Well, dear readers, once upon a time back in 1960 I saw many great films. It was a very good year for film. And one of the great movie going experiences of my then-existence was going to the Pantages Theater in Hollywood at some point in November and seeing the reserved seat roadshow engagement of something called Spartacus. My friend had seen it and loved it and based on his report I’d already bought the Decca soundtrack album in stereophonic sound, and I’d fallen in love with it. So, there I was in my reserved seat and that glorious Alex North overture began. Now, I’d already seen several epics, including The Ten Commandments, but that was only in 35mm – the one that had been really impressive was Ben-Hur in 70mm at the Egyptian Theater, which I’d seen the year before – that was probably my first 70mm film. Earlier in 1960 I’d seen Scent of Mystery and that was gorgeous in 70mm – the clarity of those films was astonishing, as was Exodus at the Wilshire Theater. In other words, I was hooked on 70mm and big reserved seat roadshow films. The beautiful Pantages curtains opened to reveal a huge screen and then the main titles began – I’d already been very aware of Saul Bass – I’d actually taken note of his name because all my favorite main title sequences to that point were by him – Psycho, Exodus, Vertigo, North by Northwest and several others – and I knew instantly from the first credit that it was Mr. Bass’s work. Well, those titles and that Alex North music told me I was in for something special and unique and indeed I was. I was, in a word, enthralled and riveted to my seat for all 190-plus minutes. I bought the souvenir program (hardcover), which I still have. I loved the entire film, the performances, the hugeness of it and yet the scenes of love and tenderness were very moving to the twelve-year-old me. The film looked incredible – glorious photography, amazing color and the 6-track stereo sound was beyond belief great.
Of course, in those days, the film played out its reserved seat run and then went into wide release. But for whatever reason, where I saw other 70mm films when they hit their wide runs (in 35mm), I never did see Spartacus again – not in 70mm and not in the general release 35mm. But I had my soundtrack album, which I played until it wouldn’t play anymore. I don’t think I ever saw it on TV in the intervening years. So, it was with great excitement that I noticed it was coming out again – this was in 1967 – a rerelease. I was thrilled and couldn’t wait to revel in that great film again. I should have known what I was in for when the best theater it got was the World on Hollywood Blvd. east of Vine. That was a fourth-run house but a nice-sized theater so I was still excited. I got there for the first showing. And what a disappointment, what a disaster it was. It looked nothing like I remembered – of course, I was seeing a 35mm mono print. Worse, I thought the film was really bad – it looked bad, it sounded bad, the music sounded weird, scenes I remembered vividly weren’t there, and the ending was nothing like I remembered and I sat there thinking, was it always like this, was it always this bad? Then I found out the truth – they’d lopped off over twenty minutes of the film, and the ending was truncated and made hash of. No wonder I hated it. And that was what we had from then on. In my film collecting days in the 1970s I got a 35mm print of the short version. I couldn’t even watch it more than once. I just longed to see the movie that I’d loved so much.
And then came the 1990 restoration by Robert A. Harris and James Katz and of course I was at the first showing at the Plitt in Century City. Well, seeing that restoration in 70mm was incredible, even though it didn’t quite measure up to what I remembered seeing in 1960. Later I found out all the ins and outs and what they’d had to deal with so all that made sense. The ending was back to the way it should have been so that was great – it was also great to know how well I’d remembered everything. Also, the infamous snails and oysters scene was back in, although I later learned that it had been cut before the premiere – however, I’m not at all sure about that because I quite remembered it from 1960 – it may have been cut at some point during the initial run, that’s certainly possible – that’s what happened with It’s a Mad, Mad, Mad, Mad World. Anyway, that was a great time seeing it again and of course I got the expensive Criterion laserdisc set, which was great, and then I got the Criterion DVD and that was great. And then came the first Blu-ray release from five years ago. I couldn’t wait to watch it. I should have. It was a complete and utter travesty from start to finish. The image didn’t even look as good as an upscaled DVD and it had so much DNR applied trying to disguise the ancient transfer’s faults that there was no an iota of clarity or sharpness in the entirety of it. The sound was decent but I simply could not watch such a presentation – and the color was so pumped up and weird, well, if you’ve seen it you know exactly what I’m talking about.
Then, earlier this year, Mr. Harris told me he’d been asked to consult on a brand new digital restoration. They were going back to the camera negative and the separation masters and with all the new-fangled technology it was a very promising thing. Mr. Harris had several archived 35mm dye transfer prints pulled along with a 16mm dye transfer print. He sent me samples from each to get my opinion on the color, because surprisingly it differed from print to print. I gave him an opinion but warned him that I probably wasn’t seeing it accurately on my computer screen. He kept me apprised of the progress and the news always sounded great to me. And yesterday the Blu-ray arrived. I finished everything I needed to do and sat on my couch like so much fish and watched the first half, which is just under 110 minutes in one fell swoop. The overture came on and sounded amazing just as it had fifty-five years ago (which is exactly when the film opened – October of 1960). Then the Universal-International logo came on and I knew what I was about to see would be perfect. I’ve never seen a Universal logo look that accurate or good. Then the Saul Bass main titles – and they looked superb with proper color grading – I knew which print Mr. Harris had used as a reference instantly. And then the opening sequence began and it was like being back in a time machine. Incredibly sharp, amazing contrast, spectacular color, and detail galore. I was mesmerized all over again. It’s like someone had taken a rag and wiped off fifty-five years of guck. I know it was not an easy job, and I’m sure there are a couple of nits that could be picked, but why bother when a transfer is that perfect? I watched the second half later in the evening. I was moved to tears by the ending and it was just a great day and evening at the movies. Kudos to the entire team who cared enough to spend the dough to finally do the right thing for a Blu-ray release that’s as good as it gets. THAT is what you’d call a recommendation, baby.
Prior to all that, I’d awakened at seven-thirty after only five hours of sleep, so I stayed in bed and eventually fell back asleep around nine-thirty – I slept for another hour and a half, then got up. I did my usual morning stuff, and then I went and had a chili, cheese, and onion omelet and a bagel. Then I picked up a few packages, then came home. I watched the first half of Spartacus, then it was time to have the work session for the Kritzerland show. That was shockingly easy and went very quickly. Then I went to Gelson’s and got a few drumettes and some melon balls for my evening snack. I came home and ate it all up whilst watching the rest of Spartacus. Once finished, I did some work on the computer, rewrote one little thing for the commentary, did some work at the piano, and relaxed.
Today, I have some writing to do, I’ll eat, hopefully I’ll pick up some packages, I’ll have a few telephonic calls and I’ll relax.
Tomorrow I’m not sure what the HELL is going on. Friday I have an early morning meeting and then I may try to get coifed by Teddy. Then I’m going to the opening of Damn Yankees at Cabrillo with Barry Pearl. I would normally not go, but my pal John Sloman is playing Applegate and I think he’ll be great fun. Not sure about Saturday, and Sunday Sami, her mom, and I are having our post mortem dinner. The following week is insanely crazy and busy.
Well, dear readers, I must take the day, I must do the things I do, I must, for example, write, eat, hopefully pick up some packages, and relax. Today’s topic of discussion: It’s Ask BK Day, the day in which you get to ask me or any dear reader any old question you like and we get to give any old answer we like. So, let’s have loads of lovely questions and loads of lovely answers and loads of lovely postings, shall we, whilst I hit the road to dreamland, after which I’ll arise and proclaim loudly, “I’m Spartacus.”