The film over which this is heard is exhibited in both 2.35:1
anamorphic widescreen and fullscreen
transfers on opposite sides of the platter; although the picture was shot in Super35 (as opposed to «scope), there is more horizontal information
restored and less vertical information cropped than usual for the format, making the decision to stick with letterbox a definite no - brainer.
for the picture — lovingly
restored, as is the film itself (save some unchecked pinholes)-- rounds out the presentation, which has as its central attraction the revitalization of Harry Waxman's stabbingly - bright cinematography in a 1.78:1
anamorphic widescreen transfer.