Sentences with phrase «of cinemascope»

Within a decade his passion for Baroque and Mannerist painting — and memories of Cinemascope Hollywood movies — results in highly complex structures populated with opulent cascades of ribbony brushstrokes.

It asks what the characters of a Cinemascope musical would have to dream about, and answers with a finale that lifts the film to a higher plane of wish fulfillment and melancholy.

Fox tried to encourage the diffusion of CinemaScope by making the use of its Bausch and Lomb lenses free for short films, but its policy of mandating the use of colour was poorly suited to the U.K. industry that mainly made black - and - white films including intimate dramas that were (at least initially) considered poorly suited to widescreen.

The movie was shot in the two - perf Techniscope format, meaning each frame of camera negative has only half the resolution of a CinemaScope (i.e., four - perf) frame, and this 1080p (MPEG - 4 / AVC) transfer, letterboxed to 2.35:1, seems to capture every last bit of visual information.

A number of the CinemaScope shots are astounding, even if obvious.

-- as her neighbor Giles, a closeted gay illustrator who lives with his cats in an apartment over a struggling movie house, currently showing a double feature of the Cinemascope Biblical epic Land of the Pharaohs and the Pat Boone musical Mardi Gras.

It's a superb - looking transfer of the CinemaScope production and shows Corman's talent for repurposing standing sets and stretching resources to make a low - budget look far more expensive.

Established in 1889, the standard format of 35 mm film with an image aspect ratio of 1.33:1 was not seriously challenged until Twentieth Century Fox's invention of CinemaScope (initially 2.55:1, later 2.35:1) in the early 1950s.

More important in that department is the debut of a CinemaScope visual style, which cinematographer Leon Shamroy anchors through often hauntingly precise coloration and lighting, in addition to a tight scope which is intimate and grand enough to immerse you into George Davis» and Lyle R. Wheeler's Oscar - winning art direction, which is immersive enough by its own right, utilizing Paul S. Fox's and Walter M. Scott's impeccable set decoration and Charles LeMaire's and Emile Santiago's costume designs to restore the look of Ancient Rome - from its high society to simple villages - lavishly.

Not exact matches

The CinemaScope process was well used here, with panoramic shots of Manhattan accompanied by Newman's entire orchestra performing his composition Street Scene in prolog and epilog shots.

Tthe mightiness of masses and the forms of heroes have never loomed so large as they do in this studied demonstration, projected by CinemaScope.

A stunning visual spectacle that should be remembered only for being the first CinemaScope movie ever released, since the direction is clunky, the plot overlong and terribly contrived (the character's conversion is never convincing) and the dialogue so full of highs and lows.

Gentrification of racial humor; Jimmy Fallon isn't funny; Creative women dismissed as «quirky»; Suddenly CinemaScope; «Fifty Shades of Grey» fan fiction.

Among delayed first looks, the most exciting evening of the year for me had to be the Seattle Film Society showcasing of two Anthony Mann westerns in their CinemaScope formats.

, a CinemaScope cartoon presented in dupey non-anamorphic widescreen at an aspect ratio of 2.35:1.

THE DVDs Fox presents A Farewell to Arms and Francis of Assisi on DVD in glorious 2.35:1 anamorphic widescreen transfers (the latter misidentified on the box art as 1.85:1) that preserve their CinemaScope origins and, more, honour them with popping the colours and by saturating the screen with the curious sterility of the process.

Capping off Disc 1 is the usual assortment of start - up trailers (Pirates of the Caribbean, Finding Nemo, X-Men: The Legend of Wolverine, Atlantis: Milo's Return) plus a rare, charming (if patently offensive) CinemaScope cartoon starring Donald Duck, Grand Canyonscope (7 mins.)

This is somewhat true of Damien Chazelle's La La Land, with its CinemaScope aspect ratio (complete with Tarantino - like title card), lush and dreamy 35 mm colors, visual nods to Singin» In The Rain, and a coda that recalls The Umbrellas Of Cherbourof Damien Chazelle's La La Land, with its CinemaScope aspect ratio (complete with Tarantino - like title card), lush and dreamy 35 mm colors, visual nods to Singin» In The Rain, and a coda that recalls The Umbrellas Of CherbourOf Cherbourg.

As a toddler, 20,000 Leagues Under the Sea put me to sleep even faster than Star Wars did (sorry), but I always cut the film significant slack for having suffered an amputating pan-and-scan video transfer, as this was Disney's first and ultimately one of its few CinemaScope productions.

THE DVDs Carrying the «Vault Disney» tag within its platters but not on the cover art itself, Disney's THX - certified, 2 - disc Special Edition of 20,000 Leagues Under the Sea (overseen by production house Sparkhill) presents the film at its original, true CinemaScope aspect ratio of 2.55:1 in a transfer enhanced for 16x9 displays.

Not to spoil the rest of Schilling's commentary, suffice it to write that including Elvis» death scene and the quality of the enhanced Blu - ray black - and - white CinemaScope, Schilling's audio commentary is one of the top three reasons to purchase this DVD.

It's a gorgeous CinemaScope movie and Twilight Time does the film up nicely, with a strong transfer of a good - looking HD master from Columbia Pictures, a studio with a superb record of preserving, restoring, and making high - quality digital transfers of their catalog.

«Contempt,» a satirical drama starring Brigitte Bardot and Jack Palance, was released in 1963 and is regarded as one of the finest films ever made in CinemaScope, an anamorphic lens used from 1953 to 1967.

In fact, it is breath - taking, an extravaganza of bright circus colors and Ophuls» fluid camera and in wide - screen Cinemascope.

The CinemaScope film looks quite good clean with strong, not overly - bright color (much of the film takes place in the gloom of a Moscow winter, with Helsinki standing in for Russia).

The very first image we see announces Chazelle's grand ambitions: we see a black - and - white square frame — the old pre-1953 Academy aspect ratio of 4:3 — with the word CinemaScope framed in the center, its right and left syllables cut off, which suddenly expands to the wider aspect ratio that the word implies (in this case, 2.55:1), gaining color at the same time.

THE DVD East of Eden comes to DVD in a lovely 2.55:1, 16x9 - enhanced transfer faithful to the wider aspect ratio of early CinemaScope titles.

Director John Hillcoat, formerly of music videos, gives the movie a Cinemascope grunge, a dirty, sickly yellow atmosphere with a soundtrack of humming flies.

In some ways the most exciting encounter of the year for me was a long - deferred look at George Cukor's 1954 A Star Is Born: I waited to see it in CinemaScope and Dana Benelli's ASUW series gave me the chance — in 35 mm, yet.

Mr. Hobbs feels like a two - hour, big screen, color, CinemaScope version of its small screen contemporaries «Father Knows Best» or «My Three Sons.»

According to the three historians on the DVD's excellent commentary track, the film did enjoy strong box office returns and was anything but a creative failure, but Castile is symbolic of the epic productions studios couldn't indulge in as often, until TV forced a return to bug budget epics during the fifties, in the form of pseudo-moral Biblical sagas in CinemaScope and stereophonic sound.

Inspired by a letter he received from an eighth grade class, Coppola turned The Outsiders into a devouring CinemaScope fever dream: an homage to Robert Wise and Nicholas Ray that took its chief inspiration from the timeless backlit twilights of Gone with the Wind, which the boys read to pass their time in self - imposed exile.

Oh, did we mention that the neighbor's apartments are atop the local cinema, The Orpheum, wherein the Cinemascope epics of the day seem to be on constant rotation?

Fox's intransigence simply pushed U.K. producers to use various CinemaScope clones that, combined with black - and - white film, achieved a mix of novelty and economy.

Crosby notes that Japanese exhibitors embraced CinemaScope well before the production of the first Japanese anamorphic widescreen film, but the influence was more than just technological, as the style of Hollywood widescreen films influenced Japanese widescreen aesthetics.

Twilight Time's blu - ray of Our Man in Havana looks fantastic, bringing the beautiful black and white CinemaScope frame to HD with a sparkling clarity and deep richness to even the darkest edges of the frame.

John Gibbs and Douglas Pye's chapter is also interested in widescreen stylistics as they examine the contrasting styles of Otto Preminger's CinemaScope film River of No Return (1954) and Sam Peckinpah's Junior Bonner (1972), shot in Todd - AO 35 (a Panavision - like format based on Japanese anamorphic lenses).

Color and Cinemascope remake of the Raoul Walsh — Humphrey Bogart — Ida Lupino gangster saga «High Sierra,» with the original stars replaced by Jack Palance and Shelley Winters.

It's impossible to imagine this movie not being presented in CinemaScope, as the widescreen format is integral in supporting the imaginative use of split - screen techniques.

The Man From Laramie (1955), their final collaboration, was made for Columbia and it was the first film that Mann shot in the still novel CinemaScope anamorphic widescreen format, which debuted just a couple of years earlier.

It was one of the first Westerns to be shot in CinemaScope.

River of No Return Otto Preminger, USA, 1954, 91m In this CinemaScope western adventure, Robert Mitchum is ex-con farmer Matt Calder, who lives with his young son in a remote riverside area.

The Techniscope format was a cheap way to get a widescreen image by only using half as much film as true CinemaScope (i.e., anamorphic) requires, and this presentation seems to reflect the reduced effective resolution of the material, evincing a softness around the edges that's sometimes exacerbated by missed focus.

A color and Cinemascope remake of the Raoul Walsh — Humphrey Bogart — Ida Lupino gangster saga (from a W. R. Burnett novel) «High Sierra,» this time around starring Jack Palance and Shelley Winters.

Nostalgic references to classic Hollywood — like that «Presented in CinemaScope» title card in the beginning and the two main characters» first date at a screening of Rebel Without a Cause — don't excite me as much as they used to, and nor does a movie that, to my mind, simple - mindedly posits the John Legend character as a kind of villain for daring to think progressively about jazz — an entirely noble and necessary endeavor, whatever you may think of the music his character actually creates — rather than remain rooted to the past like Ryan Gosling's character does.

Francis's cinematography appears to have been digitally corrected to compensate for the CinemaScope «mumps,» and displays a seemingly impossible range of deep blacks as well as a fine patina of film grain.

THE BLU - RAY DISC Likewise amazing, Criterion's Blu - ray release presents The Innocents in its original CinemaScope aspect ratio of 2.35:1, in a 1080p transfer the liner notes describe as «created in 4K resolution on an Oxbery wet-gate film scanner from the 35 mm original camera negative.»

Also added: In Honor of Dan Ireland, a tribute to the SIFF co-founder with film clips, trailers, short films, and a screening of one of Dan Ireland's favorite films from a rare 35 mm CinemaScope collector's print.

How strange is it, then, that both 4 Months, 3 Weeks, and 2 Days and Beyond the Hills are shot in a widescreen aspect ratio — the 2.35:1 often associated with the grand, expansive CinemaScope Hollywood epics of the 1950s?

Lawrence of Arabia I can watch over and over again, Zhivago was like a visit to the Cinemascope dentist.