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kekid wrote:

swo17 wrote:Announced for Blu-ray. It'll be a 2-discer. Also, I see no indication that the BD version will excise the English-language cut of the film, which I should think bodes well for other films with multiple versions. Though it remains to be seen if the alternate cut will be presented in 1080p.

The announcement says it is a 3-disc set.

No, it doesn't.

swo17 wrote:Announced for Blu-ray. It'll be a 2-discer. Also, I see no indication that the BD version will excise the English-language cut of the film, which I should think bodes well for other films with multiple versions. Though it remains to be seen if the alternate cut will be presented in 1080p.

If the second disc is the 2004 DVD, probably not

Has anyone got any news if both versions will be included?

will the blu-ray have the 185 minute Italian version or just the heavily cut 161? Visconti regarded the 185 version as his preferred length.

I think it's safe to say that both versions will be included, with at least the 185 minute Italian version presented in 1080p.

Both versions will be on the Blu-ray, with the longer one definitely receiving high-def treatment. I assume the shorter one will as well but I haven't received confirmation of this just yet...

cdnchris wrote:Both versions will be on the Blu-ray, with the longer one definitely receiving high-def treatment. I assume the shorter one will as well but I haven't received confirmation of this just yet...

Isn't it more likely that they will just upscale the dubbed version? IIRC, it didn't go through a full resto for the SD issue.

One of the reasons I'm so pleased the MoC edition of Rocco and His Brothers contained the Italian and French dubs is that it meant I could watch it mostly in Italian, but could switch to French for the scenes between Alain Delon and Annie Girardot - clearly speaking their native language in their own voices.

I was always under the impression that Delon and Cardinale spoke English in the scenes they filmed with Lancaster, French in their scenes together, and Italian in the rest. Confusing!

The Criterion Collection wrote:The lineup for the seventh annual Cannes Classics...will present...Luchino Visconti’s The Leopard, in a new restoration done in part by Martin Scorsese’s Film Foundation, Pathé, and the Cineteca di Bologna.

So are we thinking that this new restoration will make its way onto the Blu-ray release?

How much more restored can this film get? I thought what Criterion released on the DVD (and the forthcoming Blu-ray) was already a major restoration done by Fox. Unless this is just the same restoration and Criterion is using the term "new" very loosely. After all, the Cannes press release doesn't say anything about this (or any of the other films being screened) being a "new" restoration.

I saw the new 35mm 'scope print distributed by Fox, and it looked great but the elements weren't as pristine as those used in the Criterion DVD transfer, which was also in a different aspect ratio. I recall reading that the HD transfer for the DVD was based on the restored Technirama negative, whereas the new print may have come from a 35mm internegative.

Perhaps in the meantime they've created new film-based preservation elements through digital scanning of the camera negative, processing and printing on film stock, along the lines of The Red Shoes. I think the best bet would be to ask the Film Foundation directly about it. It would be nice to see the Leopard in a new 70mm print--I hope that's what they've lined up for Cannes.

Matt wrote:Unless this is just the same restoration and Criterion is using the term "new" very loosely.

Not at all. I have no idea what exactly Criterion is releasing on Blu-ray, but I can tell you for sure THE LEOPARD has just undergone a major, brand new restoration. Given how drastically restorative capabilities have improved in the past decade, even titles that were indeed somewhat recently restored often find themselves going back under the knife again.

After all, the Cannes press release doesn't say anything about this (or any of the other films being screened) being a "new" restoration.

It doesn't actually use the word new, but it does say this:

"Restoration funding provided by Gucci and The Film Foundation. Digital Picture Restoration, Colorworks. Sound laboratory services, L'Immagine Ritrovata. Special Thanks to Martin Scorsese, Titanus and Giuseppe Rotunno."

The restoration referenced in this text just happened.

Then I think Criterion should push back their June release to take advantage of this new restoration.

andyli wrote:Then I think Criterion should push back their June release to take advantage of this new restoration.

I'm not saying they're not already doing that. I don't know what they're releasing.

jaredsap wrote:I'm not saying they're not already doing that. I don't know what they're releasing.

Yeah, I know. :-k But it's not likely been released so fast if it's a brand new restoration. Look at last year's The Red Shoes.

This article on Gucci's sponsorship of film restorations states that it's a 4k digital restoration of The Leopard. The same article also mentions a restoration of La Dolce Vita to appear later this year.

Here's what Criterion said about the forthcoming Blu-ray on their Facebook page when I asked about whether they would be using the new 4k restoration:

No. We provided support to the restorers of the Cannes version, but our master was made directly from the original camera negative and meticulously color-corrected in Rome under the direct supervision of cinematographer Giuseppe Rotunno. For our purposes there was no technical or artistic need to work off the new elements, which used our master for color reference. This new work was done to create proper 35 mm preservation elements taking advantage of the newest technology. We're very happy that the Film Foundation continues to spearhead projects like this one, and we're looking forward to seeing how it came out. One thing we can say is that our QC staff thinks the Leopard may be the most beautiful Blu-ray we've ever made!

What they're saying makes sense, I think. It's hard to do better than working directly off the camera negative and having the cinematographer superivse the color correction.

It ought to be their best Blu-ray yet as the film was shot in Technirama. They didn't use 70mm elements for their Playtime transfer, so I think this is their first Blu-ray from large-format elements.

andyli wrote:But it's not likely been released so fast if it's a brand new restoration. Look at last year's The Red Shoes.

The restoration of The Red Shoes was out on Blu-ray in Britain within weeks of its Cannes premiere - I think it was only a couple of months or so.

I've only had time to sample the Blu-ray but it looks gorgeous so far. The bitrate is also quite high, hanging around the mid 30s through the sections I checked. It takes up the first disc.

For the American version Criterion has simply upscaled the SD transfer to 1080i (it even opens with the old Criterion banner.) Looks terrible in all honesty.

cdnchris wrote:I've only had time to sample the Blu-ray but it looks gorgeous so far. The bitrate is also quite high, hanging around the mid 30s through the sections I checked. It takes up the first disc.

For the American version Criterion has simply upscaled the SD transfer to 1080i (it even opens with the old Criterion banner.) Looks terrible in all honesty.

That's exactly what I was wondering about the American version, Chris. From their website, it didn't sound like it was getting any "real" hi-def attention. Thanks for clearing that up. Does there appear to be any significant difference than having the standard DVD upscaled in a blu-ray player?

CC

I'd almost say it looks better if I let my HD DVD or PS3 upscale the standard DVD for the American version, but that was quickly playing with it.

Matt wrote:It ought to be their best Blu-ray yet as the film was shot in Technirama. They didn't use 70mm elements for their Playtime transfer, so I think this is their first Blu-ray from large-format elements.

Don't think it matters all that much that it's a large-format film when the transfer is outdated. Disregarding the contemporary films, I predict The Seventh Seal and Bigger Than Life will still be the best-looking discs, at least until The Red Shoes.

jsteffe wrote:What they're saying makes sense, I think. It's hard to do better than working directly off the camera negative and having the cinematographer superivse the color correction.

Not hard at all, you just do the same thing all over again on newer and much better equipment. If I'm not mistaken the transfer used for the BFI and upcoming Criterion Blu-ray is over 6 years old by now, an eternity when it comes to these things.

I don't understand why they couldn't use this new scan. Sure this release has probably been in the pipeline for some time, but the 4K restoration didn't just come out of nowhere either did it? They even say they provided support for the new restoration so what is the problem? They delayed Chungking Express for a cinematographer approval and a handful of tweaked shots, but they can't delay this for a superior image for the whole film? And then they have the gall to charge $10 more than usual?

I wouldn't have minded as much if this is all there was, but when a better element exists... It makes it seem like their mission statement of 'always using the best available elements' is nothing but humbug.

I'm disappointed. /Rant