The Criterion Collection 4K/Blu-ray Discussion and Release Thread
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re: The Criterion Collection 4K/Blu-ray Discussion and Release Thread
It would be fucking badass if they did have a deal like that to do that w/ the first 6 films of the Showa series (can't imagine Universal letting KKvsG go though...). Those 6 are gold, the ones between between that and the Heisei series are very wish washy in terms of quality. I did love the idea of Destroy All Monsters...though I felt that film's potential was squandered.
Last edited by Solid Snake; 08-24-11 at 05:15 PM.
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re: The Criterion Collection 4K/Blu-ray Discussion and Release Thread
Well this is badass.
from: THE GOOD, THE BAD, AND GODZILLA
from: THE GOOD, THE BAD, AND GODZILLA
CRITERION FINDS US VERSION OF GODZILLA!
35mm Fine-Grain of GKOTM Discovered
Yesterday, I posted the fantastic news that the Criterion Collection had slyly announced, with a simple photo, that they will be prepping a DVD/BD release of the original Japanese version of GODZILLA aka GOJIRA (1954) — see previous blog post — and while, it seems, that Honda's seminal film will be getting a much-needed restoration, some have been asking if the corresponding US version helmed by Terry O. Morse, GODZILLA, KING OF THE MONSTERS! (1956), starring Raymond Burr, will be included in this release. Previous home video releases of this film — and all versions screened on television, cable, and online in the last 30 years — have been culled from the same, edited telecine transfer of a 35mm master, prepared in the early 1980s by Henry G. Saperstein's UPA (United Productions of America). Unfortunately, Toho has nothing for the US version (barring the cropped "cinemascope" version released in Japan in the late 1950s), and since there was nothing else readily available, Classic Media used this very same three decade-old transfer for their 2006 release.
What was delted? UPA's transfer is missing the original "Jewell Enterprises" logo at the top of the film (printed over Toho's sunburst logo), seen in early television versions (before UPA's acquisition), a starring and directed by card after the opening title, and the original — and full — ending credits sequence, which appeared between the fade out and "The End" title card. While Classic Media's release, reinstates the original ending credits sequence (taken from a 16mm print owned by a private collector), it was placed after the "The End" title card. But, the Jewell Enterprises logo remained absent. While several fans have 16mm prints of the original television transfer of GODZILLA, KING OF THE MONSTERS! — some complete, others not — the search for 35mm elements, or at the very least, an uncut 35mm theatrical print, had proved an elusive creature. While there are several private (and notable) collectors who do have 35mm prints of this film, most of them wish to remain nameless, out of fear that their prints will be confiscated (which has indeed happened to collectors in the past).
So, Criterion put the call out to film collectors, everywhere, to help locate 35mm elements for GODZILLA, KING OF THE MONSTERS! Startlingly, within 24 hours, through the auspices of several fans — working together and respecting the anonymity of the source — according to "insiders", a veritable Rosetta Stone, something far better than a 35mm print has been located: A 35mm Fine-Grain Print! "So, what does that mean?", you might ask. It's actually quite big deal, really. Why? The following explanation is from the article, "Duped Negatives" and "Lavender Prints": Understanding Film Restoration from The Picture Show Man:
Sometimes called a "fine-grain sub-master", or "protection print", or "lavender print", or "purple print" (because the fine-grains of the film have a slightly purple color to them). These are positive prints, made from either camera negatives or dupe (duplicate) negatives, using film that has a low contrast, extremely fine-grained emulsion. They are made expressly and exclusively for the purpose of making another dupe negative, and are not meant to be shown. (In fact, the projected image quality of these prints is poor compared to a timed projection print, and the perforations have a slightly different shape than projection prints.)
In plain English, this means that the next best thing to finding an original Interpositive (the first "positive print" made from the Camera Negative) — a first-generation print! So, while celebrating this early may be premature, I'm going to start popping the Champagne corks (or maybe some Champipple) — because a transfer from this Fine-Grain should prove to be stunning in comparison to what has been previously available to us, especially once such a transfer gets a Criterion Touch digital restoration! Many of you out there may not quite grasp the monumental thing that has happened here. This is an earth-shaking, screen-shattering thrill! This is big news, towering and tremendous — akin to the discovery of a Missing Link — and is more fantastic than I ever thought possible, to paraphrase Burr's character in GODZILLA, KING OF THE MONSTERS!
In the meantime, let's keep our fingers crossed for Criterion, but not hold our collective breath (we don't want to jinx this). But still, so far, this really has been a "tale to stun the mind!"
35mm Fine-Grain of GKOTM Discovered
Yesterday, I posted the fantastic news that the Criterion Collection had slyly announced, with a simple photo, that they will be prepping a DVD/BD release of the original Japanese version of GODZILLA aka GOJIRA (1954) — see previous blog post — and while, it seems, that Honda's seminal film will be getting a much-needed restoration, some have been asking if the corresponding US version helmed by Terry O. Morse, GODZILLA, KING OF THE MONSTERS! (1956), starring Raymond Burr, will be included in this release. Previous home video releases of this film — and all versions screened on television, cable, and online in the last 30 years — have been culled from the same, edited telecine transfer of a 35mm master, prepared in the early 1980s by Henry G. Saperstein's UPA (United Productions of America). Unfortunately, Toho has nothing for the US version (barring the cropped "cinemascope" version released in Japan in the late 1950s), and since there was nothing else readily available, Classic Media used this very same three decade-old transfer for their 2006 release.
What was delted? UPA's transfer is missing the original "Jewell Enterprises" logo at the top of the film (printed over Toho's sunburst logo), seen in early television versions (before UPA's acquisition), a starring and directed by card after the opening title, and the original — and full — ending credits sequence, which appeared between the fade out and "The End" title card. While Classic Media's release, reinstates the original ending credits sequence (taken from a 16mm print owned by a private collector), it was placed after the "The End" title card. But, the Jewell Enterprises logo remained absent. While several fans have 16mm prints of the original television transfer of GODZILLA, KING OF THE MONSTERS! — some complete, others not — the search for 35mm elements, or at the very least, an uncut 35mm theatrical print, had proved an elusive creature. While there are several private (and notable) collectors who do have 35mm prints of this film, most of them wish to remain nameless, out of fear that their prints will be confiscated (which has indeed happened to collectors in the past).
So, Criterion put the call out to film collectors, everywhere, to help locate 35mm elements for GODZILLA, KING OF THE MONSTERS! Startlingly, within 24 hours, through the auspices of several fans — working together and respecting the anonymity of the source — according to "insiders", a veritable Rosetta Stone, something far better than a 35mm print has been located: A 35mm Fine-Grain Print! "So, what does that mean?", you might ask. It's actually quite big deal, really. Why? The following explanation is from the article, "Duped Negatives" and "Lavender Prints": Understanding Film Restoration from The Picture Show Man:
Sometimes called a "fine-grain sub-master", or "protection print", or "lavender print", or "purple print" (because the fine-grains of the film have a slightly purple color to them). These are positive prints, made from either camera negatives or dupe (duplicate) negatives, using film that has a low contrast, extremely fine-grained emulsion. They are made expressly and exclusively for the purpose of making another dupe negative, and are not meant to be shown. (In fact, the projected image quality of these prints is poor compared to a timed projection print, and the perforations have a slightly different shape than projection prints.)
In plain English, this means that the next best thing to finding an original Interpositive (the first "positive print" made from the Camera Negative) — a first-generation print! So, while celebrating this early may be premature, I'm going to start popping the Champagne corks (or maybe some Champipple) — because a transfer from this Fine-Grain should prove to be stunning in comparison to what has been previously available to us, especially once such a transfer gets a Criterion Touch digital restoration! Many of you out there may not quite grasp the monumental thing that has happened here. This is an earth-shaking, screen-shattering thrill! This is big news, towering and tremendous — akin to the discovery of a Missing Link — and is more fantastic than I ever thought possible, to paraphrase Burr's character in GODZILLA, KING OF THE MONSTERS!
In the meantime, let's keep our fingers crossed for Criterion, but not hold our collective breath (we don't want to jinx this). But still, so far, this really has been a "tale to stun the mind!"
#3103
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re: The Criterion Collection 4K/Blu-ray Discussion and Release Thread
First off, that's awesome. Second, I am ecstatic that Criterion are releasing this. It's such good news.
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I'm really not sure why Criterion would want to release the US version, anyway. Sure, it has historic significance and made a cultural impact, but it's still a hack-job.
Lots of people saw Lawrence of Arabia for the first and/or only time in a pan-and-scan tv butchery, as well, but if I remember my Criterion literature correctly, their attitude was always, let's say, somewhat less sympathetic toward that "version".
Lots of people saw Lawrence of Arabia for the first and/or only time in a pan-and-scan tv butchery, as well, but if I remember my Criterion literature correctly, their attitude was always, let's say, somewhat less sympathetic toward that "version".
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re: The Criterion Collection 4K/Blu-ray Discussion and Release Thread
They might as well cuz it's popular as hell. I've only seen that version once...and I could barely make it through.
#3106
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re: The Criterion Collection 4K/Blu-ray Discussion and Release Thread
I was the same as you Snake. Watched it once about 15 years ago and just tuned out. Gave it another try again many years later and got a kick out of it, so go figure. However, I'll wait and see what they're going to be putting into this release first before deciding whether or not to get this.
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re: The Criterion Collection 4K/Blu-ray Discussion and Release Thread
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#3109
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re: The Criterion Collection 4K/Blu-ray Discussion and Release Thread
The whole thing with the materials for the US version being lost must be one of those things that I'd read about but then forgotten about it cause I knew it had received a DVD release with that double feature a few years ago, but hadn't recalled the quality issues.
As with anime, I can go either way with dubbing. If it was the way I first saw it (like Tenchi Muyo on [adult swim] (English dub, of course), then that's how I usually watch it on DVD. I really like how so many of the better Godzilla film releases from the past few years have both options, and for this case I think the presence of Raymond Burr lends a little weight to its importance.
As with anime, I can go either way with dubbing. If it was the way I first saw it (like Tenchi Muyo on [adult swim] (English dub, of course), then that's how I usually watch it on DVD. I really like how so many of the better Godzilla film releases from the past few years have both options, and for this case I think the presence of Raymond Burr lends a little weight to its importance.
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Ah..but that's a different beast compared to Godzilla. Japan had the original cut in theaters, while the US got the one more in vein w/ the US standard...and was what literally made Godzilla so popular here in the states. So yes, I do believe it's worth Criterion's time to have both cuts. People who want the original film...got that. BUT...for those of us who really like the US cut (and we can't forget how culturally significant the film is to US cinema and it's impact)...we got that to. Criterion isn't stupid. They'll make money w/ this..and also get praised for it if everything turns out great.
#3111
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re: The Criterion Collection 4K/Blu-ray Discussion and Release Thread
what's the holdup of Rashomon (4K restoration/transfer) - I missed the theatrical rerelease
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re: The Criterion Collection 4K/Blu-ray Discussion and Release Thread
I grew up watching the US cut of Godzilla on a loop. This news is undeniably fantastic and I'm drooling thniking about a 2012 announcement for this on BD with both cuts of the film.
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How is it different? Both are bastardizations of the original material, edited by an outside party and not representative of the original filmmakers' intent. In other words, a product essentially diametrically opposed to Criterion's mission statement.
#3114
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re: The Criterion Collection 4K/Blu-ray Discussion and Release Thread
Brazil and Mr. Arkadin included alternate cuts that the filmmakers weren't involved in and disapproved of.
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The main prize isn't the US feature. It's the Japanese film. The US film is just a great add on. More for your buck. Though I don't want it..but it's great that it's there.
#3117
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Does anyone else remember the rumor about Criterion releasing Godzilla back around 2003 or '04? I recall reading about it and even talking to some people about it. It never happened but this is definitely not the first time Godzilla and Criterion have been talked about in the same breath.
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love these
<iframe width="560" height="345" src="http://www.youtube.com/embed/3mgmyuYcCUE" frameborder="0" allowfullscreen></iframe>
<iframe width="560" height="345" src="http://www.youtube.com/embed/3mgmyuYcCUE" frameborder="0" allowfullscreen></iframe>
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re: The Criterion Collection 4K/Blu-ray Discussion and Release Thread
I know it's extremely doubtful, but if they include Luigi Cozzi's version of Godzilla, I'll pull a Randy Marsh and, well, you know.
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#3121
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re: The Criterion Collection 4K/Blu-ray Discussion and Release Thread
Does anyone else remember the rumor about Criterion releasing Godzilla back around 2003 or '04? I recall reading about it and even talking to some people about it. It never happened but this is definitely not the first time Godzilla and Criterion have been talked about in the same breath.
Looking forward to this on BluRay and hope that they'll do the other titles that they had announced back in 1998.
#3122
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re: The Criterion Collection 4K/Blu-ray Discussion and Release Thread
Ignoring the US version undermines the history of Godzilla. Western audiences would know nothing of Godzilla if the US version was never put out. It might've been a franchise nonetheless in Japan, but US audiences probably would've never had the chance to see it or care for it. In addition, the release of the US version helped create a full fledged market for Japanese film and television to be imported in the states. Again, this would've never happened if that US version didn't exist. So yes, it has historical significance that demands it to be on a Criterion set.
And all of your examples are fucking apple and orange comparisons.
I can't see Criterion releasing just the US version. I'm expecting their release to have both Japanese and US cuts of the film presented in the same set.
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Ignoring the US version undermines the history of Godzilla. Western audiences would know nothing of Godzilla if the US version was never put out. It might've been a franchise nonetheless in Japan, but US audiences probably would've never had the chance to see it or care for it.
As long as the unmolested original is there, the US version makes a fun extra, I suppose. It just seems to me rather contrary to Criterion's general philosophy.
#3124
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re: The Criterion Collection 4K/Blu-ray Discussion and Release Thread
The US version didn't give them the opportunity to see it and care for it; it gave them the opportunity to see and care for an adulteration of it.
As long as the unmolested original is there, the US version makes a fun extra, I suppose. It just seems to me rather contrary to Criterion's general philosophy.
As long as the unmolested original is there, the US version makes a fun extra, I suppose. It just seems to me rather contrary to Criterion's general philosophy.
If the US version didn't exist, this conversation about Godzilla would never exist. It might not be as great as the original unedited Japanese version (which I agree is the far superior edit), but sorry to break it to you, it introduced the entire world to Godzilla outside of Asia.
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If the US version didn't exist, this conversation about Godzilla would never exist. It might not be as great as the original unedited Japanese version (which I agree is the far superior edit), but sorry to break it to you, it introduced the entire world to Godzilla outside of Asia.