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4. Todd-AO 70mm-Festival
Schauburg Cinerama cinema, Karlsruhe, Germany
3 - 5 October 2008

The 70mm Newsletter
Text and images by: Thomas Hauerslev. Movie synopsis by Date: 02.10.2008
Dear Friends,
We are now preparing the 4th instalment of the “Todd-AO 70mm Festival“ to be held this year from 3 - 5 October 2008 at the Schauburg in Karlsruhe, Germany.

This festival, dedicated to a movie format over 50 years old, is a dream for a lot of movie fans around the world. Today, movies and cinemas have reached a time of change – a change from film based to digital cinema and a change in the way movies are felt and understood. We are sure, that our “Todd-AO 70mm Festival” presented on the curved screen of the Schauburg not only will make you remember cinema-going from a time long ago, but also make you aware of the responsibility we all have: To honour the genius of so many people who have given us stories and unforgettable moments in breathtaking and crystal clear large format pictures.

Let us hope, that the splendour of 70mm not only serves our nostalgic dreams, but also offers the chance for a young audience to experience a historic and magic landmark of cinema.

Herbert Born
Schauburg Kino
Karlsruhe, Germany

Accommodation and the Weekend Pass

The Novotel Hotel in Karlsruhe.

Weekend pass is EURO 100,00. Single entrance EURO 9,00 per show, GALA on Saturday evening EURO 11,00, students EURO 7,00 and children EURO 5,00. weekend-pass for students is Euro 70,00.

The weekend pass includes entrance to all screenings at the festival. The weekend pass includes no accommodation, but we have an arrangement with a very good hotel just around the corner from the cinema. The price per night is EUR 67,00 for one person and EUR 83,00 for 2 persons in a superior double-room without breakfast. Complimentary breakfast for weekend pass holders in Schauburg on Saturday and Sunday morning.

The weekend pass also includes the following additional bonuses:
• Welcome Coffee/Tee, Softdrink on arrival
• Festival Program brochure
• Entrance to Friday's get together with free beer specialties from the local HOEPFNER brewery
• Breakfast buffet on Saturday and Sunday morning at 09.00 in the SCHAUBURG foyer
• Complimentary lunch break on Friday, Saturday and Sunday
• Todd-AO Q/A Sunday morning with Walter Siegmund

Hotel reservations can be made through Herbert Born or directly at the hotel +49 721 35260. Please remember to ask for the special "Schauburg-Festival" rate.

Why 70mm is  so Special

"Lawrence of Arabia" - The ultimate 70mm film. Copyright SONY/Columbia Pictures 2008. Published with permission

The audience get a lot more out of a film, if presented in 70mm with razor sharp images and crystal clear sound. Films presented in 70mm are an intensive experience, very realistic and almost three dimensional. It is an experience which makes everything you have ever seen on film before pales into insignificance. The audience really get value for their money!

Schauburg Cinerama

The Schauburg Cinerama is one of the few surviving cinemas, with 70mm projectors, a red curtain and the huge curved and wide 70mm screen. It’s the perfect framework for the presentation of 70mm with 6-track sound. Some films are in original versions and some, "70mm Vintage Classics", are dubbed into German.

The 2008 Weekend program will offer a variety of old 70mm films with a GALA performance on Saturday evening celebrating the world of 70mm film.

Traditional breakfast and lunch function on Friday, Saturday and Sunday.

Around the world in Three Days on the curved Cinerama screen. Almost everything is screened in the majestic 70mm format at the Schauburg cinema in Karlsruhe.
The Schauburg"
4th Todd-AO 70mm Festival

Friday, 3. October
“Hauptmann Florian von der Mühle” presented in DEFA 70 (a German vintage 70mm print)

"Song of Norway"
presented in Super Panavision 70 (a vintage 70mm print)

presented in Todd-AO (in a new 70mm DTS print)

"Get together" Friday evening. With HOEPFNER & friends. 22.15 - Open End

Saturday, 4 October

09:00 Breakfast buffet before the 10 o'clock show

"The Last Valley" presented in Todd-AO (a original vintage 70mm print)

"Der Kongress Amuesiert Sich"
 presented in MCS-70 Superpanorama (a German vintage 70mm print)

Followed by a Q/A with director of photography Mr. Heinz Hölscher

"The Wall" Presented in Panavision 70 and Dolby Stereo (a original vintage 70mm print)

Gala performance of "Lawrence of Arabia" presented in Super Panavision 70 (a new 70mm DTS print)

Sunday, 5 October

09:00 Breakfast buffet before the 10 o'clock show

Short 70mm Film: "Tour Eiffel".

Short 70mm Film: "Tanakh Bibelen Al-Quran".

70mm promotion reel of "The Last Valley"

Followed by a Q/A with director Mr. Ole Mads Sirks Vevle

Todd-AO History - a Q/A with Walter Siegmund of American Optical Company, followed by a Todd-AO film

"Around the World in 80 Days" presented in Cinestage (a vintage Technicolor print with 4-track magnetic stereo)

"The the beginning"
presented in Todd-AO (in a new 70mm DTS print)

"Exodus" Presented in Super Panavision 70 and 6-track Magnetic Stereo (a German vintage 70mm print)
2008 Credits. The organisers wish to thank the following individuals for their help.
  • Vincent Koch, Projection, Preparation prints
  • Markus Vetter, Projection
  • Jared Sapolin, SONY, LA
  • Schaun Belston & Kevin Barret, 20th Century Fox, LA, USA
  • National Media Museum, Bradford, UK
  • Kino Mir 70, Krnov, Czech Republic
  • Veit Helmer
  • Ole Mads Sirks Vevle
  • Francois CARRIN
  • Thorsten Meywald, Schneider optic
  • Andrew Youdell, BFI, London
  • Duncan McGregor, UK

  • Martin Hart, AWSP, USA

More in 70mm reading:

2008 Gallery: Friday, Saturday, Sunday and Posters

2007 70mm Festival
2006 70mm Festival
2005 70mm Festival
2005 Schauburg
1968 Super Cinerama

Blow up
MCS-70 Superpanorama
Super Panavision 70

Internet link:

Schauburg, Karlsruhe Germany
On-line weekend pass & self print
Schauburg's opera cinema

Contact: Herbert Born for reservations

Filmtheater Schauburg
Att: Herbert Born
Marienstraße 16
76137 Karlsruhe

Office: +49 721 3500 011
Cell +49 175 1097 804

Schauburg in 360 degree images

For three days in October 2008, the famous Cinerama cinema "Filmtheater Schauburg" in Karlsruhe, Germany presents a series of classic film epics in the king of all film formats: 70mm.

70mm film is an experience unlike anything you have ever seen - a High Definition movie experience with extremely sharp images and crystal clear 6 track stereo.

Join us and be part of this unique event and share the excitement together with visitors from all around the world - including Holland, Germany, Denmark, England, USA and France - and hopefully many more.
Helmer's home page


Program - download the flyer - click on images

Click on images to see a LARGE FORMAT flyer

Get the 2008 Festival Flyer

Press this link or image for the 2-page PDF file

Click on images to see a LARGE FORMAT flyer

Friday Breakfast buffet - 10:00

Breakfast buffet. Picture by Herbert Born.

A Schauburg tradition served Friday, Saturday and Sunday mornings. Breakfast buffet 10.00 (Sunday at 9) Schauburg-foyer (incl. in weekend-pass)

(West) German premiere
"Hauptmann Florian von der Mühle" - 11:00 - 13:20 + intermission

“Hauptmann Florian von der Mühle” (2:20) + Intermission after reel 4. Filmed in: 70mm, 5 perforations, 24 frames per second. Principal photography in: DEFA 70. Presented in the original  70mm German version with Czeck subtitles on the curved screen. Aspect ratio: 2,21:1. Country of origin: DDR. Production year: 1968. World Premiere: 22.11.1968 Kino International, East Berlin, DDR. CSSR - Premiere 3.7.1970.

Directed by Werner W. Wallroth. Music by Karl-Ernst Sasse. Cinematography by Eberhard Borkmann and Hans-Jürgen Kruse

Manfred Krug (Hauptmann Florian),  Hartmut Beer (Geheimpolizist zu Pferde), Regina Beyer (Duchessa), Herwart Grosse (Friedrich II.), Rolf Herricht (Amadeus), Jutta Klöppel (Fanny), Herbert Köfer (Der Medicus)

German version
The HAUPTMANN FLORIAN 70mm print has arrived in Karlsruhe and now under safe personal security of former East German president Mr. Erich Honecker.

From DEFA Film Library:

This story of the miller Florian, who gave all his money to the war against Napoleon, is loosely based on a true story. After the war, Florian's reimbursement is challenged, and he must also pay taxes on his destroyed mill. He resists the tax collectors and takes off to Vienna, where he intends to defend his rights. On the way, he rescues the Duchess of Guastalla from assault. She also wants to go to Vienna, as His Majesty Franz II is trying to contest an heir in her favor. With cunning, luck, and dagger, Florian fights his way through a slew of nobility and their secret police. In the end, he acquires multiple titles, and the Duchess acquires him.

DEFA 70 70mm frame blow-up from "Hauptman". Supplied by Schauburg Kino

40th anniversary screening.

70mm print thanks to Kino Mir 70 cinema, Krnov, Czech Republic

DEFA 70 films and Looking for DEFA 70


German Premiere
"Song of Norway" - 14:30 - 17:08 + intermission

"Song of Norway" (2:38) + Intermission. Filmed in: 65mm, 5 perforations, 24 frames per second. Principal photography in: Super Panavision 70. Presented: in on the curved screen in a 70mm Cinerama print, with 6-track magnetic stereo. Aspect ratio: 2,21:1. Country of origin: England. Production year: 1970. World Premiere: 04.11.1970 Cinerama, NYC, USA. German premiere: 

Produced and directed by Andrew L. Stone. Written by Homer Curran. Original Music by Chet Forrest and Bob Wright. Photographed by Davis Boulton. Edited by Virginia L. Stone

Toralv Maurstad (Edvard Grieg), Florence Henderson (Nina Grieg), Christina Schollin (Therese Berg), Frank Porretta (Richard Nordraak), Harry Secombe (Bioernstjerne Bjoernson), Robert Morley (Berg), Edward G. Robinson (Krogstad)

Movie poster art by Howard Terpning

Super Panavision 70 films

Thomas Hauerslev's comment after the 1999 screening in Bradford:

"The film’s second unit action had been directed by none other than Yakima Canutt, who also directed the chariot race scene in "Ben-Hur" and stunt scenes in countless Hollywood productions. And sure enough within the first reel we had two run away horses in the Norwegian Alps. "Ben-Hur" goes to Norway. It was apparent the cast and crew knew what they were doing during the filming because there were clear influences from "Sound of Music" and "My Fair Lady". I was happy to have seen it in 70mm and it was certainly not rubbish. A kitsch classic, perhaps, with its visible wiglines, reflections of camera equipment, stunt seagulls etc. I was not disappointed. The show on the Cinerama curve was quite entertaining."
70mm frame from "Song of Norway". Image: Schauburg Kino This musical biography of Norwegian composer Edvard Grieg (Torval Maurstad) is based on the play of the same name. Living in poverty after graduating from a music conservatory, Grieg scandalizes his family by marrying his cousin Nina (Florence Henderson). Grieg has an affair with a former schoolmate, Therese Berg (Christina Schollin), a wealthy woman who makes a deal with her influential father to end the romance if he'll arrange a concert for Grieg in Stockholm. Grieg eventually travels to Rome, where his significance as an artist begins to find appreciation. His association with Therese is not really finished and Grieg's humble piano, a gift from the self-sacrificing Nina, is overshadowed by Therese's gift of a grand piano. Back to back with the subsequent and equally unsuccessful The Great Waltz (1972), the last two films of writer, producer, and director Andrew Stone ended his nearly 50 year career.

Continental Premiere of new 70mm print
"STAR!" - 19:00 - 21:54 + intermission

“STAR!“ (2:54) + Intermission. Filmed in: 65mm 5 perforations, 24 frames per second. Principal photography in: Todd-AO. Presented: On the curved screen in a new Todd-AO 70mm DTS print. Aspect ratio: 2,21:1. Country of origin: USA. Production year: 1968. World Premiere: 18.07.1968 Dominion,  London, England

Produced by Saul Chaplin. Original Music by Lennie Hayton. Cinematography by Ernest Laszlo. Film Editing by William Reynolds.  Production Design by Boris Leven. Directed by Robert Wise.

Julie Andrews (Gertrude Lawrence), Richard Crenna (Richard Aldrich, Producer ), Michael Craig (Sir Anthony Spencer), Daniel Massey (Noel Coward), Robert Reed (Charles Fraser), Bruce Forsyth (Arthur Lawrence)

New Todd-AO 70mm print courtesy Schaun Belston & Kevin Barret, 20th Century Fox Library Services, Los Angeles, USA

Academy Award Nominated:
Best Actor in a Supporting Role
Best Art Direction-Set Decoration
Best Cinematography
Best Costume Design
Best Music, Original Song
Best Music, Score of a Musical Picture (Original or Adaptation)
Best Sound

40th Anniversary Screening

Todd-AO films
Todd-AO camera with 2nd generation 128 degree "Bug Eye" lens. Editors collection. Touted by 20th Century-Fox as a follow-up to their enormously successful The Sound of Music, Star! reteams that earlier film's leading lady Julie Andrews and director Robert Wise. Andrews plays legendary musical comedy star Gertrude Lawrence, while Daniel Massey appears as Lawrence's friend, co-worker and severest critic Noel Coward (Massey's real-life godfather). The film jumps back and forth in continuity at times, its transitions bridged by fabricated newsreel footage; essentially, however, William Fairchild's script traces Lawrence's progress from ambitious bit actress to the toast of London and Broadway. Her success is offset by a stormy private life, which is given some ballast when she falls in love with an American financier (Richard Crenna). The film is way too long for its own good, though the musical set pieces -- especially the Andrews-Massey duets -- are superb. Julie Andrews welcomed the chance of playing a character as far removed from her goody-two-shoes heroine in Sound of Music as possible; Gertrude Lawrence was temperamental, sarcastic, profane and at times self-destructive, and Andrews makes a meal of the role. Unfortunately, Andrews' fans, conditioned by the Fox publicity machine to expect a continuation of Sound of Music, rejected her outright in this "new" characterization. Star! was a huge box-office bomb, so much so that Fox desperately attempted a shortened re-release under a misleading new title, Those Were The Happy Times. They weren't: it remained a financial disaster, though it has developed a loyal cult following in recent years.

Hoepfner get together - 22:15

Festival sponsor Brewery Hoepfner invites you to taste their golden beer. Free of charge for festival guests

This event is always very, very popular.


Saturday Breakfast buffet 10:00

Breakfast buffet. Picture by Herbert Born.

A Schauburg tradition served Friday, Saturday and Sunday mornings. Breakfast buffet 10.00 (Sunday at 9) Schauburg-foyer (incl. in weekend-pass)

German 70mm Premiere
"The Last Valley" - 11:00 - 13:06 + intermission

"The Last Valley" (2:06) (+ intermission). Filmed in: 65mm, 5 perforations, 24 frames per second. Principal photography in: Todd-AO. Presented: On the curved screen in a vintage Todd-AO 70mm print with 6-track magnetic stereo. Aspect ratio: 2,21:1. Country of origin: USA. Production year: 1970 World Premiere: 21.01.1971, Rivoli, New York.

Directed and produced by James Clavell. Written by James Clavell. Music by John Barry. Cinematography by Norman Warwick & John Wilcox. Edited by John Bloom

Michael Caine (The Captain), Omar Sharif (Vogel), Florinda Bolkan (Erica), Nigel Davenport (Gruber), Per Oscarsson (Father Sebastian)

Original version. 70mm print thanks to National Media
Museum and the Bradford International Film Festival

The film opens with an old style UK ‘AA’ Certificate followed by silent ‘Cinerama Releasing’ and ‘ABC’ trademarks. The Intermission title is 39 feet long at the end of reel 5. Part 6 has a 3 min play in to the second half. There is no play in to the first half
Very short end credits. Last credit is a silent ‘Soundtrack Available…’ etc.

70mm print number 11 / 8 reels. Taking a Mini View in a Maxi Way

Todd-AO films Noted novelist and sometime film director James Clavell, wrote, directed, and produced this adaptation of J.B. Pick's novel, set during the Thirty Years' War of 1618-1648. During the chaotic confrontations and shifting alliances of the war, a hidden valley protected from the outside world becomes an oasis of peace. Vogel (Omar Sharif), a one-time school teacher now on the run, travels into the peaceful valley. Following Vogel a short time later is a rag-tag and exhausted army, led by The Captain (Michael Caine). Utilizing Vogel as a mediator, the Captain arranges a truce with the valley population -- pledging to protect the people of the valley from invasion in return for food and shelter during the cold winter months. At the end of the season, the army leaves to fight another battle, Vogel is asked to depart from the hidden valley, and the valley and its population continues on and endures.

"Der Kongress Amuesiert Sich" - 14:30 - 16:06

"Der Kongress Amuesiert Sich" (1:36). Filmed in: 65mm 5 perforations, 24 frames per second. Principal photography in: MCS-70 Superpanorama. Presented: on the curved screen in 70mm with 6-track magnetic stereo. Aspect ratio: 2,21:1. Country of origin: Austria, France, Germany. Production year: 1965. World Premiere: World premiered 17.03.1966 in Vienna, „Apollo-Theatre“ and 24.05.1966 at the Gloria Palast, Berlin, Germany.

Directed by Géza von Radványi. Produced by Heinz Pollak. Original Music by Peter Thomas. Cinematography by Heinz Hölscher. Edited by Karl Fugunt & Henri W. Sokal.

Lilli Palmer (Princess Metternich), Curd Jürgens (Czar Alexander I), Paul Meurisse (Count Talleyrand), Walter Slezak (Wax museum guide), Hannes Messemer (Prince Metternich), Anita Höfer (Rosa)

German version

The Director of Photography, Mr. Heinz Hölscher will attend.  Maybe with fellow MCS-70 veterans Gerhard Fromm and Dieter Gaebler.

MCS-70 Superpanorama 65mm cameras were engineered by Jan Jacobsen

MCS 70 - Superpanorama films

70mm frame from "Kongress". Image: Schauburg Kino Walter Slezak plays a guide in a Vienna wax museum in this fantasy. When the tourists get to the figure of Chancellor Metternich, they are magically transported back in time to the Viennese Congress of 1814. The aristocrats are much more interested in parties and social affairs than the affairs of state, leading to a series of amorous escapades.

"The Wall" - 17:30 - 19:05

"The Wall" (1:35). Filmed in: 35mm 4 perforations, 24 frames per second. Principal photography in: Panavision. Presented: on the curved screen in an original English 70mm print, with 6-track magnetic Dolby stereo and split surround. Aspect ratio: 2,21:1. Country of origin: England. Production year: 1982. World Premiere: 13.08.1982, USA.

Directed by Alan Parker. Produced by Alan Marshall. Written by Roger Waters. Original Music by Robert Ezrin, David Gilmour & Roger Waters. Photographed by Peter Biziou. Edited by Gerry Hambling.

Bob Geldof (Pink), Christine Hargreaves (Pink's Mother), James Laurenson (J.A. Pinkerton (Pink's Father)), Eleanor David (Pink's Wife), Kevin McKeon (Young Pink), Bob Hoskins (Rock and Roll Manager),  David Bingham (Little Pink),

70mm print thanks to Andrew Youdell, BFI, London Inspired by Pink Floyd's album of the same name, Pink Floyd: The Wall is a dark, expressionistic musical, told from the point of view of Pink, a depressed rock musician. The film is structured around Pink's reflections on his life, all of which center on the building of "the wall." This wall is a metaphor for psychological isolation, a barrier Pink creates to distance himself from his pain. The foundations for this wall are lain in childhood, with the death of Pink's father leaving him to be raised by an overprotective mother and a repressive school system. He seeks freedom from this world through writing and music. However, even after he achieves success as a rock star, the wall continues to grow, with Pink feeling trapped by fame and wounded by his failed personal relationships. Lost in despair and self-loathing, he attempts to isolate himself from the world entirely. Director Alan Parker approaches this material in a highly stylized manner, mingling animation and dream-like sequences to suggest Pink's perception of the world. These techniques complement the almost constant music, which the film often uses in place of dialogue. Songs include "Another Brick in the Wall" and "Comfortably Numb".

German Premiere of new 70mm print
"Lawrence of Arabia" - 20:30 - 00:17 + intermission

"Lawrence of Arabia" (3:47). Filmed in: 65mm 5 perforations, 24 frames per second. Principal photography in: Super Panavision 70. Presented: on the curved 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. German premiere 15.03.1963.

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

Celebrating the 100th anniversary of Sir David Lean and the 45th anniversary of the German premiere

Restored version + full cast & credit

New 70mm DTS print #04
courtesy Jared Sapolin, Columbia/SONY, Los Angeles, USA

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 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.

Sunday Breakfast buffet 09:00

Breakfast buffet. Picture by Herbert Born.

A Schauburg tradition served Friday, Saturday and Sunday mornings. Breakfast buffet 10.00 (Sunday at 9) Schauburg-foyer (incl. in weekend-pass)

Shorts & surprises - the Sunday morning show

Short 70mm Film: "Tour Eiffel"

"Tour Eiffel" (10'). Filmed in: 65mm, 5 perforations, 24 frames per second. Principal photography in: ARRI 765. Presented: On the curved screen in 70mm. Sound: Dolby Stereo SR. Aspect ratio: 2,21:1. Country of origin: Germany. Production year: 1994. World Premiere: Munich Film Festival, 1994

Cast: Bruno La Brasca, Shan Cong, Jef Bay. Director: Veit Helmer. Cinematographer: Joachim Jung. Editing: Antje Botschen. Music: Christoph Oertel.

Lulu fulfils his life’s dream: he buys a bright red sports car. From the top of the Eiffel Tower, he can only watch as his car is being stolen. The police are soon in hot pursuit but during the chase, his beautiful car is wrecked.

The 10 minutes running comedy has won 3 awards at major competitions. The highlight was the presentation as the official closing-film of the prestigious Venice Film Festival at the theatre "Scala Grande" in September 1994. An audience of 2000 international film celebrities saw "Tour Eiffel" on a 180 square metres screen and clapped for over 2 minutes.

On Location in Paris with ARRI 765

Films made with the ARRI 765 camera

70mm World Premiere
Short 70mm Film: "Tanakh Bibelen Al-Quran"

"Tanakh Bibelen Al-Quran" (4'20''). Filmed in: 65mm, 5 perforations, 24 frames per second. Principal photography in: MCS-70 Superpanorama. Presented: On the curved screen in 70mm. Sound: DTS 6-track. Aspect ratio: 2,21:1. Country of origin: Norway. Production year: 2007 35mm World Premiere: October 2007, Bergen, Norway, 70mm World Premiere: 05.10.2008 Schauburg Kino, Karlsruuhe, Germany

Director and screenplay: Ole Mads Sirks Vevle. Photography and editor: Morten Skallerud. Composer: Music published by Touch Music. Sound: B.J. Nilsen. Producer: Ingvild Hellesøy. Production company: Solepropriatorship Ole Mads Sirks Vevle. Genre: Animation. Laboratory: Gulliver, Paris v/Simone Appleby. Technical support: Dominique Benichetti. Sound mix: Europa Post Production, Stockholm, Gabor Pasztor. Financed by: Vestnorsk Filmfond, with thanks to Irmelin Nordahl and Hans Dragesund. Norsk Filmfond, with thanks to Peter Bøe. Fond for Lyd og Bilde.

Summary: One God. One movie. One revelation. 3000 years after the first records of the biblical writings, this movie presents a complete screen version of the Hebrew Bible, the Christian Bible and the Arabic Quran. Nothing is added and nothing is taken away.

Festival participation: 2007 Bergen International Film Festival. 2008 Scandinavian Film Festival, Bonn, Germany. 2008 Norwegian Short Film Festival, Grimstad

The making of "Tanakh Bibelen al-Quran",, Norwegian Film Institute

Director's mini biography:

Ole Mads Sirks Vevle (b. 1971) won two prizes during the Critics Week at the 2003 Cannes Film Festival for his short "Love is the Law" (2003), which was co-directed by Eivind Tolås. Vevle was educated at the Nordland Art and Film School, and has made numerous short films and installations. Filmography: 2007: "Tanakh Bibelen Al-Quran" 2006: "Tungetale ved første møte" 2005: "My Loneliness is Killing Me" 2004: "But What's It All About?" 2003: "Love is the Law" 2001: "Int. Morning. Bedroom" 1999: "The Holy Bible"

70mm print thanks to director Mr. Ole Mads Sirks Vevle (Norway), who is present during the 4th Todd-AO Festival weekend

MCS 70 - Superpanorama films

"The Last Valley" 70mm show reel

"The Last Valley" is filmed in Gschnitztal, Austria. Image from Herbert Born

"The Last Valley"
comes with an additional reel of 70mm for which I’ll try and provide a little background. It is my understanding that the director prepared this reel featuring several sequences from the film to help promote it, or use as a means of getting relevant parties/distributors interested in the movie. It’s almost like a 70mm fifteen minute trailer – however it’s interesting because it doesn’t feature any of John Barry’s final score, but temporary dubbed music to help create the right atmosphere. I assume therefore that this was prepared well in advance of its initial release and before John Barry had scored the movie. Each separate sequence is individually spliced together, so the reel contains a huge number of splices.

Introduced by Duncan McGregor, Chief Projectionist, Pictureville, Bradford

Special Guest: Walter P. Siegmund, USA.

Special guest; Walter Siegmund of Todd-AO fame, interviewed by Thomas Hauerslev and the audience,

Subjects to be covered:
Meeting between Mike Todd and Brian O'Brien
Distortion Correction Printing Process – how did it work?
The story of the “Baby Bug Eye”
German still camera lenses for Todd-AO
Did Todd-AO live up to expectations?

Including rare film Todd-AO clips - including some distortion corrected film

Read the Walter Siegmund Interview about  "The early days of Todd-AO" and a Todd-AO Epilouge

Garrett Brown meets Walter Siegmund at American Optical

Followed by a brake and then "Around the World in 80 Days"

"Around the World in 80 Days"/ "In 80 Tagen um die Welt" / "Le Tour du Monde en 80 Jours" - 13:00 - 16:03 + intermission

"Around the World in 80 Days" / "In 80 Tagen um die Welt" (German) / "Le Tour du Monde en 80 Jours" (French) (3:03) + intermission. Filmed in: 65mm 5 perforations, 24 frames per second. Principal photography in: Todd-AO. Presented: on the curved screen in a French 35mm Technicolor Cinestage print, with 4-track magnetic stereo. Aspect ratio: 2,21:1. Country of origin: USA. Production year: 1955. World Premiere: Rivoli, New York, USA 17.10.1956–05.10.1958. German premiere: 04.10.1957.


Directed by Michael Anderson. Produced by Michael Todd. Written by James Poe, John Farrow and S.J. Perelman. Music by Victor Young. Photographed by Lionel Lindon. Edited by Howard Epstein and Gene Ruggiero

David Niven (Phileas Fogg), Cantinflas (Passepartout), Robert Morley (Ralph), Noel Coward (Hesketh-Baggott), John Gielgud (Mr. Foster), Trevor Howard (Denis Fallentin), Fernandel (French Coachman), Charles Boyer (Monsieur Gasse), Evelyn Keyes (The Flirt), Cesar Romero (Achmed Abdullah's Henchman), Robert Newton (Mr. Fix), Ronald Colman (Railway Official), Shirley MacLaine (Princess Aouda), Peter Lorre (Steward), George Raft (Saloon Bouncer), Red Skelton (Drunk in Saloon), Marlene Dietrich (Saloon Hostess), John Carradine (Col. Proctor Stamp), Frank Sinatra (Saloon Pianist), Buster Keaton (Train Conductor), Joe E. Brown (Stationmaster) and many more

51th Anniversary Screening of the Cinestage showing at the Kurbel cinema in Karlsruhe 1957/58.

Thanks to Thorsten Meywald, Schneider Optics for providing a “Cinelux Première” aspheric prime lens (1,7/62,5mm) and a “Cine-Digitar” 1,5x anamorphic attachment needed for showing "Around the World in 80 Days" in the correct Todd-AO aspect ratio.

Full 35mm TECHNICOLOR print with square Fox sprockets and 4 magnetic tracks. It is believed this vintage French print was used for the opening of the Richelieu Gaumont cinema in Paris. Perspecta Reconstruction by Gunter Oehme. Thanks to Francois CARRIN, France for providing this rare print.

Academy Award winner:
Best Cinematography, Color Lionel Lindon
Best Film Editing Gene Ruggiero & Paul Weatherwax
Best Music, Scoring of a Dramatic or Comedy Picture Victor Young (Posthumously)
Best Picture Michael Todd
Best Writing, Best Screenplay - Adapted James Poe, John Farrow, S.J. Perelman

Academy Award Nominated:
Best Art Direction-Set Decoration, Color, James W. Sullivan, Ken Adam, Ross Dowd
Best Costume Design, Color Miles White
Best Director Michael Anderson

Todd-AO films
The 1956 premiere in New York's Rivoli Theatre. Razzle-dazzle showman Michael Todd hocked everything he had to make this spectacular presentation of Jules Verne's 1872 novel Around the World in 80 Days, the second film to be lensed in the wide-screen Todd-AO production. Nearly as fascinating as the finished product are the many in-production anecdotes concerning Todd's efforts to pull the wool over the eyes of local authorities in order to cadge the film's round-the-world location shots--not to mention the wheeling and dealing to convince over forty top celebrities to appear in cameo roles. David Niven heads the huge cast as ultra-precise, supremely punctual Phileas Fogg, who places a 20,000-pound wager with several fellow members of London Reform Club, insisting that he can go around the world in eighty days (this, remember, is 1872). Together with his resourceful valet Passepartout (Cantinflas), Fogg sets out on his world-girdling journey from Paris via balloon. Meanwhile, suspicion grows that Fogg has stolen his 20,000 pounds from Bank of England. Diligent Inspector Fix (Robert Newton) is sent out by the bank's president (Robert Morley) to bring Fogg to justice. Hopscotching around the globe, Fogg pauses in Spain, where Passepartout engages in a comic bullfight (a specialty of Cantinflas). In India, Fogg and Passepartout rescue young widow Princess Aouda (Shirley MacLaine, in her third film) from being forced into committing suicide so that she may join her late husband. The threesome visit Hong Kong, Japan, San Francisco, and the Wild West. Only hours short of winning his wager, Fogg is arrested by the diligent Inspector Fixx. Though exonerated of the bank robbery charges, he has lost everything--except the love of the winsome Aouda. But salvation is at hand when Passepartout discovers that, by crossing the International Date Line, there's still time to reach the Reform Club. Will they make it? See for yourself. Among the film's 46 guest stars, the most memorable include Marlene Dietrich, Charles Boyer, Jose Greco, Frank Sinatra, Peter Lorre, Red Skelton, Buster Keaton, John Mills, and Beatrice Lillie. All were paid in barter--Ronald Colman did his brief bit for a new car. Newscaster Edward R. Murrow provides opening narration, and there's a tantalizing clip from Georges Méliès' A Trip to the Moon (1902). Offering a little something for everyone, Around the World in 80 Days is nothing less than an extravaganza, and it won 5 Oscars, including Best Picture and Best Cinematography.
The classic Todd-AO 128 degree lens, nick named the Bug Eye used extensively in "Around the World in 80 Days". Image by Thomas Hauerslev

What is Todd-AO?

"TODD-AO 70mm film, plus the TODD-AO special camera, plus the TODD-AO newly developed 6 channel high fidelity magnetic sound, plus the TODD-AO "all purpose" 70mm projector and the great arched TODD-AO screen equal the most revolutionary of all screen inventions, with clarity of perspective, detail and color reproduction never before achieved. As a result, with TODD-AO, audience participation now has its fullest and truest expression. Todd-AO is the dream of Michael Todd, plus the technical skills of the American Optical Company whose research staff headed by Dr. Brian O'Brien, jointly succeeded in developing "a motion picture system that would photograph action in a very wide angle....with one camera....on one strip of be projected from a single projector....on a very wide screen....with a quality so perfect that the audience would be part of the action, not just passive spectators.


World Premiere of new 70mm Print
"The the Beginning" - 16:30 - 19:24 +  intermission

"The the Beginning" (2:54) + intermission. Filmed in: 65mm, 5 perforations, 24 frames per second. Principal photography in: Dimension 150. Presented: On the curved screen in a new Dimension 150 70mm print. Sound: DTS Special Venue 6-track Todd-AO layout. Aspect ratio: 2,21:1. Country of origin: USA. Production year: 1966 World Premiere: 28.09.1966, State Cinema, New York.

Directed by John Huston. Screenplay by Vittorio Bonicelli and Christopher Fry. Produced by Dino De Laurentiis. Original music by Toshirô Mayuzumi. Cinematography by Giuseppe Rotunno. Edited by Ralph Kemplen

Michael Parks (Adam), Ulla Bergryd (Eve), Richard Harris (Cain), John Huston (Noah / Voices of God, The Serpent / Offscreen Narrator), Stephen Boyd (Nimrod), George C. Scott (Abraham), Ava Gardner (Sarah), Peter O'Toole (The Three Angels), Gabriele Ferzetti (Lot), Franco Nero (Abel)

Original version.

New Dimension 150 70mm print courtesy Schaun Belston & Kevin Barret, 20th Century Fox Library Services, Los Angeles, USA. Read about the Super Curvulon lens and Dimension 150, and see a list of Dimension 150 films.
Dr. Richard Vetter, the engineer who developed D-150 process in his office in 2006. Image by Paul Rayton

Message from Richard Vetter, 29.09.2008

Dear Thomas,

Your presentation lineup is fantastic. Sorry to miss it. Congratulations to you and your associates for planning it and executing it.

Dick Vetter
Academy Award Nominated:
Best Music, Original Music Score Toshirô Mayuzumi

1967 Nominated Oscar Best Music, Original Music Score Toshirô Mayuzumi The Bible was intended by producer Dino de Laurentiis as the first in a series of films which would eventually cover the Old and New Testament in their entireties. The many directors engaged for this project dropped out one by one, leaving only the adventurous John Huston. As a result, this film was the first and last in the series; its subtitle In the Beginning refers to the fact that only the first 22 chapters of Genesis ended up on film. After creation, we are introduced to the buff-naked Adam and Eve (Michael Parks and Ulla Bergyd), whose fall from grace segues into the Cain and Abel story. Next on the docket is the story of Noah, played by director Huston, who'd originally wanted Charlie Chaplin for the role. Abraham's sacrifice is then dramatized, with George C. Scott as the beleaguered protagonist. In quick succession, we are offered the Tower of Babel, the defiance of Nimrod, and Sodom and Gomorroh. Tying together these Old Testament episodes is Peter O'Toole as three angels; Ava Gardner also shows up in the role of Sarah.

"Exodus" - 20:30 - 23:58 + intermission

"Exodus" (3:28) + Intermission. Filmed in: 65mm, 5 perforations, 24 frames per second. Principal photography in: Super Panavision 70. Presented: in 70mm on the curved screen with 6-track magnetic stereo. Aspect ratio: 2,21:1. Country of origin: USA. Production year: 1960. World Premiere: 15.12.1960 Warner, NYC, USA. German premiere: 05.10.1961.

Produced and directed by Otto Preminger. Written by: Dalton Trumbo. Original Music by Ernest Gold. Cinematography by Sam Leavitt. Film Editing by Louis R. Loeffler

Paul Newman (Ari Ben Canaan), Eva Marie Saint (Kitty Fremont), Ralph Richardson (Gen. Sutherland), Peter Lawford (Maj. Caldwell), Lee J. Cobb (Barak Ben Canaan), Sal Mineo (Dov Landau), John Derek (Taha), Hugh Griffith (Mandria).

47th Anniversary Screening and in honor of the late Paul Newman

German version

Super Panavision 70 films

Academy Award winner:
Best Music, Scoring of a Dramatic or Comedy Picture Ernest Gold

Academy Award Nominated:
Best Actor in a Supporting Role Sal Mineo
Best Cinematography, Color Sam Leavitt Produced and directed by Otto Preminger, Exodus is a 212-minute screen adaptation of the best-selling novel by Leon Uris. The film is concerned with the emergence of Israel as an independent nation in 1947. Its first half focuses on the efforts of 611 holocaust survivors to defy the blockade of the occupying British government and sail to Palestine on the sea vessel Exodus. Paul Newman, a leader of the Hagannah (the Jewish underground), is willing to sacrifice his own life and the lives of the refugees rather than be turned back to war-ravaged Europe, but the British finally relent and allow the Exodus safe passage. Once this victory is assured, 30,000 more Jews, previously interned by the British, flood into the Holy Land.
"Roadshow", "Six-track", "Intermission", "Curved screen", "Epic" -- all familiar words for the knowledgeable 70mm fan. Words we all know and love, because we know what they mean: A return to the Schauburg in Karlsruhe, and the annual gathering of fans of large format film. 3 days where we all go wide-eyed for 12 hours each day.

2008 is coming to an end, October is here. It is time once again to start spending less time outdoors, and moving indoors. Today we can look back and reflect on the fact that it has been more than 50 years since Todd-AO was introduced in Europe, at the 1956 Photokina exhibition in Köln. Six months later, the first two 70mm cinemas were operational: the Adriano in Rome and the Savoy in Hamburg. The premiere film "Oklahoma!" became very popular, and soon almost every big city across Europe had at least one Todd-AO cinema.

The really big push for 70mm came after the premieres of Todd's "Around the World in 80 Days" and Fox's "South Pacific". Their successes were so massive, that it cemented the cinema owners’ faith in 70mm, and so following those movies, many new cinemas were built with super large screens and state of the art projection. The next 10 years were the golden age of 70mm and 6-track stereophonic sound.

A decade later the spectacle of 70mm super productions had faded somewhat to make room for films with a new visual style. Gone was the need for 70mm, and large screens were sacrificed in hundreds, in favor of the first multi-screen complexes. Often done in haste simply by cutting a cinema up and dividing it into smaller screens with fewer seats and small screens, the result was often less than attractive.

70mm was mothballed, hidden, and almost forgotten for nearly a decade when suddenly, the super format was re-introduced 1977 when Dolby Stereo arrived. 70mm experienced a 15 year revival, but which sadly, ended almost over-night in 1993, when digital sound was introduced.

Ironically, thanks to the growth of home video, DVD and blu-ray, 70mm has again experienced a limited renaissance in selected cinemas across the world. Distributors have struck new prints of their classic 70mm productions and made them available for public showing. 20th Century Fox has been the absolute front runner in this field. With the exception of "Can Can" [which is unfortunately no longer printable] they have recently concluded reprinting of all their Todd-AO titles. A huge undertaking, which is to be seriously applauded.

Few cinemas still maintain their commitment to 70mm, and the Schauburg is the leading cinema here on the continent to carry the banner, with screenings of vintage 70mm films almost every month. And amazingly, the old classics, however good, bad, long, short, faded or smelly (from vinegar), there seems to be an increasing interest in seeing these films again in a cinema. The Schauburg meets this challenge and this year presents a fantastic selection of titles which includes dramas, musicals, travelogues, nature animation, religious epics and humor. And all that, in those long forgotten trade names which all 70mm-fans treasure: Todd-AO, MCS-70 Superpanorama, Super Panavision 70, DEFA 70, Cinestage, Dimension 150 and ARRI 765. And of course all presented in 6-track Todd-AO stereo, 70mm Dolby Stereo, DTS 70mm Special Venue and 35mm 4-track Cinestage with Perspecta decoding.

I am particularly pleased to welcome our special guests this year. All of them were pioneers in the large format field. Walter Siegmund, of Todd-AO fame, will share his memories with us on Sunday. And several MCS-70 Superpanorama pioneers, including cinematographers Gerhard Fromm and Heinz Hölscher, will attend the festival and share their memories. Ole Mads Sirks Vevle has flown in from Norway to be here and present the world premiere of his new 4-min 70mm short film on Sunday.

The Todd-AO Festival celebrates the large format and it offers a unique possibility to see some of the classics for the first time, or for the n'th time, the way they were meant to be seen -- In a cinema on a huge curved screen. On behalf of the Schauburg kino I welcome all of you to the 4th Todd-AO festival

Enjoy the greatest show(s) in Todd-AO

Thomas Hauerslev
"Indiana Jones of 70mm"


Dear Thomas

I would like to thank you for sending me my "Friends of 70mm" certificate. I also wanted you to know that you can count on my support this year again and in the future.

Thank you also for your efforts in continuing providing 70mm enthusiasts like myself with such a great web site.

Unfortunately I will not be able to attend Bradford wide screen week end this year, my schedule will not permit me to get away that week.

I will definitely be in Karlshure in October and cant wait for a great week end of 70mm at the Schauburg. Hopefully this year will feature more restored films. Last year in my opinion had too many PINK presentations.

Kindest regards

Christian Losito
Macon, GA

Schneider lenses

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Updated 17-12-17