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With a cover like this it’s easy to see why SANGAREE was a hot selling novel in the 1950s

The hardcover copy has a much more tasteful cover. Advertising to a different crowd.

Amazon.ca

https://www.amazon.ca/Sangaree-3-D-Blu-ray-Fernando-Lamas/dp/B07FQ6XPTH/ref=sr_1_1?ie=UTF8&qid=1539161827&sr=8-1&keywords=SANGAREE+3D

Amazon.com:

https://www.amazon.com/Sangaree-3D-Blu-ray-Fernando-Lamas/dp/B07FQ6XPTH

Just got the new Kino/3D Film Archive restoration of 1953’s SANGAREE yesterday. I watched it on my big 9 by 12 foot screen with an Optoma projector and dlp glasses.

Wow!

The story is set in America just after the victory against England. Edith Head and her crew must have stitched themselves crazy creating so many completely accurate costumes. Seeing that detailed work in 3D makes this film a must have for every costume designer in the world.

The story is also set during the time when slavery was a normal part of American life. The film was made before Hollywood picked up the socially conscious banner. I doubt few watching the film will be aware most of (but not all) of the Blacks are slaves.

Thanks to the superb work of the 3D Film Archive the 3D throughout is easy on the eyes. In fact, when properly presented 3D motion pictures are much more comfortable to view than 2D ones. The use of depth throughout adds much emotional weight to the images. It turns out Paramount had their own 3D Rig that dated back to the early 1930s.

The decision to drop the 3D feature from home television sets was a bad one. 3D has always been at the mercy of knowing and blase people who decry it as a mere gimmick. It isn’t. 3D adds emotional weight and gravity to the films in which it is used. The wonderful full on use of foreground space (“Z” Space) in motion pictures of the 1950s makes me wish current film makers were as bold in their use of the medium. While I was always conscious I was watching a 3D movie never once did I feel an effect took me out of the movie.

One of the big reasons (if not THE big reason) current audiences are turning away from 3D is that we are asked to pay extra money for pictures that don’t look like they are in 3D. For an audience 3D is use of foreground space.

I have seen SANGAREE in 2D. When I first got interested in digital 3D several years ago I obtained 2D copies of 3D films so I could use 2D to 3D conversion systems on them. Those fake 3D versions were left lurching in the mud when I finally got to see the films in true 3D thanks to the work of The 3D Film Archive and others.

The film has been priced low by Kino to encourage people to buy it. Those 3D enthusiasts who are penny wise and pound foolish who wait to download free copies from the web of these titles are doing the medium an enormous disservice.

Spend the pennies fellows.

These folk are to applauded for the great work they are doing.

They also need to be encouraged to continue doing it. That encouragement and justification to continue doing it can only come through sales. So far about a third of the 1950s 3D titles are now on the market. I want to see the rest of them out there as well.

THE 3D FILM ARCHIVE normally spends 3 months restoring a motion picture. SANGAREE demanded five months. We would not know that by looking at the movie itself. Nor would we know we are seeing it better than people who saw the film in theaters ever could.

3D projection demands many things. In the days of analog 3D (two projectors) those things were often not delivered. Digital 3D delivers all the bells and whistles required and in a BIG way.

Coming up next from THE 3D FILM ARCHIVE and KINO LORBER is the 1954 film JIVARRO also with Fernando Lamas.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

SANGAREE has stirred up a lot of great comment on the web. It is all well worth looking at.

“On the average, we can restore a vintage 3-D feature in three months. SANGAREE was on the operating table for five months and proved to be – by far – our most challenging color restoration to date.

“Thanks to the magnificent color restoration by Greg Kintz and Jack Theakston – plus the meticulous dirt and damage clean-up by Thad Komorowski – this Golden Age 3-D classic now looks better than ever before!

http://www.3dfilmarchive.com/sangaree

SANGAREE Restoration Demo:

https://www.youtube.com/watch?v=BXQKk66FFeg&feature=share

WEEGEE & SANGAREE:

http://www.3dfilmarchive.com/weegee-and-3-d

“This is a beautiful image and the effective 3-D presentation is terrific. Vintage 3-D fans have a lot to be excited about with this release.”

Matthew Hartman reviews SANGAREE at High-Def Digest: https://bluray.highdefdigest.com/52205/sangaree3d.html

Sangaree 3D Blu-ray Review:

https://www.hometheaterforum.com/sangaree-3d-blu-ray-review/

From TRAILERS FROM HELL:

“KL Studio Classics’ 3-D Blu-ray of Sangaree is yet another achievement of the 3-D Film Archive, a restoration group with an unique ambition. The Archive has been responsible for scores of excellent discs for 3-D Blu-ray. Even though U.S.- sold monitors have stopped offering the feature, the awesome format is being kept alive by a strong foreign market.

“As a restoration Sangaree shows the Archive working especially hard. A restoration demo on the disc is not a simple before/after comparison, the kind we suspect are sometimes cheated for effect. The show was filmed on early Eastman color monopack, which can be highly unstable for color retention. It was originally printed in Technicolor, and Paramount reported that difficulties producing matching left-right eye color prints almost delayed the release. The comparison featurette shows that the Archive had to work with two ‘eye’ filmstrips that had faded unevenly. Worse, the optical material — titles, dissolves, transitional scenes — were stored separately and faded even more.

“The disc on view looks incredibly good considering the challenge — colors are mostly vibrant and the 3-D effect very good. There are occasional mismatches within a scene (especially when cutting to an optical) and the grain can climb at times. Not affected are the glorious close-ups of the stars. Arlene Dahl’s red hair is even more impressive in 3-D than was Rhonda Fleming’s flaming mane in Inferno.

“At 94 minutes, this is one of the longer early 3-D pix: Bwana Devil = 79 min., Man in the Dark = 70 min., House of Wax = 88 min., It Came from Outer Space = 82 min. Getting Technicolor and the negative cutters all on the same page for a new format must have been a challenge. As is the Archive’s habit, the film’s original 3-D intermission cards have been retained.”

https://trailersfromhell.com/sangaree-3-d/

Lloyd’s Beware The Blog:

http://www.bewaretheblog.com/2015/08/third-dimension-golden-age-of-3-d.html

Blu-ray.com

https://www.blu-ray.com/news/?id=23605

Stereoscopy News:

“Noteworthy as the first stereoscopic 3D production from Paramount; the first 3D film in Technicolor; the first 3D film based on a best-selling novel and the first 3D film billed with an A-list cast, SANGAREE will be restored from original 35mm elements by the 3-D Film Archive and released on 3-D Blu-ray by Kino Lorber Studio Classics in 2018.”

https://www.stereoscopynews.com/hotnews/storage-a-support/20-bluray/4618-pioneer-movie-sangaree-1953-3d-blu-ray-coming-in-2018 

It is unfortunate this is not all regions as the market for 3D in the rest of the world is not stymied by the attitudes with which the medium is greeted in North America.

SANGAREE has been wonderfully restored. It is a sheer joy to watch.

We need another 3D motion picture from Martin Scorsese. His use of the medium in HUGO is wonderful. So is the use of 3D in SANGAREE.

I filmed my friend Petunia’s recent show at THE REMIX in Toronto in 3D. I will be screening it here in November.

https://petuniaandthevipers.com/

–Reg Hartt 10/10/2018.

 

 

 

 

 

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