Looking forward to these Fox TODD-AO films on Blu-ray

[Hadrian]

I am really looking forward to these TODD-AO productions seeing the light of bluray.
CLEOPATRA

HELLO DOLLY

SOUND OF MUSIC

STAR

DOCTOR DOLITTLE

AGONY AND ECTASY

[banned user105]

yeah.

[franklinpross]

Originally Posted by Hadrian

I am really looking forward to these TOOD-AO productions seeing the light of bluray.
CLEOPATRA

HELLO DOLLY

SOUND OF MUSIC

STAR

DOCTOR DOLITTLE

AGONY AND ECTASY

And Around The World In Eighty Days?

[DetroitSportsFan]

Originally Posted by franklinpross

And Around The World In Eighty Days?

Yeah, I liked Jackie Chan in that.

[nycomet]

What is "TODD-AO?" Is that like Technicolor?

[Russell_L]

And don't forget 'Oklahoma'!

[42041]

Originally Posted by nycomet

What is "TODD-AO?" Is that like Technicolor?

It's a 70mm film format, which was most recently used for Baraka.

[Clark Kent]

It is too bad that virtually nothing is filmed anymore in 70mm. A modern film shot like that would look incredible on Blu-ray.

[garyrc]

Yeah, The Agony and the Ecstasy, and let's hope they put back the magnificent transition from the documentary prolog (ordinary 35 mm, and, as I remember, about 1.66:1) and the first shot in 70 mm Todd-A0, which has been missing from some prints, causing the CD liner notes to say "While the recording opens with a statement from a great cathedral organ, this is not heard in the film." Well, it certainly was there in the Todd-AO version, with the organ heard in glorious 6 channel stereo, and bone shivering volume! As I remember it, it was an abrupt transition from 35 mm to a Todd-AO image a little more than twice the size of the image we had just been watching, rather than the slow expansion of the image we saw in 80 Days, and other films. I won't tell you the subject matter of the shot is, but I will say that it illustrates how a large screen process can bring into awareness something that is hard to depict in 35 mm -- Monumental Art. My girl friend of the time and I both had tears forming, thanks to that one shot, and its music.

Speaking of music, The Agony and the Ecstasy is one of the few films to have two composers, with tender music by Jerry Goldsmith in the prolog, and a fine score by Alex North in the main part of the film.

Originally Posted by nycomet

What is "TODD-AO?" Is that like Technicolor?

O.K., I realize that there is a 99% chance that on this forum this is a joke ....
but since many of my daughter's well educated friends in their twenties, to say nothing of our neighbors or our realtor, haven't heard of Todd-AO, there may be some young people on the forum who don't know. I have to say that it is the most satisfying, and the most immersive large screen process I have ever seen, fostering more unwilling suspension of disbelief than any other. Its aspect ratio (2.2:1) does not interfere with getting lost in the image the way the too square IMAX, or the too elongated Ultra (not Super) Panavision 70, or its clone, MGM Camera 65, do, and there are no join lines, as in Cinerama. In the early years, Todd-AO was generally shown on a deeply curving screen that was reminiscent of the arc of vision. It was the first modern (1955) instance of the use of 70 mm film (65mm in the camera, 70 in the projector). The sound was generally magnificent 6 channel stereo, and the score to Around the World in 80 Days (1956 version, please!), as heard in a Todd-A0 theater, was the best large orchestra (114 players) recording I've heard, and the closest to the sound of the several orchestras in which I've played. It started out several of my friends and me in the audio hobby. Todd-AO had one very wide angle (128 degrees) camera lens that was rarely used, but they did use the next lens down quite often, and it provided a singular sense of depth, so much so, that when the rest of the audience was screaming (spurred on by screams coming from the 6 sound channels) in the roller coaster sequence of a short film modestly called The Miracle of Todd-AO, I found myself screaming "Look at the depth! Look at the depth!" Yes, this sequence was an unabashed re-do of the roller coaster in This Is Cinerama, but it was supremely effective, nevertheless. The Todd-AO image was very bright -- in The Liveliest Art, Arthur Knight called it "Sparkling," I think the book Widescreen Cinema called it "A Class Act."

Now that the 128 degree lens is not used any more (I don't think I saw it used in Baraka) there is no reason why the other 2.2:1 70 mm processes that sprung up in imitation of Todd-AO can't be as good, and they were, in many films. But ... for some reason, the soundtracks of Todd-AO films usually sound warmer to me ,,, coincidence? Todd-AO survives as a sound only company. I hope they -- or someone -- still have some cameras to rent. I think Ron Fricke rented one for Baraka.

The first few Todd-AO films were very poorly restored, including Miracle, Oklahoma!, and 80 Days, so someone needs to try again.

[Clark Kent]

It would be great to see the movies you mention on Blu-ray with proper restorations. Let us hope the studios present these films as they were meant to be seen.

[Rhylliam]

Originally Posted by DetroitSportsFan

Yeah, I liked Jackie Chan in that.

Hahahaha

[BluBonnet]

Originally Posted by franklinpross

And Around The World In Eighty Days?

That one was filmed in Todd-AO, but it wasn't a Fox film, nor does Fox own the video rights to it.