Text and images by: Herbert Born & Thomas Hauerslev
Date: 27.09.2010. Updated 03-04-12
Friday 07.10.2011
"Bela" / "Geroy Nashego Vremeni" / "Tragik einer Liebe" / "Hero of Our Time" - 12:00
"Bela" / "Geroy Nashego Vremeni" / "Tragik einer Liebe" / "Hero of Our Time" (1:46, (some say 1:26)). Filmed in: 70mm, 5 perforations, 24 frames per second. Principal photography in: Sovscope 70. Presented on:The curved screen in Sovscope 70 with 6-track magnetic stereo. Aspect ratio: 2,21:1. Country of origin: USSR / Ukraine. Production year: 1966 World Premiere: __.__.1966. German premiere:East 10.11.1967. West 06.02.1968
Directed by Stanislav Rostotsky. Story by Mikhail Lermontov & Stanislav Rostotsky. Original Music by Kirill Molchanov. Cinematography by Vyacheslav Shumsky. Film Editing by Valentina Mironova. Art Direction by Pyotr Pashkevich. Sound Department Aleksandr Matveyenko.
Vladimir Ivashov, Silvia Berova (Bela), Aleksei Chernov, Sulambek Mamilov, Rolan Borashvili, Barasbi Mulayev, R. Kuchmazokov, V. Rudyj, Aleksey Zaytsev, Yevgeni Gurov, Irina Soldatova
"The Greatest Story Ever Told" /"Die größte Geschichte aller Zeiten" - 15:00
"The Greatest Story Ever Told" /"Die größte Geschichte aller Zeiten" (3:15) (+ intermission). Filmed in: 65mm, 5 perforations, 24 frames per second. Principal photography in: Ultra Panavision 70. Presented on:The curved screen in Ultra Panavision 70 with 6-track magnetic stereo. Aspect ratio: 2,79:1. Country of origin: USA. Production year: 1964 World Premiere: 05.02.1965. West Germany premiere: 05.08.1965.
Produced and directed by George Stevens. Screenplay by James Lee Barrett and George Stevens. Original Music by Alfred Newman. Cinematography by Loyal Griggs and William C. Mellor. Film Editing by Harold F. Kress, Argyle Nelson Jr. and J. Frank O'Neill
Max von Sydow (Jesus), Carroll Baker (Veronica), José Ferrer (Herod Antipas), Charlton Heston (John the Baptist), Martin Landau (Caiaphas), Angela Lansbury (Claudia), David McCallum (Judas Iscariot), Roddy McDowall (Matthew), Donald Pleasence (The Dark Hermit - Satan), Sidney Poitier (Simon of Cyrene), Claude Rains (King Herod), Telly Savalas (Pontius Pilate), John Wayne (Centurion at crucifixion), Shelley Winters (Woman who is healed),
allrovi.com: Filmmaker George Stevens chose Monument Valley, Utah for his exterior sequences in The Greatest Story Ever Told, this ($20 million) adaptation of Fulton Oursler's best-selling book. The "Greatest Story" is, of course, the life of Jesus Christ, played herein by Max Von Sydow. The large supporting cast includes Dorothy McGuire as Mary, Claude Rains as Herod the Great, Jose Ferrer as Herod Antipas, Charlton Heston as John the Baptist, Donald Pleasence as Satan (identified only as "The Dark Hermit"), David McCallum as Judas Iscariot, Sidney Poitier as Simon of Cyrene, Telly Savalas as Pontius Pilate and Martin Landau as Caiaphas. Even Robert Blake as Simon the Zealot, Jamie Farr as Thaddaeus, and motorcyle-flick veteran Richard Bakalyan as Dismas, the repentant thief, are well-suited to their roles. Originally roadshown at 260 minutes, Greatest Story Ever Told was later available in a 195-minute version.
The Ultra Panavision 70 projection lens. Picture by Thomas Hauerslev, February 2004
The Ultra Panavision 70 projection lens with a x1.25 squeeze ratio. The lens is made by Panavision, headed by Tak Miyagishima, who passed away 4. August 2011.
"I saw "Mad 4" at the Cinerama Dome as they were setting up for Ultra Panavision 70 and it looked quite good even though I don't believe in curved screens. best wishes, Tak"
Kevin Brownlow Lecture - 20:00: “From Biograph to Fox Grandeur. Early Experiments in Large Format Presentations”
Legendary Film Historian and preservationist Kevin Brownlow during a lecture. Image by Thomas Hauerslev
We are delighted that historian and preservationist Mr. Kevin Brownlow of Photoplay Productions has accepted our invitation to come and give a lecture.
Mr. Brownlow has recently been awarded an Academy Award (OSCAR) - The Honorary Award, an Oscar® statuette, is given to an individual for “extraordinary distinction in lifetime achievement, exceptional contributions to the state of motion picture arts and sciences, or for outstanding service to the Academy.”
KEVIN BROWNLOW
As a film editor, Brownlow worked on Tony Richardson's "The Charge of the Light Brigade" (1968). With Andrew Mollo, he directed two feature films, "It Happened Here" (1964) and "Winstanley" ( 1975).
In 1980, with David Gill, he directed for Thames TV a 13-part TV series devoted to the American silent film. In 1980, his five-hour restoration of Abel Gance "Napoleon" was presented with a score composed by Carl Davis. Following the demise of Thames TV, Brownlow and Gill formed their own company, Photoplay Productions, with Patrick Stanbury. Their restorations included the Valentino classic, "THE FOUR HORSEMEN OF THE APOCALYPSE" (1921)
In 1995, they completed the six-part CINEMA EUROPE to mark the centenary of cinema. David Gill died in 1997. Brownlow and Stanbury continued the tradition with documentaries like CECIL B DEMILLE – AMERICAN EPIC and I’M KING KONG, the career of Merian C Cooper, for TCM.
Brownlow arbeitete bei „Der Angriff der leichten Brigade“ (OT: „The Charge of the Light Brigade“) (1968) unter der Regie von Tony Richardson als Cutter. Zusammen mit Andrew Mollo führte er bei zwei Spielfilmen Regie: „It Happened Here“ (1964) und „Winstanley“ (1975).
1980 führte er zusammen mit David Gill bei einer 13-teiligen Fernsehreihe über den amerikanischen Stummfilm für Thames TV Regie. 1980 wurde seine fünfstündige restaurierte Fassung von „Napoleon“ (Regie: Abel Gance) mit einer von Carl Davis komponierten Musikbegleitung aufgeführt. Nach der Schließung von Thames TV gründeten Brownlow und Gill gemeinsam mit Patrick Stanbury eine eigene Firma, Photoplay Productions. Zu ihren Restaurationsprojekten gehört der Valentino-Klassiker „DIE VIER REITER DER APOKALYPSE“ (OT: „THE FOUR HORSEMEN OF THE APOCALYPSE“) (1921).
1995 stellten sie die sechsteilige Reihe „KINO EUROPA: DIE KUNST DER BEWEGTEN BILDER“ (OT: „CINEMA EUROPE: THE OTHER HOLLYWOOD“) anlässlich von einhundert Jahren Kinogeschichte fertig.
David Gill starb im Jahr 1997. Brownlow und Stanbury setzten die Tradition mit Dokumentationen wie „CECIL B. DEMILLE – AMERICAN EPIC“ und „I’M KING KONG“ über die Arbeit von Merian C. Cooper für TCM fort.
"The Bat Whispers" (1:25). Filmed in: 65mm 5 perforations, 24 frames per second, Black & White. Principal photography in: 65mm Magnifilm. Presented on: The curved screen in a new 35mm print. Aspect ratio: 2,13:1. Country of origin: USA. Production year: 1930. World Premiere: 13.11.1930. German Premiere: 07.10.2011
Written, Produced and Directed by Roland West. Based on: “The Bat: A Play of Mystery in Three Acts” Mary Roberts Rinehart and Avery Hopwood. Also based on the novel: The Circular Staircase by Mary Roberts Rinehart. Cinematography by Robert Planck. Cinematography supervised by Ray June. Assistant cameraman by Stanley Cortez. Special photography by Edward Colman and Harry Zech. Special technicians by Charles Cline, William McClellan, Harvey Meyers and Thomas Lawless. Film editors: James Smith and Hal C. Kern. Set Design by Paul Roe Crawley. Miniatures & special effects by Ned Herbert Mann
Chester Morris (Detective Anderson), Una Merkel (Dale Van Gorder), William Bakewell (Brook Bailey), Grayce Hampton (Cornelia van Gorder), Maude Eburne (Lizzie Allen), Gustav von Seyffertitz (Dr. Venrees), Spencer Charters (The Caretaker), Charles Dow Clark (Detective Jones), Ben Bard (The Unknown), Hugh Huntley (Richard Fleming), S.E. Jennings (Man in black mask), Sidney D’Albrook (Police sergeant), De Witt Jennings (Police captain), Richard Tucker (Mr. Bell), Wilson Benge (The Butler), Chance Ward (Police Lieutenant).
Restored in 35mm widescreen by the UCLA Film Archive with the assistance of the Mary Pickford Foundation. Special thanks to Matty Kemp, Linwood Dunn, Scott MacQueen, Ralph Sargent and YCM Laboratories. Funding by AFI/NEA
"The Bat Whispers" (UA 1930) was the only film ever shown in MAGNIFILM. (This NYC advertisement misspells it 'MAGNAFILM'). It was shot on 5-perf. 65mm film and Standard 35mm.
allmovie.com: Magnificently restored by UCLA to its original "Grandeur" wide-screen format "The Bat Whispers" may not be a cinematic masterpiece but is certainly worth a second look. Opening with a series of flamboyant tracking shots, director Roland West soon enough settles down to the usual "Old House" shenanigans of sliding panels, mysterious bumps in the night, crawling hands, thunder and lightning (sounding more like an earthquake, incidentally, than a storm), etc. An official remake of the 1926 "The Bat" (which was itself based on an Avery Hopwood play), "The Bat Whispers" owed just as much to "The Cat and the Canary" (1927), the true grand-daddy of all haunted house mysteries. After taunting the New York City police a final time, the notorious criminal "The Bat" announces his retirement to the country. Meanwhile, in said country wealthy spinster Cornelia Van Gorder (Grayce Hampton is leasing the Courtleigh Fleming estate. The news of "The Bat" and the simultaneous disappearance of cashier Brooks Bailey (William Bakewell) shortly after a robbery at the Fleming bank set in motion a series of troubling events -- troubling especially for Miss Van Gorder's eternally frightened maid Lizzie (Maude Eburne). The missing Brooks Bailey shows up soon enough courtesy of Van Gorder's pretty niece Dale (Una Merkel), who persuades the young man to impersonate a gardener -- a disguise that fools no one. There is a mysterious doctor who speaks with an accent (Gustav von Seyffertitz); an equally alarming caretaker (Spencer Charters),; a piece of missing blueprint that leads to a secret room; and, of course, "The Bat," who appears to be prowling the estate as well. Enter into all this Detective Anderson (Chester Morris), who in his unique gritty way gets to the bottom of things. The "Grandeur" wide-screen format was lost on most movie-goers when the film premiered in late November of 1930. Exhibitors who had just spent fortunes rigging their theaters for sound were of course loath to spend even more on yet another "newfangled" invention. Of course, some of cinematographer Robert H. Planck's more breathtaking shots of "The Bat" climbing towering skyscrapers were lost in the standard 35mm prints. But cartoonist Bob Kane reportedly had this film in mind when he nine years later created his eternally popular comic-strip hero Batman. A sadly neglected craftsman, Roland West directed only 11 films before he retired at the age of 44. West (who also directed the 1926 "The Bat" co-starring his then-wife Jewel Carmen as the imperiled niece) left films to run a Santa Monica café with girlfriend Thelma Todd. He was questioned by the authorities but was apparently never a suspect in Todd's mysterious death in December of 1935.
Get together with Hoepfner and friends 22:45
Saturday 08.10.2011, 09:00 - 10:00: 70mm Breakfast in Schauburg foyer
"Wild Rovers" / "Missouri" - 10:00
"Wild Rovers" / "Missouri"(1:46). Filmed in: 35mm 4 perforations, 24 frames per second. Principal photography in: Panavision. Presented on:The curved screen in 70mm with 6-track magnetic stereo.Aspect ratio: 2,39:1. Country of origin: USA. Production year: 1971. World Premiere:23.06.1971 (New York City, New York). German premiere:25.12.1971
Produced, written and directed by Blake Edwards. Original Music by Jerry Goldsmith. Cinematography by Philip H. Lathrop. Film Editing by John F. Burnett.
William Holden (Ross Bodine), Ryan O'Neal (Frank Post), Karl Malden (Walter Buckman), Tom Skerritt (John Buckman), Joe Don Baker (Paul Buckman), Rachel Roberts (Maybell)
Original German Version
allrovi.com: If you want to know what The Wild Bunch would have looked like with Blake Edwards rather than Sam Peckinpah in the director's chair, we submit for your approval Wild Rovers. William Holden and Ryan O'Neal play a couple of shiftless ranch hands who impulsively decide to rob a bank. They manage to make off with the money, but also incur the wrath of their former boss Karl Malden, who sends his two sons Tom Skerritt and Joe Don Baker out to bring back Holden and O'Neal, preferably dead. The film's climax is surprisingly melancholy for an Edwards film, but one can't deny that the ending grows logically from the events leading up to it. Severely edited by its distributor Warner Bros, Wild Rovers doesn't make a lot of sense in its release version; the director's cut, incorporated 30 minutes' worth of extra footage, is fortunately available on video.
"Sheherazade" / "Sheherazade - Der goldene Löwe von Bagdad" - 13:00
"Sheherazade" / "Sheherazade - Der goldene Löwe von Bagdad" (2:04). Filmed in: 65mm, 24 frames per second. Principal photography in: MCS 70 Superpanorama. Presented:The curved screen in MCS 70 Superpanorama with 6-track magnetic stereo. Aspect ratio: 2,21;1. Country of origin: France. Production year: 1963. World Premiere:France 10.05.1963. West German premiere 09.08.1963
Directed by Pierre Gaspard-Huit. Screenplay by Pierre Gaspard-Huit, José Gutiérrez Maesso and Marc-Gilbert Sauvajon. Produced by Michel Safra. Original Music by André Hossein. Cinematography by André Domage & Christian Matras. Film Editing by Louisette Hautecoeur
Anna Karina (Shéhérazade), Gérard Barray (Renaud de Villecroix), Antonio Vilar (Haroun-al-Raschid), Giuliano Gemma (Didier), Marilù Tolo (Shirin), Jorge Mistral (Grand Vizir Zaccar), Fernando Rey.
"The Miracle of French Cinema, made in Superpanorama 70mm"
Very unique 70mm screening. Never released on any home medium ... neither VHS, nor Laser Disc nor DVD. The movie is VERY well made with high production values, a good (5-channel) score, lots of horses and horse stunts in the deserts of north Africa, a beautiful Anna Karina, extremely sharp images ... a rare gem in the 70mm world, which almost nobody has ever seen. Herbert Born
Danish actress Anna Karina in "Sheherazade", 1962. Still from the film as seen on annakarina.org
allrovi.com: Sheherazade is promised to a powerful Sultan as a gift in exchange for free passage to the Holy Land. When the Sultan's underling saves her from certain death, she falls madly in love with her hero. The Sultan discovers the indiscretion and banishes the couple to wander the desert.
"Dance Craze" - 16:00
"Dance Craze"(1:29). Filmed in: 35mm 4 perforations, 24 frames per second. Principal photography in: Super 35. Presented on:The curved screen in 70mm with 6-track magnetic Dolby stereo with split surrounds. Aspect ratio: 1,66:1. Country of origin: UK. Production year: 1980. World Premiere: 19.02.1981 Dominion, London, England. German premiere: 08.10.2011
Directed by Joe Massot. Produced by Gavrik Losey. Cinematography by Joe Dunton. Film Editing by Ben Rayner & Anthony Sloman
Buster Bloodvessel (Himself (Bad Manners), Roddy Byers (Himself - The Specials), Rhoda Dakar (Herself (the Bodysnatchers), Jerry Dammers ... Himself (the Specials), Terry Hall (Himself (the Specials), Horace Panter (Himself - The Specials, David Wakeling (Himself - The English Beat
allmovie.com: This film is a series of loud, knock-'em-out performances by six different rock bands, and though it falls short of the slick presentation of music videos, it has no lack of upbeat, nonstop sound. The fans of Bad Manners, The Beat, The Bodysnatchers, Madness, The Selecter, or The Specials will love the unrelenting beat and the strutting, jumping, bouncing contortions of the performers -- a workout beyond the wildest aerobic class. Non-fans may want to forego the experience.
Trailer for "Dance Craze", 03.02.1981 provided by Tony Sloman, editor of the film. Film's visual concept and photography by Joe Dunton. Filmed on Super 35 by JDC Ltd. for 70mm by Technicolor's Optical Department.
"Dance Craze" Trailer
Joe Dunton (J.D.C. Scope lenses)
Joe Dunton (J.D.C. Scope lenses). Picture by Thomas Hauerslev
The British Academy of Film and Television Arts is delighted to announce that Joe Dunton will receive the award for Outstanding British Contribution to Cinema at the Orange British Academy Film Awards ceremony at London’s Royal Opera House on Sunday 21 February 2010.
Joe Dunton is one of the off-camera heroes of the British film industry: he has supported filmmakers and has been instrumental in the development of equipment used globally by film productions in his career spanning over four decades.
During his career, Joe has revolutionised the technology that is used as standard in the industry today such as the first heated camera eyepiece, the ladderpod and his work on "Oliver!" was crucial in the development of a system which is now commonly known as ‘video assist’, which allows filmmakers to see what is being shot.
He has worked with the great filmmakers of our generation including George Lucas, Steven Spielberg and Mike Leigh and he enjoyed a particularly close relationship with Stanley Kubrick, whom he started working with on "A Clockwork Orange". He has most recently worked on the Harry Potter series and Rob Marshall’s "Nine", both of which are BAFTA-nominated this year.
"Hamlet" - 19:00 - Gala with champagne before entering
“Hamlet” (4:02) + intermission. Filmed in: 65mm, 24 frames per second. Principal photography in: Panavision System 65. Presented:The curved screen in Super Panavision 70 with 6-track Dolby Stereo, format 43.Aspect ratio: 2,21;1. Country of origin: USA. Production year: 1996. World Premiere: 25.12.1996 The Ziegfeld Theatre, New York, USA. German premiere: 05.06.1997
Produced by David Barron. Original Music by Patrick Doyle. Cinematography by Alex Thomson. Edited by Neil Farrell. Directed by Kenneth Branagh.
Academy Award Nominated: Best Art Direction-Set Decoration Best Costume Design Best Music, Original Dramatic Score Best Writing, Screenplay Based on Material from Another Medium
Kenneth Branagh and Alex Thomson behind the Panavision System 65 camera. Image by Rolf Konov
allrovi.com: Kenneth Brannagh's version of the Bard's oft-filmed drama is the first to represent the play in its entirety. Running at 240 minutes and magnificently filmed in 70mm (the same type used for Lawrence of Arabia by cinematographer Alex Thomson, who also filmed this one), featuring a distinguished all-star cast and performed in a way accessible to a broad audience, this Hamlet allows audiences the opportunity to go beyond the familiar story of lust, vengeance, betrayal and ruthless ambition, to savor the full-breadth of the play's political complexity and Hamlet's mad genius.
Sunday 09.10.2011, 09:00 - 10:00: 70mm Breakfast in Schauburg foyer
"A Chorus Line" - 10:00
"A Chorus Line"(1:53). Filmed in: 35mm 4 perforations, 24 frames per second. Principal photography in: Panavision. Presented on:The curved screen in 70mm with 6-track Dolby Stereo.Aspect ratio: 2,39:1. Country of origin: USA. Production year: 1985. World Premiere:09.12.1985 (New York City, New York). German premiere:West Germany 16.01.1986
Directed by Richard Attenborough. Screenplay by Arnold Schulman. Produced by Joseph M. Caracciolo. Original Music by Marvin Hamlisch. Cinematography by Ronnie Taylor. Film Editing by John Bloom.
Michael Blevins (Mark Tobori), Yamil Borges (Diana Morales), Jan Gan Boyd (Connie Wong), Sharon Brown (Kim), Gregg Burge (Richie Walters), Michael Douglas (Zach).
Original German version, with song in English and German subtitles
Academy Awards, USA
1986 Nominated
Best Film Editing John Bloom Best Music, Original Song, Marvin Hamlisch (music) Ed Kleban (lyrics), For the song "Surprise, Surprise". Best Sound Donald O. Mitchell, Michael Minkler, Gerry Humphreys, Christopher Newman
allrovi.com: This long-running Broadway show is captured on film by Richard Attenborough, with a few excursions outside the theatrical setting, but not many. Zach (Michael Douglas) is a Broadway director and on one day he auditions dozens of hopefuls for a new musical that needs only eight dancers. Making everything just that much more complicated is Zach's ex-girlfriend Cassie (Alyson Reed) -- she is also trying out for the show. Zach is tough and dismissive of those who do not make it (something dancers are used to) -- but can he be honest and say no to his former girlfriend if she does not cut the ice? A Chorus Line won 1985 Academy Awards for "Best Editing," "Best Song," and "Best Sound."
"55 Days at Peking" / "55 Tage in Peking" - 13:00
"55 Days At Peking" / "55 Tage in Peking"(2:34 + intermission). Filmed in: 35mm 8 perforations, 24 frames per second. Principal photography in: Technirama. Presented on:The curved screen in 70mm with 6-track magnetic stereo.Aspect ratio: 2,21:1. Country of origin: USA. Production year: 1961. World Premiere: 29.05.1963 (New York City, New York). German premiere: 20.09.1963
Directed by Nicholas Ray. Screenplay by Philip Yordan and Bernard Gordon. Produced by Samuel Bronston. Original Music by Dimitri Tiomkin. Cinematography by Jack Hildyard. Film Editing by Robert Lawrence.
Charlton Heston (Maj. Matt Lewis), Ava Gardner (Baroness Natalie Ivanoff), David Niven (Sir Arthur Robertson), Flora Robson (Dowager Empress Tzu-Hsi), John Ireland (Sgt. Harry), Harry Andrews (Father de Bearn), Paul Lukas (Dr. Steinfeldt)
Best Music, Original Song, Dimitri Tiomkin (music), Paul Francis Webster (lyrics), For the song "So Little Time"
Best Music, Score - Substantially Original Dimitri Tiomkin
allmovie.com: Samuel Bronston produced this extravagant blockbuster, shot in Super Technirama 70. Nominally directed by Nicholas Ray (who makes a brief appearance as the U.S. ambassador), Ray was taken off the film and replaced by the more pliable directorial touches of Andrew Marton. Charlton Heston stars as Maj. Matt Lewis, the leader of an army of multinational soldiers who head to Peking during the infamous Boxer Rebellion of 1900. As the film unfolds, the foreign embassies in Peking are being held in a grip of terror as the Boxers set about massacring Christians in an anti-Christian nationalistic fever. Inside the besieged compound, the finicky British ambassador (David Niven) gathers the beleaguered ambassadors into a defensive formation. Included in the group of high-level dignitaries is a sultry Russian Baroness (Ava Gardner) who takes a shine to Lewis upon his arrival at the embassy compound with his group of soldiers. As Lewis and the group conserve food and water and try to save some hungry children, they await the arrival of expected reinforcements, but the tricky Chinese Empress Tzu Hsi (Flora Robson) is, in the meantime, plotting with the Boxers to break the siege at the compound with the aid of Chinese recruits.
Canadian Short Films in 70mm - 16:30
"A Place to Stand"
Part of the record from "A Place To Stand"
"A Place to Stand" (0:18). Filmed in: 35mm, 4 perforations, 24 frames per second. Principal photography in: Anamorphic and flat *). Presented on: The curved screen in 70mm with 6-track magnetic stereo. Aspect ratio: 2,21:1. Country of origin: Canada. Production year: 1966/7. World Premiere: 28.04.1967, Ontario Pavilion, Expo 67, Montreal, Canada. German premiere: 09.10.2011
The Ontario Government Department of Economics and Development, Presents "A Place to Stand", A TDF Production. Executive Producer David Mackay. Technical Production by Barry O. Gordon. Filmed and Edited by Christopher Chapman, C.S.C. Sound Kenneth Heeley-Ray. Composer Dolores Claman. Arranger Jerry Toth. Lyrics Richard Morris. Conductor Rudy Toth. Additional Cinematography by Joe Seckerish, C.S.C., Les George, C.S.C. Under the direction of David Mackay. Additional sound recording Bill Foster. Optical printing by Film Effects of Hollywood. Music Recording by Hallmark Studios and Film House-Toronto. Sound Mix by Todd AO. Colour by Technicolor. Producer-Director Christopher Chapman
*) While there are some anamorphic shots in the film, most of the footage was shot 'flat' and then cropped to custom aspect ratios by the matte printing.
"A Place to Stand" was produced and directed by Christopher Chapman for the Ontario Pavilion at Expo 67 in Montreal. The film premiered on April 28, 1967 in a 70mm print by Technicolor, on a screen 66 feet wide by 30 feet high, with six-channel stereo surround sound. Using images, music and sound effects without spoken narration or titles, the film tells about life in Ontario, presenting about an hour-and-a-half of footage in its 18-minute running time. This is accomplished by what Chapman calls his multi-dynamic image technique, a groundbreaking multiple screen, variable picture presentation that allows viewers to see many images within different panels, up to 15 scenes simultaneously on one screen.
"At Expo, "A Place to Stand" was an instant hit. It played continually before packed audiences; as many as 6000 people daily, 2 million in total," until the end of the six-month long exposition on October 27. "A Place to Stand" - closed on 29 October 1967; originally scheduled to close on the 27th (which was a Friday) but when it was so successful they decided to stretch it to the Sunday. "The title song from the film became so popular a record was produced and has sold over 50,000 copies to date. Since Expo, "A Place to Stand" has been distributed to movie houses throughout Ontario and Canada and is soon to tour theatres in the U.S.A. and Europe. It is expected that over 100 million people will see the film."
Nearly every major Hollywood studio purchased prints of Chapman's film to screen for executives, producers and directors. Columbia Pictures distributed the film to movie theatres throughout the United States and Canada. "A Place to Stand" clearly influenced the composition of subsequent film images. An early prominent example of this influence was Norman Jewison's 1968 film "The Thomas Crown Affair", which featured Chapman's multi-dynamic image process in key scenes of the story. Jewison publicly acknowledged Chapman as creator of the technique.
Christopher Chapman's "A Place to Stand" was nominated in two categories for an Academy Award, including Best Documentary Short Subject. The film won in the Best Live Action Short Subject category and Chapman accepted the Oscar on April 10, 1968, during the 40th annual Academy Awards presentation at the Santa Monica Civic Auditorium. George C. Konder
"Multiple Man" / "L’Homme Multiplie"
"Multiple Man" / "L’Homme Multiplie" (0:15:40). Filmed in: 35mm, 4 perforations, 24 frames per second. Principal photography in: Anamorphic and flat. Presented on: The curved screen in 70mm with 6-track magnetic stereo. Aspect ratio: 2,21:1. Country of origin: Canada. Production year: 1969. World Premiere: 17.07.1969, Man and His World theatre, Montreal Fair, Canada. German premiere: 09.10.2011
Direction & Visual Design Georges Dufaux, Claude Godbout. Film Editing by Georges Dufaux and Claude Godbout. Photography Gilles Gascon. Assistant Editor Claude Le Gallou. Optical Effects Wally Howard, Alex Simard, Ron Moore, Matt Grade. Moog Synthesizer André Perry, Buddy Fasano, (Les Productions André Perry Ltée). Sound Edward Haley. Sound Editing Jean-Pierre Joutel. Title Animation Pierre Hébert. Re-Recording Edward Haley. Michel Descombes, Jean-Pierre Joutel. Producers Robert Forget & Clément Perron. Produced by The National Film Board of Canada.
A many-faced view of humanity, of global man in all his forms and interests. Produced originally in 70 mm (with stereophonic sound) for showing at Man and His World, the Montréal fair that succeeded Expo 67, this film employs the multi-image technique. People of all places, origins, cultures, secular and religious, are here united and seen side by side, creating an impressive, inspiring and challenging portrait. The film's title appears in seven languages. Film without words.
"Seasons in the Mind" (0:22). Filmed in: 35mm 4 perforations, 24 frames per second. Principal photography in: Panavision. Presented on: The curved screen in 70mm with 6-track magnetic stereo. Aspect ratio: 2,21:1. Country of origin: Canada. Production year: 1971. World Premiere: 22.05.1971. German premiere: 09.10.2011
A Milne-Pearson Production. Produced and Directed by Michael Milne, Peter Pearson. Cinematography Tony Ianzelo. Editor Arla Saare. Post-Production Supervisor Ken Heeley-Ray. Music Larry Crosley. Talent Night Sequence. Mac Beattie. Sound Editor Jim Hopkins. Rerecording Clarke Daprato. Studio Sound Services Optical Effects. Film Technique Limited. Filmed in Panavision 35 through Cinevision, Canada. Colour by Technicolor. Production Assistants Diane Amsden, Rob Iveson, Stephen Patrick.
A portrait film of Eastern Ontario directed by Peter Pearson who’s films include the award winner’s like “The Best Damn Fiddler from Calabogie to Kaladar" (1968) and the classic Canadian feature film, "Paperback Hero" (1973). "Seasons in the Mind" includes a talent show section set in Arnprior, Ontario. "Seasons in the Mind" - had a co-director credit: Michael Milne (who was Pearson's business partner and had been art director for Best Damned Fiddler...)
“Where the North Begins” (0:22). Filmed in: 35mm 2 perforations, 24 frames per second. Principal photography in: Techniscope. Presented on: The curved screen in 70mm with 6-track magnetic stereo. Aspect ratio: 2,21:1. Country of origin: Canada. Production year: 1971. World Premiere: 11.06.1971, The Ontario Place Cinesphere, Toronto, Canada. German premiere: 09.10.2011
A Reason Associates Films Limited Production. Produced and Directed by David Mackay. Director of Photography Robert Ryan. Assisted by Robert New
“Where the North Begins” was one of the 4 original regional portrait films commissioned for the first season of Ontario Place (the others being "North of Superior" (IMAX), "Seasons of the Mind" (70mm), and "Home By The Waters" (35mm anamorphic). The film was directed by David MacKay who was the producer for "A Place to Stand" and then directed "Ontario-oh!". The Ontario Place Cinesphere in Toronto was the first permanent IMAX screen in the world with a screen 80ft by 60ft that still projects IMAX and 70mm-5perf films.
"Festival" (1971) (0:20) / "Ontario" (1970) (0:26). Filmed in: 35mm 4 perforations, 24 frames per second and 65mm 5 perforations, 24 frames per second. Principal photography in: Most shooting was 35mm 'flat', but the full-screen images were shot on 65mm stock. Presented on: The curved screen in 70mm with 6-track magnetic stereo. Aspect ratio: 2,21:1. Country of origin: Canada. Production year: 1971. World Premiere: 07.09.1971, Ontario Place Cinesphere, Toronto, Canada. German premiere: 09.10.2011
A Christopher Chapman Film. Cinematography by Christopher Chapman, C.S.C., Christopher Fryman. Editing by Christopher Chapman. Sound Track Devised and Edited by Ken Heeley-Ray. Original Music Composed and Conducted by William McCauley. Additional Cinematography by Mogens Gander, Dan Gibson, C.S.C., Wescam Mount. John Lowry Productions Limited. Multiple Image Charting Francis Chapman. Optical Effects Film Technique Limited, Toronto. Optical Printer Film Effects of Hollywood. Laboratory Film House Limited, Toronto. Colour Prints Technicolor. Sound Assistant Ann Heeley-Ray. Additional Sound Recording George Reid. Sound Mix Studio Sound Services, Toronto. Sound Mixer Clarke Daprato. Music Recording Eastern Sound Services. General Assistant Victor Noble. By Permission of Actor’s Equity Association, The National Ballet of Canada. The National Theatre of Canada Choir & The Toronto Mendelssohn Choir. Director Elmer Iseler. Production Secretary Penny Grey. Associate Producer Francis Chapman. Producer/Director Christopher Chapman.
"Festival" is a slightly edited version of Chris Chapman's multi image "Ontario" for Expo 70 - at Osaka it ran about 30 minutes, but at Cinesphere they wanted to "turn over" the audience every half hour, so Chapman cut it back by about 6 minutes for release there in the summer of 1971 and as far as we know hasn't been seen publicly since then. It climaxes with an astounding aerial banking shot over the brink of Niagara Falls.
"Kelly's Heroes"(2:24 + intermission). Filmed in: 35mm 4 perforations, 24 frames per second. Principal photography in: Panavision. Presented on:The curved screen in 70mm with 6-track magnetic stereo. Aspect ratio: 2,21:1. Country of origin: USA. Production year: 1970. World Premiere: 23.06.1970 (US). German premiere: 27.11.1970
Directed by Brian G. Hutton. Written by Troy Kennedy-Martin. Produced by Sidney Beckerman. Original Music by Lalo Schifrin. Cinematography by Gabriel Figueroa. Film Editing by John Jympson
Clint Eastwood (Pvt. Kelly), Telly Savalas (MSgt. Big Joe), Don Rickles (SSgt. Crapgame), Carroll O'Connor (Maj. Gen. Colt), Donald Sutherland (Sgt. Oddball), Gavin MacLeod (Moriarty), Hal Buckley (Capt. Maitland), Stuart Margolin (Pvt. Little Joe), Jeff Morris (Pvt. Cowboy), Richard Davalos (Pvt. Gutowski), Perry Lopez (Pvt. Petuko), Harry Dean Stanton (Pvt. Willard);
They set out to rob a bank... and damn near won a war instead!
Danish 70mm advert from "Kelly's Heroes"
allrovi.com: Like M*A*S*H and Catch-22, both released the same year, this military comedy takes place in an earlier war but is really a thinly disguised treatise on the modern-day insanity and avariciousness then unfolding in Vietnam. Clint Eastwood stars as Kelly, a former lieutenant whose illusions about the glory of war, if he has any, are lost when he is busted in rank for following some poorly considered orders in World War II France. After capturing a friendly German officer, Kelly learns the whereabouts of millions of dollars in gold bars, earmarked to finance a military payroll. Taking advantage of a three-day liberty, Kelly assembles a motley trio of fellow soldiers to help him sneak behind enemy lines and retrieve the booty. They include Big Joe (Telly Savalas), a gruff sergeant; Crapgame (Don Rickles), a supply sergeant already enriching himself as a black marketer and con man; and the hippie-like tank commander Oddball (Donald Sutherland). Since crossing into enemy-held territory means heading in the opposite direction of the retreating Allies, Kelly and his men encounter armed resistance. Receiving word of their campaign, the vain General Colt (Carroll O'Connor) mistakes the quartet of freelancing scam artists for all-American heroes.
"Bela" / "Geroy Nashego Vremeni" / "Tragik einer Liebe" / "Hero of Our Time" (1:46, (some say 1:26)). 
screen in 
"The Greatest Story Ever Told" / "Die größte Geschichte aller Zeiten" (3:15) (+ intermission). 
The Ultra Panavision 70 projection lens. Picture by Thomas Hauerslev, February 2004
Legendary Film Historian and preservationist Kevin Brownlow during a lecture. Image by Thomas Hauerslev
"The Bat Whispers" (1:25). Filmed in: 65mm 5 perforations, 24 frames per second, Black & White. Principal photography in: 65mm Magnifilm. Presented on: The curved 
"The Bat Whispers" (UA 1930) was the only film ever shown in MAGNIFILM. (This NYC advertisement misspells it 'MAGNAFILM'). It was shot on 5-perf. 65mm film and Standard 35mm.
"Sheherazade" / "Sheherazade - Der goldene Löwe von Bagdad" (2:04). 
"The Miracle of French Cinema, made in Superpanorama 70mm"
Danish actress Anna Karina in "Sheherazade", 1962. Still from the film as seen on annakarina.org
Joe Dunton (J.D.C. Scope lenses). Picture by Thomas Hauerslev 
During his career, Joe has revolutionised the technology that is used as standard in the industry today such as the first heated camera eyepiece, the ladderpod and his work on "Oliver!" was crucial in the development of a system which is now commonly known as ‘video assist’, which allows filmmakers to see what is being shot.
“Hamlet” (4:02) + intermission. 
Kenneth Branagh and Alex Thomson behind the Panavision System 65 camera. Image by Rolf Konov
Academy Awards, USA
Part of the record from "A Place To Stand"
"Multiple Man" / "L’Homme Multiplie" (0:15:40). Filmed in: 35mm, 4 perforations, 24 frames per second. Principal photography in: Anamorphic and flat. Presented on: The curved 
"Seasons in the Mind" 70mm frame blow up.
“Where the North Begins” (0:22). Filmed in: 35mm 2 perforations, 24 frames per second. Principal photography in: Techniscope. Presented on: The curved 
"Festival" (1971) (0:20) / "Ontario" (1970) (0:26). Filmed in: 35mm 4 perforations, 24 frames per second and 65mm 5 perforations, 24 frames per second. Principal photography in: Most shooting was 35mm 'flat', but the full-screen images were shot on 65mm stock. Presented on: The curved 
Danish 70mm advert from "Kelly's Heroes"