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4. Todd-AO 70mm-Festival
Schauburg Cinerama cinema, Karlsruhe, Germany
3 - 5 October 2008
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Read more
at
in70mm.com
The 70mm Newsletter
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Text and
images by: Thomas Hauerslev. Movie synopsis by
allmovie.com |
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
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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.
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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
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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)
"STAR!" presented in Todd-AO (in a
new 70mm DTS print)
"Get together"
Friday evening. With HOEPFNER & friends. 22.15 - Open End
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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)
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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 Bible...in 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)
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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
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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
Germany
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.
schneiderkreuznach.com
olemadssirksvevle.com
Helmer's
home page
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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
|
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Friday
Breakfast buffet - 10:00
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  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)
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(West) German premiere
"Hauptmann Florian von der Mühle" - 11:00 - 13:20 +
intermission
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  “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.
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 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
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German Premiere
"Song of Norway" - 14:30 - 17:08 + intermission
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  "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."
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 70mm
frame from "Song of Norway". Image: Schauburg Kino
allmovie.com:
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.
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Continental Premiere of new 70mm print
"STAR!" - 19:00 - 21:54 + intermission
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  “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.
allmovie.com:
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. |
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Hoepfner get together - 22:15
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 Festival
sponsor Brewery Hoepfner invites you to taste their golden beer.
Free of charge for festival guests
This event is always very, very popular.
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Saturday
Breakfast buffet 10:00
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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)
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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
allmovie.com:
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.
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"Der Kongress Amuesiert Sich" - 14:30 - 16:06
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  "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
allmovie.com:
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. |
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"The Wall" - 17:30 - 19:05
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  "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
allmovie.com:
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".
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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
allmovie.com:
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. |
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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)
|
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Shorts & surprises - the Sunday morning show
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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
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70mm World Premiere
Short 70mm Film: "Tanakh Bibelen Al-Quran"
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 "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",
www.olemadssirksvevle.com,
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
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"The Last Valley" 70mm show reel
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 "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
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Special Guest: Walter P. Siegmund, USA.
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 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"
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"Around the World in 80 Days"/ "In 80 Tagen um die Welt" / "Le
Tour du Monde en 80 Jours" - 13:00 - 16:03 + intermission
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  "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.
FRENCH CINESTAGE PRESENTATION IN 35MM
TECHNICOLOR
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
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 The
1956 premiere in New York's Rivoli Theatre.
allmovie.com:
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.
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 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
film....to 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.
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World Premiere of new 70mm Print
"The Bible...in the Beginning" - 16:30 - 19:24 + intermission
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  "The Bible...in 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.
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 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
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Academy Award Nominated:
Best Music, Original Music Score Toshirô Mayuzumi
1967 Nominated Oscar Best Music, Original Music Score
Toshirô Mayuzumi
allmovie.com:
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.
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"Exodus" - 20:30 - 23:58 + intermission
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 "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
allmovie.com: 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.
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"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"
22.02.2008
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
U S A
Schneider lenses
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26-01-10 |
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