reviews the film received on release, particularly given the previous outward scale of “Doctor Zhivago” and “Lawrence of Arabia”.

Captivating and rewarding, “Ryan’s Daughter” exemplifies a lost era of meticulously-crafted, adult-oriented Cinema, underscoring the critical importance of these works continuing to be available in the format they were meant to be seen in, not only generally, but especially also for students of cinema and the filmmaking arts.

(Note: Additional photos that were taken for this piece are currently awaiting copyright approval)

In Memoriam – Peter (Pete) Walsh 1950 – 2012

Brian (left) and Pete 25 August 2007. Image by Thomas Hauerslev

The continuing ability to see 70mm prints in Ireland today is down to the determined, progressive work of Peter (Pete) Walsh, late Cinemas Programmer at the Irish Film Institute. On his appointment in 1994, he quickly made significant improvements to the Institute's auditoria, which, along with his erudite programming skills, significantly increased the audience for arthouse, repertory and classic cinema in Dublin.

A devotee of 70mm, among his many accomplishments was the acquisition of a pair of Philips DP70s from the former Curzon West End (formerly Columbia) cinema in London, one of which was installed in the main auditorium at the IFI and the other retained for spares.

As well as mainstream fare, Pete was also interested in 70mm shorts and experimental pieces, and he had a deep and abiding appreciation of the artistic aspects of the medium.

Prior to tragically falling seriously ill last summer, he ensured continuing and expanded access to 70mm prints via the installation of twin 35/70mm Cinemeccanica Victoria 8 projectors (necessary in part due to 35mm silent film capability requirements), and was constantly making improvements to projection quality at the IFI Cinemas.

I was privileged to know Pete Walsh over 15 years. A thoughtful, generous, intelligent and humorous man, with a lifelong dedication to the appreciation and understanding of Cinema, its history and traditions, his untimely passing last December came as a shock to many.

A fuller appreciation of Pete is reproduced here

Go: back - top - back issues - news index
Updated 21-01-24