Updates and corrections for existing entries (amended entries reproduced below):
CITIZEN GANGSTER is an AKA for EDWIN BOYD (2011).
CONTRE TOI (Fr - 2010): This was filmed and released at 1.85:1, and has now been dropped from the filmography. Same goes for CUANDO VUELVAS A MI LADO (Sp - 1999), DOBŘE PLACENÁ PROCHÁZKA (Czech Rep - 2009) and THE FRONT LINE (S.Korea - 2011). That last title was included in the blog entry for 27 Feb 2012, but this has now been amended.
THE COOK (2008): Filmed with spherical lenses - either 35mm or HD - and cropped for a 2.39:1 release print.
CORNELIS (2010) and LES CORPS CÉLESTES (1973) were both filmed with anamorphic Panavision lenses.
The film currently listed as Daring Kung Fu Refugee is THE DARING KUNG-FU REFUGEE (1984). The name of the film's director has now been confirmed.
DITA SAXOVÁ (1967): Online clips indicate this was shot with anamorphic lenses, but I haven't been able to determine which ones were used in principal photography.
Yet another mistake in the original blog entry for 27 Feb 2012 (see THE FRONT LINE, above): The film identified as Dynamite Brothers, a 'Hong Kong' production from 1973, is actually an American film (!) directed by Al Adamson - THE DYNAMITE BROTHERS. All evidence suggests it was shot 1.85:1, so I've amended the blog entry and dropped this entry from the filmography altogether.
SALMON FISHING IN THE YEMEN (2011) was shot in Hawk Scope.
The entries for these films now look like this:
CITIZEN GANGSTER
(see: Edwin Boyd)
THE COOK
USA - 2008 - col
D: Gregg Simon
CORNELIS
Sweden - 2010 - col
D: Amir Chamdin
Panavision
LES CORPS CÉLESTES
(aka: Heavenly Bodies)
Canada/France - 1973 - col
D: Gilles Carle
Panavision
THE DARING KUNG-FU REFUGEE
傻探出更
(aka: Ninja Eliminator)
Hong Kong - 1984 - col
D: Wong Ka-hung
Anamorphic
[See also: Bionic Ninja (1986)]
DITA SAXOVÁ*
Czechoslovakia - 1967 - bw
D: Antonín Moskalyk
Anamorphic
EDWIN BOYD
(aka: Citizen Gangster)
Canada - 2011 - col
D: Nathan Morlando
Techniscope
NINJA ELIMINATOR
(see: Daring Kung-Fu Refugee, The)
SALMON FISHING IN THE YEMEN
UK - 2011 - col
D: Lasse Hallström
Hawk Scope
Friday 30 March 2012
Thursday 29 March 2012
New entries (29 Mar 2012)
More new entries for the main scope filmography at AWSM.
The entry for 7 KINGS OF HELL remains incomplete, since I was unable to confirm the name of the film's director. And unusually for a modern animated film, ZARAFA employs cel animation rather than CGI, but I was unable to confirm whether it was shot in 35mm (Super 35) or HD.
7 KINGS OF HELL**
7 พระกาฬ
(aka: U.S. Catman - Boxer Blow)
Thailand - 1983 - col
Anamorphic
AUGUST
USA - 2011 - col
D: Eldar Rapaport
DANCING QUEEN
댄싱퀸
S.Korea - 2012 - col
D: Lee Seok-hoon
HEROIC DETECTIVE
神探·李奧
Hong Kong - 2010 - col
D: Jay Chou Kit-lun
JOYFUL REUNION
飲食男女2
Taiwan/China - 2012 - col
D: Tsao Jui-yuan
THE SECOND WOMAN
情謎
China/Hong Kong - 2012 - col
D: Carol Lai Miu-suet
TABLOID
USA - 2010 - col
D: Errol Morris
U.S, CATMAN - BOXER BLOW
(see: 7 Kings of Hell)
THE WATERMEN
USA - 2011 - col
D: Matt L. Lockhart
ZARAFA*
France/Belgium - 2012 - col
D: Rémi Bezançon, Jean-Christophe Lie
Cel animation
The entry for 7 KINGS OF HELL remains incomplete, since I was unable to confirm the name of the film's director. And unusually for a modern animated film, ZARAFA employs cel animation rather than CGI, but I was unable to confirm whether it was shot in 35mm (Super 35) or HD.
7 KINGS OF HELL**
7 พระกาฬ
(aka: U.S. Catman - Boxer Blow)
Thailand - 1983 - col
Anamorphic
AUGUST
USA - 2011 - col
D: Eldar Rapaport
DANCING QUEEN
댄싱퀸
S.Korea - 2012 - col
D: Lee Seok-hoon
HEROIC DETECTIVE
神探·李奧
Hong Kong - 2010 - col
D: Jay Chou Kit-lun
JOYFUL REUNION
飲食男女2
Taiwan/China - 2012 - col
D: Tsao Jui-yuan
THE SECOND WOMAN
情謎
China/Hong Kong - 2012 - col
D: Carol Lai Miu-suet
TABLOID
USA - 2010 - col
D: Errol Morris
U.S, CATMAN - BOXER BLOW
(see: 7 Kings of Hell)
THE WATERMEN
USA - 2011 - col
D: Matt L. Lockhart
ZARAFA*
France/Belgium - 2012 - col
D: Rémi Bezançon, Jean-Christophe Lie
Cel animation
Monday 26 March 2012
Updates (26 Mar 2012)
Brief details for changes to existing entries at the main scope filmography, with fuller details below:
AKAME 48 WATERFALLS (2003): Online clips confirm this was shot in an unidentified anamorphic format.
ALLES BOB! (1998): This is a 'CropScope' film (ie. shot with spherical lenses and cropped for a 2.39:1 release print). The copyright year has been changed from 1999 to 1998. Other 'CropScope' films listed with an asterisk (indicating the photographic process hadn't been identified until now) are as follows: APAFOLD, AS IF I AM NOT THERE, BACHELORETTE, BROKEN WENDAHL, BROWNIAN MOVEMENT and BUTTER.
THE ALTARPIECE MAKER (1969): Definitely shot with anamorphic lenses, but the opening titles don't mention the photographic format, and neither do contemporary ad-mats.
ANGRY TIGER (1973): The Chinese title has been confirmed at the Hong Kong Movie Database (HKMDb). The copyright year has also been confirmed (there had been some doubt about it until now).
THE APPARITION: The copyright year has been changed from 2011 to 2012.
ATOLLADERO (1995): The film's closing credits confirm it was shot in Panavision.
L'AVOCAT (Fr - 2010): This was shot with spherical lenses for a 1.85:1 release print, so the entry has now been dropped from the filmog.
BEFORE AND AFTER VICTORY (1966): Shot with anamorphic lenses, though the format remains unidentified.
The film currently listed as BLOOD OF DRAGON PERIL was released in its native S.Korea as A MAN WITH SEVEN FACES, which now becomes the primary title (Dragon Peril becomes an AKA). The Korean title has also been added to the entry. The director has been properly identified ('Rocky Man', indeed!), and the copyright year changed from 1980 to 1978.
BORN OF FIRE: According to an update at the HKMDb, this is a Taiwanese production, not Hong Kong as currently listed, and the copyright year is 1980, not 1975. The original Chinese title, however, has still not been identified.
The film currently listed as Budo: Grand Masters of the Martial Arts (HK - 1982) is actually BUDO: THE ART OF KILLING [永遠なる武道], a Japanese film produced in 1979 and released in the US as BUDO. However, it appears to have been shot in the Academy ratio (1.37:1), so I've dropped it from the filmography.
I listed ONE WAY TRIP (Swz/Austria - 2011) as a scope movie in the entry for 24 Mar 2012, but this turns out to have been a mistake, since it was shot and released at 1.85:1. That entry has since been amended.
The English title for TÊTE DE TURC (2010) is TURK'S HEAD.
The entries for all the films in this update now run as follows:
AKAME 48 WATERFALLS*
赤目四十八滝心中未遂
Japan - 2003 - col
D: Genjiro Arato
Anamorphic
ALLES BOB!
(aka: All About Bob)
Germany - 1998 - col
D: Otto Alexander Jahrreiss
THE ALTARPIECE MAKER*
Иконостасът
(aka: The Icon Stand)
Bulgaria - 1969 - bw
D: Christo Christov, Todor Dinov
Anamorphic
ANGRY TIGER
猛蛟閗地蛇龍女
(aka: Spirits of Bruce Lee)
Hong Kong - 1973 - col
D: Heung Ling
Anamorphic
APAFOLD
(aka: Father's Acre)
Hungary - 2009 - col
D: Victor Oszkar Nagy
THE APPARITION
USA - 2012 - col
D: Todd Lincoln
J-D-C Scope / Panavision
ATOLLADERO
Spain - 1995 - col
D: Óscar Aibar
Panavision
BACHELORETTE
USA - 2012 - col
D: Leslye Headland
BEFORE AND AFTER VICTORY*
До победата и по неа
Yugoslavia - 1966 - bw
D: Živorad 'Zika' Mitrović
Anamorphic
BLOOD OF DRAGON PERIL
(see: Man With Seven Faces, A)
BORN OF FIRE*
Taiwan - 1980 - col
D: Ulysses Au-yeung Jun
Anamorphic
BROKEN WENDAHL
USA - 2005 - col
D: Raul Gonzo
BROWNIAN MOVEMENT
Netherlands/Germany/Belgium - 2010 - col
D: Nanouk Leopold
BUTTER
USA - 2011 - col
D: Jim Field Smith
A MAN WITH SEVEN FACES
각시탈 철면객
(aka: Blood of Dragon Peril)
S.Korea - 1978 - col
D: Kim Seon-gyeong [as: Rocky Man]
Anamorphic
TÊTE DE TURC
(aka: Turk's Head)
France - 2010 - col
D: Pascal Elbé
Panavision
TURK'S HEAD
(see: Tête de Turc)
AKAME 48 WATERFALLS (2003): Online clips confirm this was shot in an unidentified anamorphic format.
ALLES BOB! (1998): This is a 'CropScope' film (ie. shot with spherical lenses and cropped for a 2.39:1 release print). The copyright year has been changed from 1999 to 1998. Other 'CropScope' films listed with an asterisk (indicating the photographic process hadn't been identified until now) are as follows: APAFOLD, AS IF I AM NOT THERE, BACHELORETTE, BROKEN WENDAHL, BROWNIAN MOVEMENT and BUTTER.
THE ALTARPIECE MAKER (1969): Definitely shot with anamorphic lenses, but the opening titles don't mention the photographic format, and neither do contemporary ad-mats.
ANGRY TIGER (1973): The Chinese title has been confirmed at the Hong Kong Movie Database (HKMDb). The copyright year has also been confirmed (there had been some doubt about it until now).
THE APPARITION: The copyright year has been changed from 2011 to 2012.
ATOLLADERO (1995): The film's closing credits confirm it was shot in Panavision.
L'AVOCAT (Fr - 2010): This was shot with spherical lenses for a 1.85:1 release print, so the entry has now been dropped from the filmog.
BEFORE AND AFTER VICTORY (1966): Shot with anamorphic lenses, though the format remains unidentified.
The film currently listed as BLOOD OF DRAGON PERIL was released in its native S.Korea as A MAN WITH SEVEN FACES, which now becomes the primary title (Dragon Peril becomes an AKA). The Korean title has also been added to the entry. The director has been properly identified ('Rocky Man', indeed!), and the copyright year changed from 1980 to 1978.
BORN OF FIRE: According to an update at the HKMDb, this is a Taiwanese production, not Hong Kong as currently listed, and the copyright year is 1980, not 1975. The original Chinese title, however, has still not been identified.
The film currently listed as Budo: Grand Masters of the Martial Arts (HK - 1982) is actually BUDO: THE ART OF KILLING [永遠なる武道], a Japanese film produced in 1979 and released in the US as BUDO. However, it appears to have been shot in the Academy ratio (1.37:1), so I've dropped it from the filmography.
I listed ONE WAY TRIP (Swz/Austria - 2011) as a scope movie in the entry for 24 Mar 2012, but this turns out to have been a mistake, since it was shot and released at 1.85:1. That entry has since been amended.
The English title for TÊTE DE TURC (2010) is TURK'S HEAD.
The entries for all the films in this update now run as follows:
AKAME 48 WATERFALLS*
赤目四十八滝心中未遂
Japan - 2003 - col
D: Genjiro Arato
Anamorphic
ALLES BOB!
(aka: All About Bob)
Germany - 1998 - col
D: Otto Alexander Jahrreiss
THE ALTARPIECE MAKER*
Иконостасът
(aka: The Icon Stand)
Bulgaria - 1969 - bw
D: Christo Christov, Todor Dinov
Anamorphic
ANGRY TIGER
猛蛟閗地蛇龍女
(aka: Spirits of Bruce Lee)
Hong Kong - 1973 - col
D: Heung Ling
Anamorphic
APAFOLD
(aka: Father's Acre)
Hungary - 2009 - col
D: Victor Oszkar Nagy
THE APPARITION
USA - 2012 - col
D: Todd Lincoln
J-D-C Scope / Panavision
ATOLLADERO
Spain - 1995 - col
D: Óscar Aibar
Panavision
BACHELORETTE
USA - 2012 - col
D: Leslye Headland
BEFORE AND AFTER VICTORY*
До победата и по неа
Yugoslavia - 1966 - bw
D: Živorad 'Zika' Mitrović
Anamorphic
BLOOD OF DRAGON PERIL
(see: Man With Seven Faces, A)
BORN OF FIRE*
Taiwan - 1980 - col
D: Ulysses Au-yeung Jun
Anamorphic
BROKEN WENDAHL
USA - 2005 - col
D: Raul Gonzo
BROWNIAN MOVEMENT
Netherlands/Germany/Belgium - 2010 - col
D: Nanouk Leopold
BUTTER
USA - 2011 - col
D: Jim Field Smith
A MAN WITH SEVEN FACES
각시탈 철면객
(aka: Blood of Dragon Peril)
S.Korea - 1978 - col
D: Kim Seon-gyeong [as: Rocky Man]
Anamorphic
TÊTE DE TURC
(aka: Turk's Head)
France - 2010 - col
D: Pascal Elbé
Panavision
TURK'S HEAD
(see: Tête de Turc)
Sunday 25 March 2012
New entries and updates (25 Mar 2012)
New entries:
THE MAN INSIDE
UK - 2012 - col
D: Dan Turner
RIKKI OG MÆNDENE
Denmark - 1962 - col
D: Lisbeth Movin, Lau Lauritzen Jr.
ASA-Screen
Lars-Axel Lundblad pointed out the existence of RIKKI OG MÆNDENE (above), and asked if I'd ever heard of the photographic process mentioned in contemporary ad-mats, ASA-Screen. The entry for the film at the Danish Film Institute's online database indicates the film was presented in scope (or 'cinemasc', as they have it!), so ASA-Screen would appear to be a bona fide process. Either that, or it's nothing more than a fake trade name conjured by marketeers at ASA studios as a cover for other anamorphic lenses utilised during principal photography. My thanks to Lars-Axel for pointing me in the direction of this relatively obscure title.
THE MAN INSIDE
UK - 2012 - col
D: Dan Turner
RIKKI OG MÆNDENE
Denmark - 1962 - col
D: Lisbeth Movin, Lau Lauritzen Jr.
ASA-Screen
Lars-Axel Lundblad pointed out the existence of RIKKI OG MÆNDENE (above), and asked if I'd ever heard of the photographic process mentioned in contemporary ad-mats, ASA-Screen. The entry for the film at the Danish Film Institute's online database indicates the film was presented in scope (or 'cinemasc', as they have it!), so ASA-Screen would appear to be a bona fide process. Either that, or it's nothing more than a fake trade name conjured by marketeers at ASA studios as a cover for other anamorphic lenses utilised during principal photography. My thanks to Lars-Axel for pointing me in the direction of this relatively obscure title.
Saturday 24 March 2012
New entries (24 Mar 2012)
If you've already downloaded it in Rich Text format, you can add these new entries to the main scope filmography at the American Widescreen Museum (AWSM):
ANOTHER WOMAN'S LIFE
(see: Vie d'une Autre, La)
THE HOST
USA - 2013 - col
D: Andrew Niccol
THE LIFE OF ANOTHER
(see: Vie d'une Autre, La)
NOW IS GOOD
UK - 2012 - col
D: Ol Parker
ONE HUNDRED MORNINGS
Ireland - 2009 - col
D: Conor Horgan
PUSHER
UK - 2012 - col
D: Luis Prieto
SINS OF THE FATHER
UK - 2011 - col
D: Donal MacIntyre
LA VIE D'UNE AUTRE
(aka: Another Woman's Life)
(aka: The Life of Another)
France/Luxembourg/Belgium - 2012 - col
D: Sylvie Testud
Hawk Scope (HD)
Also, Gary Couzens wrote to let me know that JOANNA (UK - 1968) contains a number of black and white sequences, so I've amended the entry as follows:
JOANNA
UK - 1968 - col and bw
D: Michael Sarne
Panavision
ANOTHER WOMAN'S LIFE
(see: Vie d'une Autre, La)
THE HOST
USA - 2013 - col
D: Andrew Niccol
THE LIFE OF ANOTHER
(see: Vie d'une Autre, La)
NOW IS GOOD
UK - 2012 - col
D: Ol Parker
ONE HUNDRED MORNINGS
Ireland - 2009 - col
D: Conor Horgan
PUSHER
UK - 2012 - col
D: Luis Prieto
SINS OF THE FATHER
UK - 2011 - col
D: Donal MacIntyre
LA VIE D'UNE AUTRE
(aka: Another Woman's Life)
(aka: The Life of Another)
France/Luxembourg/Belgium - 2012 - col
D: Sylvie Testud
Hawk Scope (HD)
Also, Gary Couzens wrote to let me know that JOANNA (UK - 1968) contains a number of black and white sequences, so I've amended the entry as follows:
JOANNA
UK - 1968 - col and bw
D: Michael Sarne
Panavision
Wednesday 21 March 2012
Updates and new entries (21 Mar 2012)
More new entries and updates for the main scope filmography at AWSM:
LOVE IN THE BUFF
春嬌與志明
Hong Kong/China - 2012 - col
D: Edmond Pang Ho-cheung
NIGHTFALL
大追捕
Hong Kong - 2012 - col
D: Roy Chow Hin-yeung
SMALL APARTMENTS
USA - 2012 - col
D: Jonas Âkerlund
THIS IS NOT A MOVIE
Mexico - 2011 - col
D: Olallo Rubio
WILD BILL
UK - 2011 - col
D: Dexter Fletcher
Also, the film currently listed as CHINESE HERCULES (HK - 1973) was originally released with the Hong Kong-English title FREEDOM STRIKES A BLOW. Until now, Freedom was listed as an AKA, but it now becomes the film's primary title, as follows:
CHINESE HERCULES
(see: Freedom Strikes a Blow)
A DUEL OF HARBOUR
(see: Freedom Strikes a Blow)
FREEDOM STRIKES A BLOW
碼頭大決鬥
(aka: Chinese Hercules)
(aka: A Duel of Harbour)
Hong Kong - 1973 - col
D: Huang Ta
Anamorphic
LOVE IN THE BUFF
春嬌與志明
Hong Kong/China - 2012 - col
D: Edmond Pang Ho-cheung
NIGHTFALL
大追捕
Hong Kong - 2012 - col
D: Roy Chow Hin-yeung
SMALL APARTMENTS
USA - 2012 - col
D: Jonas Âkerlund
THIS IS NOT A MOVIE
Mexico - 2011 - col
D: Olallo Rubio
WILD BILL
UK - 2011 - col
D: Dexter Fletcher
Also, the film currently listed as CHINESE HERCULES (HK - 1973) was originally released with the Hong Kong-English title FREEDOM STRIKES A BLOW. Until now, Freedom was listed as an AKA, but it now becomes the film's primary title, as follows:
CHINESE HERCULES
(see: Freedom Strikes a Blow)
A DUEL OF HARBOUR
(see: Freedom Strikes a Blow)
FREEDOM STRIKES A BLOW
碼頭大決鬥
(aka: Chinese Hercules)
(aka: A Duel of Harbour)
Hong Kong - 1973 - col
D: Huang Ta
Anamorphic
New entries for Large Format section (21 Mar 2012)
The following items belong in the IMAX list at the 'VistaVision and IMAX' section of the filmography, and all were optimised for a 1.44:1 aspect ratio:
FLY ME TO THE MOON
USA - 2008 - col and 3-D
D: Ben Stassen
nWave 3-D
[CGI animated film, configured in post for LF exhibition, running 50 minutes. The 'regular' version was released theatrically in 35mm and digital format, running 84 minutes, with a 1.85:1 aspect ratio]
GHOSTS OF THE ABYSS
USA - 2003 - col and 3-D
D: James Cameron
Reality Camera System
[Shot with HD cameras and configured in post for LF exhibition. Two versions of the film were released - a short print running 61 minutes, and a longer version running 91 minutes]
QUANTUM QUEST: A CASSINI SPACE ODYSSEY
USA/Taiwan - 2009 - col and 3-D
D: Harry Kloor, Dan St. Pierre
Stereoscopic CGI animation
[Combines NASA space footage with CGI animation, configured in 70mm for LF exhibition]
FLY ME TO THE MOON
USA - 2008 - col and 3-D
D: Ben Stassen
nWave 3-D
[CGI animated film, configured in post for LF exhibition, running 50 minutes. The 'regular' version was released theatrically in 35mm and digital format, running 84 minutes, with a 1.85:1 aspect ratio]
GHOSTS OF THE ABYSS
USA - 2003 - col and 3-D
D: James Cameron
Reality Camera System
[Shot with HD cameras and configured in post for LF exhibition. Two versions of the film were released - a short print running 61 minutes, and a longer version running 91 minutes]
QUANTUM QUEST: A CASSINI SPACE ODYSSEY
USA/Taiwan - 2009 - col and 3-D
D: Harry Kloor, Dan St. Pierre
Stereoscopic CGI animation
[Combines NASA space footage with CGI animation, configured in 70mm for LF exhibition]
Monday 19 March 2012
Updates (19 Mar 2012)
Updates for existing entries at the main scope filmography at AWSM:
• The copyright year for the Thai film BUTTERFLIES AND FLOWERS has been changed from 1986 to 1985. Also, online clips indicate the film was shot with anamorphic lenses. The entry now reads as follows:
BUTTERFLIES AND FLOWERS
ผีเสื้อและดอกไม้
Thailand - 1985 - col
D: Euthana Mukdanasit
Anamorphic
• I've added new info to the entry for TALE OF THE MUMMY (USA/Lux/UK - 1988) which reads: "The version entitled TALOS THE MUMMY represents an alternate cut, approved by the director, and was made widely available outside the US".
• Jeffry L. Johnson contacted me to clarify details for two Large Format (LF) films in the 'VistaVision and IMAX' section. The wording in the Intro to the IMAX list appears to suggest the filmog only includes feature films shot on 15- or 8-perf 65mm film, but this isn't the case. The list also allows for films that were designed for LF exhibition from the outset, regardless of origination format (whether 65mm, 35mm, HD or digital). As such, I've amended the Intro to this section, as follows:
"NB. Over the years, a number of commercial films have been shot in 35mm and/or HD and 'blown up' for release in IMAX cinemas, though the Large Format (LF) versions are purely incidental to each film's 35mm and digital engagements (the primary release prints). The following films were either shot with IMAX (or other LF) cameras, or were shot in 'smaller' gauges and specifically tailored for Large Format exhibition from the outset, regardless of photographic origination (whether 35mm, HD or digital). All titles were optimised for 1.44:1 aspect ratio".
As a consequence of this change, and due to new info either provided by Jeffry or occasioned by his query, I've also amended two of the entries in this particular section, as follows:
For PROUD AMERICAN (USA - 2008), I've added the following note: "Shot primarily in 15-perf 65mm, with some material in 35mm, configured in 70mm for LF exhibition. Two versions of the film went into wide release - a feature length print running 104 minutes, and a much shorter edition running 47 minutes".
And for THE WILDEST DREAM: CONQUEST OF EVEREST (USA - 2010), I've added the following note: "Shot in a combination of 35mm, HD and digital formats, then reconfigured in post for LF exhibition (15-perf 70mm)".
My thanks to Jeffry for bringing these items to my attention.
• The copyright year for the Thai film BUTTERFLIES AND FLOWERS has been changed from 1986 to 1985. Also, online clips indicate the film was shot with anamorphic lenses. The entry now reads as follows:
BUTTERFLIES AND FLOWERS
ผีเสื้อและดอกไม้
Thailand - 1985 - col
D: Euthana Mukdanasit
Anamorphic
• I've added new info to the entry for TALE OF THE MUMMY (USA/Lux/UK - 1988) which reads: "The version entitled TALOS THE MUMMY represents an alternate cut, approved by the director, and was made widely available outside the US".
• Jeffry L. Johnson contacted me to clarify details for two Large Format (LF) films in the 'VistaVision and IMAX' section. The wording in the Intro to the IMAX list appears to suggest the filmog only includes feature films shot on 15- or 8-perf 65mm film, but this isn't the case. The list also allows for films that were designed for LF exhibition from the outset, regardless of origination format (whether 65mm, 35mm, HD or digital). As such, I've amended the Intro to this section, as follows:
"NB. Over the years, a number of commercial films have been shot in 35mm and/or HD and 'blown up' for release in IMAX cinemas, though the Large Format (LF) versions are purely incidental to each film's 35mm and digital engagements (the primary release prints). The following films were either shot with IMAX (or other LF) cameras, or were shot in 'smaller' gauges and specifically tailored for Large Format exhibition from the outset, regardless of photographic origination (whether 35mm, HD or digital). All titles were optimised for 1.44:1 aspect ratio".
As a consequence of this change, and due to new info either provided by Jeffry or occasioned by his query, I've also amended two of the entries in this particular section, as follows:
For PROUD AMERICAN (USA - 2008), I've added the following note: "Shot primarily in 15-perf 65mm, with some material in 35mm, configured in 70mm for LF exhibition. Two versions of the film went into wide release - a feature length print running 104 minutes, and a much shorter edition running 47 minutes".
And for THE WILDEST DREAM: CONQUEST OF EVEREST (USA - 2010), I've added the following note: "Shot in a combination of 35mm, HD and digital formats, then reconfigured in post for LF exhibition (15-perf 70mm)".
My thanks to Jeffry for bringing these items to my attention.
Saturday 17 March 2012
Updates and new entries (17 Mar 2012)
As always, the following new entries and updates can be added to the main scope filmography at AWSM by anyone who has downloaded the Rich Text copies of the list:
COUPLES
커플즈
S.Korea - 2011 - col
D: Jeong Yong-ki
ESCAPE FROM TIBET
(see: Wie Zwischen Himmel und Erde)
THE FINAL BLOW
결정적 한방
S.Korea - 2011 - col
D: Park Joong-goo
GOING BY THE BOOK
바르게 살자
S.Korea - 2007 - col
D: Ra Hee-chan
DAS HAUS DER KROKODILE
(aka: Victor and the Secret of Crocodile Mansion)
Germany - 2012 - col
D: Philipp Stennert, Cyrill Boss
KADDISCH FÜR EINEN FREUND
Germany - 2011 - col
D: Leo Khasin
THE MELODY
รักทำนองนี้
Thailand - 2012 - col
D: Tossapol Srisukontarat
PANYA RAENU
ปัญญา เรณู
Thailand - 2011 - col
D: Bin Banluerit
PANYA RAENU 2
ปัญญาเรณู 2
Thailand - 2012 - col
D: Bin Banluerit
PERFECT GAME
퍼펙트 게임
S.Korea - 2011 - col
D: Park Hee-gon
RAK AOW YU
รักเอาอยู่
Thailand - 2012 - col
D: Poj Arnon
RAK SUD TEEN
รักสุดทีน
Thailand - 2012 - col
D: Paripan Watcharanon
ROUND IRELAND WITH A FRIDGE
UK - 2010 - col
D: Ed Bye
TOO MANY VILLAINS
악인은 너무 많다
S.Korea - 2011 - col
D: Kim Harry
VICTOR AND THE SECRET OF CROCODILE MANSION
(see: Haus der Krokodile, Das)
WIE ZWISCHEN HIMMEL UND ERDE
(aka: Escape from Tibet)
Germany/Switzerland - 2011 - col
D: Maria Blumencron
And adjustments for a couple of existing entries:
The copyright year for the US film CARRIERS has now been changed from 2009 to 2008.
The English-language title of DE TU VENTANA A LA MÍA (Sp - 2011) is CHRYSALIS.
COUPLES
커플즈
S.Korea - 2011 - col
D: Jeong Yong-ki
ESCAPE FROM TIBET
(see: Wie Zwischen Himmel und Erde)
THE FINAL BLOW
결정적 한방
S.Korea - 2011 - col
D: Park Joong-goo
GOING BY THE BOOK
바르게 살자
S.Korea - 2007 - col
D: Ra Hee-chan
DAS HAUS DER KROKODILE
(aka: Victor and the Secret of Crocodile Mansion)
Germany - 2012 - col
D: Philipp Stennert, Cyrill Boss
KADDISCH FÜR EINEN FREUND
Germany - 2011 - col
D: Leo Khasin
THE MELODY
รักทำนองนี้
Thailand - 2012 - col
D: Tossapol Srisukontarat
PANYA RAENU
ปัญญา เรณู
Thailand - 2011 - col
D: Bin Banluerit
PANYA RAENU 2
ปัญญาเรณู 2
Thailand - 2012 - col
D: Bin Banluerit
PERFECT GAME
퍼펙트 게임
S.Korea - 2011 - col
D: Park Hee-gon
RAK AOW YU
รักเอาอยู่
Thailand - 2012 - col
D: Poj Arnon
RAK SUD TEEN
รักสุดทีน
Thailand - 2012 - col
D: Paripan Watcharanon
ROUND IRELAND WITH A FRIDGE
UK - 2010 - col
D: Ed Bye
TOO MANY VILLAINS
악인은 너무 많다
S.Korea - 2011 - col
D: Kim Harry
VICTOR AND THE SECRET OF CROCODILE MANSION
(see: Haus der Krokodile, Das)
WIE ZWISCHEN HIMMEL UND ERDE
(aka: Escape from Tibet)
Germany/Switzerland - 2011 - col
D: Maria Blumencron
And adjustments for a couple of existing entries:
The copyright year for the US film CARRIERS has now been changed from 2009 to 2008.
The English-language title of DE TU VENTANA A LA MÍA (Sp - 2011) is CHRYSALIS.
Thursday 15 March 2012
New entries (15 Mar 2012)
New entries for the main scope filmography at AWSM:
BEAR
USA - 2010 - col
D: John Rebel
THE BIG BANG
USA - 2011 - col
D: Jon Knautz
CHANCE
Panama - 2009 - col
D: Abner Benaim
DEAD SPACE: AFTERMATH
USA (V) - 2011 - col
D: Mike Disa
CGI Widescreen
DRAGON HUNTER
USA (V) - 2009 - col
D: Stephen Shimek
FREERUNNER
USA - 2010 - col
D: Lawrence Silverstein
GOAT STORY
(see: Kozí Príbeh)
L’ÎLE AU(X) TRÉSOR(S)
(aka: Treasured Island)
France - 2007 - col
D: Alain Berbérian
LES INFIDÈLES
(aka: The Players)
France - 2012 - col
D: Fred Cavayé, Michel Hazanavicius, Eric Lartigau, Emmanuelle Bercot, Alexandre Courtes, Jean Dujardin, Gilles Lellouche
KOZÍ PRÍBEH
(aka: Goat Story)
Czech Republic - 2008 - col and 3-D
D: Jan Tománek
CGI Widescreen
Stereoscopic CGI animation
THE MAGISTICAL
USA - 2008 - col
D: Danny Oakley, John Cernak
CGI Widescreen
MASS DESTRUCTION
Germany - 2010 - col
D: Cay Hume
MYSTERIA
USA - 2011 - col
D: Lucius C. Kuert
ON THE ROAD
USA/UK/France - 2012 - col
D: Walter Salles
THE PLAYERS
(see: Infidèles, L')
SINISTER
USA - 2012 - col
D: Scott Derrickson
TREASURED ISLAND
(see: Île au(x) Trésor(s), L')
BEAR
USA - 2010 - col
D: John Rebel
THE BIG BANG
USA - 2011 - col
D: Jon Knautz
CHANCE
Panama - 2009 - col
D: Abner Benaim
DEAD SPACE: AFTERMATH
USA (V) - 2011 - col
D: Mike Disa
CGI Widescreen
DRAGON HUNTER
USA (V) - 2009 - col
D: Stephen Shimek
FREERUNNER
USA - 2010 - col
D: Lawrence Silverstein
GOAT STORY
(see: Kozí Príbeh)
L’ÎLE AU(X) TRÉSOR(S)
(aka: Treasured Island)
France - 2007 - col
D: Alain Berbérian
LES INFIDÈLES
(aka: The Players)
France - 2012 - col
D: Fred Cavayé, Michel Hazanavicius, Eric Lartigau, Emmanuelle Bercot, Alexandre Courtes, Jean Dujardin, Gilles Lellouche
KOZÍ PRÍBEH
(aka: Goat Story)
Czech Republic - 2008 - col and 3-D
D: Jan Tománek
CGI Widescreen
Stereoscopic CGI animation
THE MAGISTICAL
USA - 2008 - col
D: Danny Oakley, John Cernak
CGI Widescreen
MASS DESTRUCTION
Germany - 2010 - col
D: Cay Hume
MYSTERIA
USA - 2011 - col
D: Lucius C. Kuert
ON THE ROAD
USA/UK/France - 2012 - col
D: Walter Salles
THE PLAYERS
(see: Infidèles, L')
SINISTER
USA - 2012 - col
D: Scott Derrickson
TREASURED ISLAND
(see: Île au(x) Trésor(s), L')
Updates (15 Mar 2012)
Dan Sherlock has provided evidence (namely a contemporary document from Panavision sources) that confirms both THE GAZEBO (USA - 1959) and STRANGERS WHEN WE MEET (USA - 1960) were shot with Panavision anamorphic lenses, rather than CinemaScope (as they are currently listed). I've amended both entries, and added the following note: "Photographed with Panavision lenses, though promoted as a CinemaScope production".
This practice wasn't uncommon at the time, as a glance through some of the older titles at the main scope filmography can attest. Some films promoted as 'CinemaScope' productions were actually shot with other anamorphic lenses - mostly Panavision, but sometimes others, too. Significant titles in this category include A HOLE IN THE HEAD (USA - 1959) and SWEET BIRD OF YOUTH (USA - 1962), both shot in Panavision, regardless of what their contemporary ad-mats might say! THE BLUE MAX (USA - 1966) was shot in Franscope, though credited as a CinemaScope film, and so on and so forth. This complex state of affairs appears to have developed because the production companies involved in the making of these films were bound by legal and contractual obligations to 20th Century Fox, which owned the CinemaScope copyright. All well and good, but almost sixty years later, it tends to complicate things for anyone trying to compile a filmography like this one!
One more complication: Some of these early 'scope' films were shot in the equivalent of Superscope 235 or Super 35, despite being promoted as 'CinemaScope'. It's easy enough to distinguish them from one another, as webmaster Martin Hart recently commented in an e-mail:
"Any MGM black & white CinemaScope film that had a credit stating 'Process lenses by Panavision' were shot in the Super 35 format. A credit stating "Photographic lenses by Panavision' indicates the use of Panavision anamorphic camera lenses."
This practice wasn't uncommon at the time, as a glance through some of the older titles at the main scope filmography can attest. Some films promoted as 'CinemaScope' productions were actually shot with other anamorphic lenses - mostly Panavision, but sometimes others, too. Significant titles in this category include A HOLE IN THE HEAD (USA - 1959) and SWEET BIRD OF YOUTH (USA - 1962), both shot in Panavision, regardless of what their contemporary ad-mats might say! THE BLUE MAX (USA - 1966) was shot in Franscope, though credited as a CinemaScope film, and so on and so forth. This complex state of affairs appears to have developed because the production companies involved in the making of these films were bound by legal and contractual obligations to 20th Century Fox, which owned the CinemaScope copyright. All well and good, but almost sixty years later, it tends to complicate things for anyone trying to compile a filmography like this one!
One more complication: Some of these early 'scope' films were shot in the equivalent of Superscope 235 or Super 35, despite being promoted as 'CinemaScope'. It's easy enough to distinguish them from one another, as webmaster Martin Hart recently commented in an e-mail:
"Any MGM black & white CinemaScope film that had a credit stating 'Process lenses by Panavision' were shot in the Super 35 format. A credit stating "Photographic lenses by Panavision' indicates the use of Panavision anamorphic camera lenses."
Saturday 10 March 2012
New entries (10 Mar 2012)
New entries for the main scope filmography:
HARD BOILED SWEETS
UK - 2012 - col
D: David L.G. Hughes
MIXED KEBAB
Belgium/Turkey - 2012 - col
D: Guy Lee Thys
NEIGHBORHOOD WATCH
USA - 2012 - col
D: Akiva Schaffer
PAYBACK SEASON
UK - 2012 - col
D: Danny Donnelly
HARD BOILED SWEETS
UK - 2012 - col
D: David L.G. Hughes
MIXED KEBAB
Belgium/Turkey - 2012 - col
D: Guy Lee Thys
NEIGHBORHOOD WATCH
USA - 2012 - col
D: Akiva Schaffer
PAYBACK SEASON
UK - 2012 - col
D: Danny Donnelly
Wednesday 7 March 2012
Updates and new entries (7 Mar 2012)
New titles for the main scope filmography:
CANELA
(aka: Cinnamon)
Mexico - 2012 - col
D: Jordi Mariscal
CINNAMON
(see: Canela)
ESCAPE [2012]
(see: Flukt)
FLUKT
(aka: Escape)
Norway - 2012 - col
D: Roar Uthaug
GREETINGS FROM TIM BUCKLEY
USA - 2012 - col
D: Daniel Algrant
Techniscope
PRAY FOR DEATH
USA - 1985 - col
D: Gordon Hessler
Panavision
THAT'S MY BOY
USA - 2012 - col
D: Sean Anders, John Morris
TWO LITTLE BOYS
New Zealand - 2012 - col
D: Robert Sarkies
wish you were here.
Australia - 2011 - col
D: Kieran Darcy-Smith
And one update for an existing entry:
The entry for STELLA DAYS (Ire - 2011) currently sports an asterisk (*), since the shooting format hadn't been identified until now. It turns out the film was shot with HD cameras and cropped in post from 1.78:1 for a 2.39:1 release print. The asterisk is now dropped.
CANELA
(aka: Cinnamon)
Mexico - 2012 - col
D: Jordi Mariscal
CINNAMON
(see: Canela)
ESCAPE [2012]
(see: Flukt)
FLUKT
(aka: Escape)
Norway - 2012 - col
D: Roar Uthaug
GREETINGS FROM TIM BUCKLEY
USA - 2012 - col
D: Daniel Algrant
Techniscope
PRAY FOR DEATH
USA - 1985 - col
D: Gordon Hessler
Panavision
THAT'S MY BOY
USA - 2012 - col
D: Sean Anders, John Morris
TWO LITTLE BOYS
New Zealand - 2012 - col
D: Robert Sarkies
wish you were here.
Australia - 2011 - col
D: Kieran Darcy-Smith
And one update for an existing entry:
The entry for STELLA DAYS (Ire - 2011) currently sports an asterisk (*), since the shooting format hadn't been identified until now. It turns out the film was shot with HD cameras and cropped in post from 1.78:1 for a 2.39:1 release print. The asterisk is now dropped.
Monday 5 March 2012
New entries (5 Mar 2012)
New entries for the main scope filmography:
COLUMBUS CIRCLE
USA - 2012 - col
D: George Gallo
THE FOURTH STATE
(see: Vierte Macht, Die)
GHOST GRADUATION
(see: Promoción Fantasma)
MY BROTHER THE DEVIL
UK - 2012 - col
D: Sally El Hosaini
PROMOCIÓN FANTASMA
(aka: Ghost Graduation)
Spain - 2012 - col
D: Javier Ruiz Caldera
DIE VIERTE MACHT
(aka: The Fourth State)
Germany - 2012 - col
D: Dennis Gansel
COLUMBUS CIRCLE
USA - 2012 - col
D: George Gallo
THE FOURTH STATE
(see: Vierte Macht, Die)
GHOST GRADUATION
(see: Promoción Fantasma)
MY BROTHER THE DEVIL
UK - 2012 - col
D: Sally El Hosaini
PROMOCIÓN FANTASMA
(aka: Ghost Graduation)
Spain - 2012 - col
D: Javier Ruiz Caldera
DIE VIERTE MACHT
(aka: The Fourth State)
Germany - 2012 - col
D: Dennis Gansel
Updates (5 Mar 2012)
Updates and corrections for entries in the main scope filmography:
The copyright year for Swedish film BLOOD RUNS COLD has been changed from 2011 to 2010, based on my own viewing of the UK DVD version.
I've added a note to the entry for MASTER OF THE FLYING GUILLOTINE (Tai - 1976) which reads: "Contemporary US ad-mats* contain the following dubious claim: 'Special visual effects presented entirely in Super-Cine Vision®'. No, I've never heard of it, either..."
Correspondent Anthony wrote to query the inclusion of NOTHING IN COMMON (USA - 1986), listed in most places (including the not-so-reliable IMDb and the slightly-more-reliable Leonard Maltin's Movie Guide) as having been shot in Super 35. However, not all Super 35 movies are framed and released at 2.39:1, and Anthony could find no evidence this film has ever been released on home video framed at anything wider than 1.85:1 or 1.78:1. An online scan of reviews for international DVD versions confirmed Anthony's findings, including a recent US Blu-ray edition framed at around 1.85:1. The evidence is circumstantial, since the film could still have been released theatrically at 2.39:1, but the absence of a scope version on home video anywhere in the world strongly suggests otherwise. Until someone can prove things categorically one way or the other, I'll go with the evidence and drop this title from the filmog altogether.
For reasons best known to themselves, UK distributors of the German film URBAN EXPLORER have opted to release the film as URBAN EXPLORERS, which now becomes an AKA for this particular entry (however, the original title does appear in the closing credits of the UK print!). Also, the copyright year is changed from 2011 to 2010, based on my own personal viewing of the film.
* Movie poster found at Grindhouse Posters.
The copyright year for Swedish film BLOOD RUNS COLD has been changed from 2011 to 2010, based on my own viewing of the UK DVD version.
I've added a note to the entry for MASTER OF THE FLYING GUILLOTINE (Tai - 1976) which reads: "Contemporary US ad-mats* contain the following dubious claim: 'Special visual effects presented entirely in Super-Cine Vision®'. No, I've never heard of it, either..."
Correspondent Anthony wrote to query the inclusion of NOTHING IN COMMON (USA - 1986), listed in most places (including the not-so-reliable IMDb and the slightly-more-reliable Leonard Maltin's Movie Guide) as having been shot in Super 35. However, not all Super 35 movies are framed and released at 2.39:1, and Anthony could find no evidence this film has ever been released on home video framed at anything wider than 1.85:1 or 1.78:1. An online scan of reviews for international DVD versions confirmed Anthony's findings, including a recent US Blu-ray edition framed at around 1.85:1. The evidence is circumstantial, since the film could still have been released theatrically at 2.39:1, but the absence of a scope version on home video anywhere in the world strongly suggests otherwise. Until someone can prove things categorically one way or the other, I'll go with the evidence and drop this title from the filmog altogether.
For reasons best known to themselves, UK distributors of the German film URBAN EXPLORER have opted to release the film as URBAN EXPLORERS, which now becomes an AKA for this particular entry (however, the original title does appear in the closing credits of the UK print!). Also, the copyright year is changed from 2011 to 2010, based on my own personal viewing of the film.
* Movie poster found at Grindhouse Posters.
Friday 2 March 2012
New entries (2 Mar 2012)
New titles for the main scope filmog:
AJOOBA KUDRAT KAA
अजूबा कुद्रत का
(aka: The Magnificent Guardian)
India - 1991 - col
D: Tulsi Ramsay, Shyam Ramsay
Anamorphic
THE BIG CALAMITY
(see: War God)
CALAMITY
(see: War God)
HARI NG STUNT
(aka: Stunt King)
Philippines - 1981 - col
D: Carlo J. Caparas
Anamorphic
HONG KONG CALAMITY
(see: War God)
THE LIMIT
USA - 1972 - col
D: Yaphet Kotto
Panavision
THE MAGNIFICENT GUARDIAN
(see: Ajooba Kudrat Kaa)
STUNT KING
(see: Hari ng Stunt)
WAR GOD
大災難
(aka: The Big Calamity)
(aka: Calamity)
(aka: Hong Kong Calamity)
Taiwan - 1976 - col
D: Chan Hung-man
Anamorphic
WILAYA
Spain - 2012 - col
D: Pedro Pérez Rosado
AJOOBA KUDRAT KAA
अजूबा कुद्रत का
(aka: The Magnificent Guardian)
India - 1991 - col
D: Tulsi Ramsay, Shyam Ramsay
Anamorphic
THE BIG CALAMITY
(see: War God)
CALAMITY
(see: War God)
HARI NG STUNT
(aka: Stunt King)
Philippines - 1981 - col
D: Carlo J. Caparas
Anamorphic
HONG KONG CALAMITY
(see: War God)
THE LIMIT
USA - 1972 - col
D: Yaphet Kotto
Panavision
THE MAGNIFICENT GUARDIAN
(see: Ajooba Kudrat Kaa)
STUNT KING
(see: Hari ng Stunt)
WAR GOD
大災難
(aka: The Big Calamity)
(aka: Calamity)
(aka: Hong Kong Calamity)
Taiwan - 1976 - col
D: Chan Hung-man
Anamorphic
WILAYA
Spain - 2012 - col
D: Pedro Pérez Rosado
Updates (2 Mar 2012)
Updates and corrections for existing entries at the main scope filmography:
AVENGING DRAGON is an AKA for THE HEROIC ONE (Tai - 1981).
THE GOLDEN TRIANGLE (HK/Phil - 1975): Two 1975 films with this primary title are currently listed at the scope filmog, one of them a Hong Kong production credited to director Law Kei, the other a Hong Kong-Thailand co-production credited to directors Wu Ma and Rome Bunnag. This entry refers to the film directed by Law Kei: According to an April 2011 entry at the Bamboo Gods and Bionic Boys blog, this film was a Hong Kong-Filipino co-production, with different versions released in either territory, credited to different directors, depending on where you saw it! The Filipino release print is credited to director Romeo N. Galang. The film is also known in Western territories as THE BURMA CONNECTION. As such, this entry now runs as follows:
THE GOLDEN TRIANGLE
金三角龍虎門
(aka: The Burma Connection)
Hong Kong/Philippines - 1975 - col
D: Law Kei (HK version)
D: Romeo N. Galang (Filipino version)
Anamorphic
THE INTERNATIONAL ASSASSIN is an AKA for A QUEEN'S RANSOM (HK - 1976).
THE NEST OF THE CUCKOO BIRD (USA - 1965): This has been added to the list of 'Unconfirmed' titles with the following note: "Contemporary ad-mats credit the film as having been shot in 'Panovision', but without access to a print, there's no way of knowing if this was a deliberate misspelling of 'Panavision', designed to generate an extra lure for prospective customers. If it was deliberate, the film might well have been framed and released no wider than 1.85:1, as has been the general custom for spherical films in the US since the early 1950's".
AVENGING DRAGON is an AKA for THE HEROIC ONE (Tai - 1981).
THE GOLDEN TRIANGLE (HK/Phil - 1975): Two 1975 films with this primary title are currently listed at the scope filmog, one of them a Hong Kong production credited to director Law Kei, the other a Hong Kong-Thailand co-production credited to directors Wu Ma and Rome Bunnag. This entry refers to the film directed by Law Kei: According to an April 2011 entry at the Bamboo Gods and Bionic Boys blog, this film was a Hong Kong-Filipino co-production, with different versions released in either territory, credited to different directors, depending on where you saw it! The Filipino release print is credited to director Romeo N. Galang. The film is also known in Western territories as THE BURMA CONNECTION. As such, this entry now runs as follows:
THE GOLDEN TRIANGLE
金三角龍虎門
(aka: The Burma Connection)
Hong Kong/Philippines - 1975 - col
D: Law Kei (HK version)
D: Romeo N. Galang (Filipino version)
Anamorphic
THE INTERNATIONAL ASSASSIN is an AKA for A QUEEN'S RANSOM (HK - 1976).
THE NEST OF THE CUCKOO BIRD (USA - 1965): This has been added to the list of 'Unconfirmed' titles with the following note: "Contemporary ad-mats credit the film as having been shot in 'Panovision', but without access to a print, there's no way of knowing if this was a deliberate misspelling of 'Panavision', designed to generate an extra lure for prospective customers. If it was deliberate, the film might well have been framed and released no wider than 1.85:1, as has been the general custom for spherical films in the US since the early 1950's".
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