- Joined
- Feb 8, 1999
- Messages
- 18,428
- Real Name
- Robert Harris
I was sending emails yesterday in regard to this latest 4k offering from Criterion - The Ranown Westerns - all five of them - in 4k UHD.
And several times the wonderful entity known as auto-kerrect changed the word to Renown, ie a condition of being known, talked about, fame, what have you.
And in an odd way both were correct, because among those who know cinema, the Ranown westerns certainly have Renown.
Ranown was production entity owned by Actor/Producer Randolph Scott and his associate, producer Harry Joe Brown. Both men were born in the 1890s and had worked in the industry since the silent era.
Mr. Scott in 1928. Mr. Brown in 1922. His first job of note was handling lighting on Foolish Wives - the one forthcoming from Flicker Alley.
So RANOWN - RANdolf Scott and Harry Joe brOWN - was their production entity, and they did five westerns together - The Tall T (1957), Decision at Sundown (1957), Buchanan Rides Alone (1959), Ride Lonesome (1959), and Comanche Station (1960).
All five films were directed by Budd Boetticher.
These were all considered A- or B westerns, and all ran between 73 and 80 minutes.
For his final appearance in 1962, Mr. Scott went longer (94 minutes) and bigger, in an M-G-M production which is one of my favorite westerns of all time - Ride the High Country by a filmmaker directing his second film - Sam Peckinpah.
I've not had the time to view all five films, but I did watch The Tall T in its entirety, and for a film of its age and condition (think Y fade) it's superb. I have sampled the other four.
None of these films have been grain reduced, and to that point grain haters may have issues especially with the main title sequence (dupe) of Tall T, as it literally swarms with grain. This may be partially based upon the raising of the natural (and highly faded) original Y dye layer. Y is Very grainy.
Once production photography comes into play things tend to even out. Dupes are still dupes, and have been reasonably attended to.
You'll note that the flat films are a bit grainer than the scope (the final two). I'm not certain whether there are even protection masters on these films, as Mr. Crisp, Ms Belda and Company - Cineric in NY, Roundabout and MPI in CA, colorists Danny DeVincent, Sheri Eisenberg and David Bernstein - have literally created five silk purses from five very faded and worn sows ears. All work was performed using only surviving OCNs.
Those whose eyes are adept at noting some things, may notice a touch of contrast, or a slight color shift in interior scenes, but from my perspective, and I've been viewing these films for decades, they've not looked anything akin to this since they were released.
Our friends at Criterion, who have supported this release in 4k, even those there isn't 4k resolution, should receive kudos for doing so, as these are films that even incrementally, deserve the finest technology available.
I must also make note of the fact that while Criterion loves to use the word "Restored," even where in the majority of cases the films neither have been nor need to be restored, in this case the term is mentioned, but this is a case in which the term should be shouted from the rooftops.
These films have been RESTORED!
I have been advised that fade was not overall, but rather different for each reel, as if the films had been stored in a less than stellar environment during some period in the previous century. Dupes were obviously worse.
Audio is monaural, and is derived from the original DME mags.
The films are distributed among six discs - three 4k and three 2k - with all supplements, which are superb, found on the third 2k disc.
Image – 3.75 - 4.25 (Dolby Vision)
Pass / Fail – Pass
Plays nicely with projectors - Yes
Makes use of and works well in 4k - 6
Worth your attention - 10
Upgrade from DVD - Yes
Slipcover rating - 7
Very Highly Recommended
RAH
Thank you for supporting HTF when you preorder using the link below. As an Amazon Associate, HTF earns from qualifying purchases. If you are using an adblocker you will not see link.
And several times the wonderful entity known as auto-kerrect changed the word to Renown, ie a condition of being known, talked about, fame, what have you.
And in an odd way both were correct, because among those who know cinema, the Ranown westerns certainly have Renown.
Ranown was production entity owned by Actor/Producer Randolph Scott and his associate, producer Harry Joe Brown. Both men were born in the 1890s and had worked in the industry since the silent era.
Mr. Scott in 1928. Mr. Brown in 1922. His first job of note was handling lighting on Foolish Wives - the one forthcoming from Flicker Alley.
So RANOWN - RANdolf Scott and Harry Joe brOWN - was their production entity, and they did five westerns together - The Tall T (1957), Decision at Sundown (1957), Buchanan Rides Alone (1959), Ride Lonesome (1959), and Comanche Station (1960).
All five films were directed by Budd Boetticher.
These were all considered A- or B westerns, and all ran between 73 and 80 minutes.
For his final appearance in 1962, Mr. Scott went longer (94 minutes) and bigger, in an M-G-M production which is one of my favorite westerns of all time - Ride the High Country by a filmmaker directing his second film - Sam Peckinpah.
I've not had the time to view all five films, but I did watch The Tall T in its entirety, and for a film of its age and condition (think Y fade) it's superb. I have sampled the other four.
None of these films have been grain reduced, and to that point grain haters may have issues especially with the main title sequence (dupe) of Tall T, as it literally swarms with grain. This may be partially based upon the raising of the natural (and highly faded) original Y dye layer. Y is Very grainy.
Once production photography comes into play things tend to even out. Dupes are still dupes, and have been reasonably attended to.
You'll note that the flat films are a bit grainer than the scope (the final two). I'm not certain whether there are even protection masters on these films, as Mr. Crisp, Ms Belda and Company - Cineric in NY, Roundabout and MPI in CA, colorists Danny DeVincent, Sheri Eisenberg and David Bernstein - have literally created five silk purses from five very faded and worn sows ears. All work was performed using only surviving OCNs.
Those whose eyes are adept at noting some things, may notice a touch of contrast, or a slight color shift in interior scenes, but from my perspective, and I've been viewing these films for decades, they've not looked anything akin to this since they were released.
Our friends at Criterion, who have supported this release in 4k, even those there isn't 4k resolution, should receive kudos for doing so, as these are films that even incrementally, deserve the finest technology available.
I must also make note of the fact that while Criterion loves to use the word "Restored," even where in the majority of cases the films neither have been nor need to be restored, in this case the term is mentioned, but this is a case in which the term should be shouted from the rooftops.
These films have been RESTORED!
I have been advised that fade was not overall, but rather different for each reel, as if the films had been stored in a less than stellar environment during some period in the previous century. Dupes were obviously worse.
Audio is monaural, and is derived from the original DME mags.
The films are distributed among six discs - three 4k and three 2k - with all supplements, which are superb, found on the third 2k disc.
Image – 3.75 - 4.25 (Dolby Vision)
Audio – 5 (Monaural)Pass / Fail – Pass
Plays nicely with projectors - Yes
Makes use of and works well in 4k - 6
Worth your attention - 10
Upgrade from DVD - Yes
Slipcover rating - 7
Very Highly Recommended
RAH
Thank you for supporting HTF when you preorder using the link below. As an Amazon Associate, HTF earns from qualifying purchases. If you are using an adblocker you will not see link.
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