The past thirty years have been a golden age of film restoration, starting with the 1989 restoration of the 1962 film Lawrence of Arabia. Robert Harris led that work, and he has had a hand in restoring many films since then, including Vertigo (1958) and My Fair Lady (1964). It’s a shame that great movies need restoration at all, a state of affairs principally due to neglect by the very studios that made them, often at a cost of millions of dollars. Hollywood studios were far less concerned about art or historical preservation than they were about business, and movies retained little value for the studios after their initial theatrical release.
Publicity still of Gregory Peck from the 1956 film Moby Dick. Photo courtesy of Warner Brothers.
Indeed that was the situation for movies until home video opened a new and lucrative avenue for the studios in the 1970s and 1980s. Until then, to the extent the movie studios kept original film elements at all, they kept them in slipshod conditions which allowed the films to deteriorate to one degree or another. By the time demand returned for some of the better movies, restoration was necessary to have a salable product. VHS (Video Home System) tapes could skate by with no restoration because of the low resolution of the format, but laser disc was several steps above VHS in quality and created the first push to restore old films.
Laser disc never caught on the way VHS did, however, and its appeal was limited to cinema buffs. The biggest nudge toward film restoration came in the 1990s with the popularity of DVD (Digital Video Disc), an improvement in quality over VHS at about the same price for content and playback equipment. With that change in the market, movie studios saw the value in packaging their backlog of films in the new format, creating a greater need to restore at least some of those in highest demand. Since the turn of the century, high definition televisions and further improvements in home video resolution have brought the home theater experience into the mainstream, and the demand for quality restorations of old films is at a peak and will probably stay on a plateau hereafter.
There is a limit to how much detail the human eye can discern in the limited space of the typical home theater. DVD was a huge improvement over VHS, and Blu-ray was almost as big an improvement over DVD. 4K resolution is not quite as great an improvement over Blu-ray as numbers alone would suggest, simply because the law of diminishing returns starts to take effect. In the confines of a home theater, even using the best equipment, viewers are less able to discern the finer detail there on the screen. 8K resolution is overkill for all but the most dedicated home video enthusiasts with deep pockets.
Another reason for home video improvements driving film restorations less in the future is the switch by consumers from owning content on physical media, such as a Blu-ray disc, and streaming content in a rental agreement over the internet. Already the rollout of 4K discs has slowed to the point that many good old movies may never be remastered for the format. The potential sales aren’t high enough to interest the major movie studios. As to streaming 4K content, that is subject to the vagaries of the consumer’s internet connection. Some of the 4K content may not be as advertised because of the huge bandwidth requirements, and streaming true 8K content would probably require a 5G internet connection and an actual unlimited data plan from a viewer’s Internet Service Provider (ISP).
In any event, these are good times for fans of old movies. Some classic films, like director John Huston’s 1956 version of Moby Dick, which have long deserved restoration but were nonetheless neglected for whatever reason by the major studios, have been restored by smaller distributors of home video content who have determined it would be worth their time and effort. The movie studio Paramount last year restored It’s a Wonderful Life (1946) and remastered it in 4K, though in a sign of the times they have released the new version only for streaming and have not pressed discs of it. Another classic film, Life with Father (1947), awaits true restoration, and viewers should meanwhile beware the versions for sale which trumpet digital remastering or restoration.
Screenshot from Life with Father (1947), with Irene Dunne and William Powell. Photo courtesy of Warner Brothers.
Like It’s a Wonderful Life,Life with Father had also fallen into the public domain; unlike It’s a Wonderful Life, Life with Father has not attracted anew the attention of the major studios. While Paramount has lavished care on restoring It’s a WonderfulLife, slapdash outfits have been appropriating Life with Father for the sales catalog, offering horrendously bad versions of it and relying on the phrases “digitally remastered” and “restored” to dupe the ignorant. They hope naive consumers will infer that “digitally remastered” means “improved”. It means no such thing; it means only that the film has been scanned to a digital format, a necessary step in making analog movie film available for home viewing on a DVD, Blu-ray, or 4K player. “Restored” is a relative term and can mean the absolute minimum amount of work was put into it, as is usually the case with the shadier outfits.
Robert Harris worked on this 2014 restoration and remastering of the 1964 film My Fair Lady, starring Audrey Hepburn and Rex Harrison.
Check reviews online, preferably not on Amazon because the reviewers there rarely get to the nitty gritty about the quality of the transfer, and instead prefer to bloviate about the movie itself, seeing it as their chance to be an authoritative movie reviewer like Roger Ebert. Better are the reviews on news sites or websites specializing in film industry or home theater matters because they generally do mention the quality of the transfer, though consumers still have to take some of those reviews with a grain of salt when they include affiliate links to sites selling copies of the movie. Be wary during research and you’ll have less chance to regret a purchase and better enjoyment of a great old movie given the attention it deserves.
— Techly
With gentrification occurring in many old city neighborhoods across the country, there has been a rise in calls of complaint to city officials from the new, mostly white, residents about the established, mostly black and brown, residents. New residents usually make those calls to a city’s 311 line, which doesn’t automatically entail a police response, and that’s just as well because out of control police employees are just as likely to escalate a conflict between neighbors as they are to defuse it, particularly since the complainants are pointing their fingers at black and brown people.
Good Neighbours, an 1885 painting by John William Waterhouse (1849-1917). While not a depiction of an ethnically diverse gathering, still this painting conveys the notion of neighborliness.
Some white folks, but not all, understand the possibly dangerous consequences for black and brown folks of having the police intercede in even the mildest disputes. Those who do understand how it works use the police as their personal enforcers, as a blunt instrument to get their way without having to simply talk with their neighbors. Involving city officials, especially the police, ought to be the last resort, but when you are rarely the target of a blunt instrument it is easy to take the view that it is a first resort.
The new residents in gentrifying neighborhoods have little in common with the established residents, and that has much to do with their reluctance to deal with them one on one as equals. Some are intimidated by people whom they have long been instructed by the greater white society to view as likely criminals, or at least as not worthy of the benefit of a doubt. A black or brown person conducting themselves in a manner not dissimilar to a white person, for instance conducting a house inspection as part of his or her official duties or job, is far more likely to be viewed with suspicion by a white person in the vicinity, with the white person eventually calling the authorities to report those supposedly suspicious activities. The glass half full for white people in this society is almost always half empty for others.
Sesame Street has always been at the forefront in portraying amicable relations among people of different ethnicities. This clip from a 1990s episode features a version of “The People in Your Neighborhood”, a song written by Jeffrey Moss and, since the show’s inception in 1969, usually performed by Bob McGrath and a selection of Anything Muppets representing various occupations.
It seems like this society is sliding backwards, and the rhetoric and actions originating with the current presidential administration are leading the way backward. No doubt that is the meaning behind the slogan “Make America Great Again”. For a few in this society, about one third of the population, going backward appears to mean returning to the days when black and brown people were rarely seen and never heard, and then only in a subservient capacity. One thing they overlook is that in the days before home air conditioning and home theaters, people got out and about amongst their neighbors in the evenings, getting to know each other.
Turn on the captions for the printed lyrics.
Granted, ethnically mixed neighborhoods were never part of life for the upper classes, but the upper classes have always been able to afford their own way of life and rarely cared much at all how the rest of society viewed them for it. Poor and working class people have always had more day to day experience with other ethnicities, though that hasn’t implied an always peaceful coexistence. It seems now that in gentrifying neighborhoods the new residents, wealthier and usually whiter than their neighbors, don’t bother getting to know the poorer and darker people around them, and consequently they are easily disturbed by unfamiliar behavior, calling 311 out of fear or annoyance. The pattern continues until all the established residents are priced out of the neighborhood. What a shame then that the new residents come from all political stripes, some with the best intentions, and yet the ultimate effect they have on their new neighbors reflects the same backward thinking as that of those cynical, small-minded leaders now making policy in Washington, D.C., and that of their frightened, small-minded followers, calling the cops out to hassle their neighbors over every little thing.
— Vita
Air conditioning and movies – or movie theaters – go together so well that it’s hard to imagine a time without the benefits of both together. In 1902, just as movies were getting started, Willis Carrier (whose company made the political news in 2016), a mechanical engineer, invented the first modern air conditioning plant to help a Brooklyn, New York, printing company solve a paper wrinkling problem at its facility. It wasn’t until 1925 that Carrier got together with a movie theater owner to install air conditioning at the Rivoli Theater on New York City’s Times Square. It was a match meant to be, and from then on the summer, which had been the poorest season for movie theaters, became the richest as people attended movies as much for the air conditioning as for the entertainment.
When The Seven Year Itch, starring Marilyn Monroe and Tom Ewell, appeared in theaters in 1955, most houses and apartments did not have air conditioning. In the scene before this one, they leave an air conditioned movie theater after viewing Creature from the Black Lagoon, a 3D monster movie the appeal of which, for them, was probably not as great as the cool comfort of the theater itself.
Home air conditioners were still unusual in the 1950s and 1960s, but by the 1970s most homes had some form of air conditioning, whether central or window units. Movie fans no longer flocked to theaters in summer only for the sweet relief of a few hours respite from summer’s heat and humidity. People continued going to see movies in theaters in summer on account of children being out of school, and how air conditioning in theaters since the 1920s had established summer as movie season. Watching movies at home was still unsatisfactory because of small television screen sizes, low picture resolution and poor sound, and a lag of one or more years before Hollywood would release movies to television.
Meredith Willson, when he appeared on the Texaco Star Theater television program in 1967. Willson, who was born in 1902, coincidentally the same year that Willis Carrier invented modern air conditioning, had a long career spanning Broadway theater, Hollywood movies, radio, and television.
All that has changed in the past forty years, of course, starting with home video technology and the ability to either buy or rent movies for home viewing. Theaters felt the pinch, and old style movie palaces shut down, relegating the movie theater experience for the most part to shoe box multiplexes at suburban malls. Drive-in theaters, another summertime movie going experience from a bygone era, shut down along with the air conditioned movie palaces. Now in the last ten years the home theater experience, for people who can afford it (and it becomes more affordable all the time), has progressed to the point that a fair portion of movie fans feel little pulling them toward returning to theaters. Their homes are air conditioned, their televisions and sound systems have gotten bigger and better, and Hollywood releases movies for home viewing so quickly that only the most impatient fans aren’t happy to wait a little while.
The old movie palace experience was something special that can’t be matched by watching a movie at home, no matter how comfortable and technologically sophisticated circumstances at home have become. Comedies and big, crowd pleasing musicals in particular seemed to take on a frisson of excitement when viewed in a well appointed theater among other patrons who were similarly enthralled. Now that theater owners around the country have finally gotten the message and are starting to move away from the nothing special, cookie cutter mall multiplex and toward building theaters that reestablish the grandeur that is only possible outside the home theater, it is questionable whether movie fans will return.
Meredith Willson’s most famous entertainment, The Music Man. Robert Preston, shown in this scene with Buddy Hackett, starred in the long running Broadway show before doing the movie version in 1962.
Some people have had time to drop the movie going habit, for one thing, and for another there is a relatively recent technology that has come into the equation which affects their enjoyment of movies – cell phones. In the theater, cell phone users interfere with the other patrons’ enjoyment of the movie, but at home, for those people who simply can’t do without their phone for even two or three hours, then at least they’re not annoying other paying customers, and for their own enjoyment of non-stop cellular connectivity there is always the pause button on their home theater remote control. Might as well stay home then to enjoy summertime movies, and keep your cool.
― Techly
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