Lino wrote:Never mind the AR - it's the colors I have a problem with now. It looks so cold and drab. .
Thats the first thing I thought, even above the 2.0ism. The film loses it's mythical pallette and turns into Crime Drama Colorville, cold and grey.
Cronenfly wrote: I'm also sure that it would've gotten Vittorio's knickers in a twist. The only solution for fans of the film is to buy the R2 as well, I guess.
I think their decision to honor a dilletante's desire to say "the work I did must not remain the work I did. We must make it What I'd do now," is not to be admired.
Ex post facto "directors cuts" are one thing as an add on bonus. "Cinematographers cuts" made decades after the fact, when the original film indulged the artisans involved without interference (i e some of the scope-to-academy controversies w Russ Metty), are odd to me and should be against the rules. That's CC hobnobbing in telecine. How can people trace the ideas and development of cinematographers visions over the decades if you cannot observe the changes in their form and theories, if you allow their Current State to whitewash their old work? WHo sits around and says the "new concept" is better than the old "work completed"?
When your cinematographer has gone insane, and wants to radically restructure what to some is considered a pre-existing masterpiece on its own terms, what to you do? When does it end. When does CC so "
down boy! This film is finished as far as we understood it."
