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Flicker Alley Noir Titles (Too Late For Tears/Woman On The Run)

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Flicker Alley Noir Titles (Too Late For Tears/Woman On The Run)

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Old 05-25-16, 10:35 AM
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Re: Flicker Alley Noir Titles (Too Late For Tears/Woman On The Run)

Originally Posted by ctyankee
Completely wrong. The projectionist's copy was Plan A. What we got was Plan B according to Muller. (See special feature on this matter).
I watched the special features on both of these discs last night, and thought these quotes from the short documentary on the restoration of Too Late For Tears were particularly relevant:

From Alan K. Rode:
"...this print of Too Late For Tears is really a miracle of refurbishment and rediscovery and it's not gonna get any better than this."

From Scott MacQueen:
"Now the French dupe negative was not of very good quality so we had to go back to the Killer Bait print and dupe those sections. But it worked better than our expectations. In the end thankfully we found everything we needed to make it whole. It's not too late for tears now. We've got it. No more crying over it."
Eddie Muller is indeed present in this little doc, and he discusses the "projectionist's print" as noted above, but he makes absolutely NO reference to its condition, or whether he even got to see it before trying to acquire it. At one point a letter is shown on screen, written by Muller to the projectionist, and one line in it is telling:

"...we're eager to receive the nitrate print you have, so we can evaluate it and get to work."
In neither this letter nor his interview does Muller (whose participation in this edition is clearly a seal of approval) say anything about the condition of this mystery print because it most likely wasn't known, and evidently still isn't. He does note that this nitrate print was stored in a storage unit "somewhere" (along with prints of other old films from the sounds of it). So while I don't doubt that such a print MIGHT have been useful in the restoration project, it's a stretch to automatically assume it was superior to the prints they were able to access for the project. Oh, and he makes no mention of "Plan A" or "Plan B". The projectionist's print was simply a plan that fell through, so they kept looking. As much as that print might have been the pristine condition Lost Ark everyone was searching for, it could just as likely have been a mess. We'll probably never know unless someone gains access to that storage unit someday, and who knows when that will be, or what condition the print will be in considering storage units aren't generally the best place to store nitrate prints of old movies, surely. Maybe we'll see it unveiled on Storage Wars!

Semi-related, but I thought it was fascinating how they recreated the opening titles and credits on Too Late For Tears, since the best print available had French titles. The process is superficially discussed in the doc, but I have to admit they fooled me completely when I watched the film itself prior to the supplements. They even got the 'jitter' (or whatever it's called) just right.
Old 05-31-16, 12:16 PM
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Re: Flicker Alley Noir Titles (Too Late For Tears/Woman On The Run)

These BD's currently have a £12.99 pre-order price at Amazon UK. Subtracting VAT, that's actually £10.83 each, which works out to about $21 shipped.
Old 03-30-24, 01:42 AM
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Re: Flicker Alley Noir Titles (Too Late For Tears/Woman On The Run)

I thought we had a standalone Flicker Alley thread here but this is about as close as I could find, and it’s relevant to the new noir release below.

However, they’ve released a lot of good stuff over the years that doesn’t really get mentioned here outside of their sales, so any chance the title of this thread could be simplified to cover whatever titles we might care to discuss here?

- - - - -

That said, their South American titles to date have all been phenomenal, both the movies and the treatments, and now it seems like they may have unearthed another gem, this one from Argentina called NEVER OPEN THAT DOOR (1952):

https://flickeralley.com/products/ne...nca-esa-puerta




"This extraordinary 1952 Argentinian noir … is probably the most bedarkened, beshadowed film I've seen, full of extreme closeups, unexpected sound effects and music. It deserves to be restored and reissued." - Paul Schrader

Blu-Ray + DVD Combo

Preserved by the Film Noir Foundation in 2013 and now beautifully restored through the UCLA Film & Television Archive, Never Open That Door (No abras nunca esa puerta) is a significant example of the cross-cultural cinematic legacy shared by the United States and Argentina during the post-WWII era. Based on two short stories by American master of suspense fiction Cornell Woolrich (Rear Window, Phantom Lady, The Bride Wore Black), the film is brilliantly directed by Argentine filmmaker Carlos Hugo Christensen with extraordinary cinematography by Pablo Tabernero. Says FNF founder Eddie Muller about this recent restoration, “It is a revelation to experience the work of an all-American author, in Spanish, and rendered as well – or perhaps better – than any Hollywood adaptation of his work.”

Never Open That Door is one of the most evocative realizations of Woolrich ever produced, featuring masterful sequences of sustained suspense. Said Buenos Aires film critic Horacio Bernades, “Rarely has an Argentine film been more purely cinematic than this.”

Originally a three-part anthology of Woolrich tales, Never Open That Door was released separately from the 73-minute film If I Should Die Before I Wake (Si muero antes de despertar) adapted by screenwriter Alejandro Casona and Christensen. An exceedingly rare archival conservation scan of If I Should Die Before I Wake is featured in this publication.


Bonus Materials Include:
  • Introduction to Never Open That Door (No abras nunca esa puerta) and If I Should Die Before I Wake (Si muero antes de despertar) - by author, film historian, and "noirchaeologist" Eddie Muller
  • If I Should Die Before I Wake (Si muero antes de despertar) - an exceedingly rare archival conservation scan of Carlos Hugo Christensen's third part of the film trilogy
  • Audio Commentary for Never Open That Door (No abras nunca esa puerta) - by author and film historian Guido Segal
  • New Documentary on Cornell Woolrich - produced by Steven C. Smith and writer/film historian Alan K. Rode, and featuring interviews with writer/film historians Gary Phillips, Maria Elena de las Carreras, and Halley Sutton
  • Newly Recorded Conversation - with Argentina's leading film archivist and cinema historian Fernando Martín Peña
  • Souvenir Booklet - with rare original photographs, posters, and ephemera
  • New English Subtitled Translations
  • Spanish SDH Subtitles
  • Reversible Cover Artwork

Last edited by Brian T; 03-30-24 at 01:48 AM.
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