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Posted: |
Apr 14, 2014 - 4:34 AM
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By: |
CinemaScope
(Member)
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I read the Dell comic when it came out, but don't still own it. I loved all those Dell movie versions, and can remember the covers of most of them, like STORY OF RUTH, TIME MACHINE, JOURNEY TO THE CENTER OF THE EARTH, and many others.
I still have those too John........in fact, i've got hundreds of 'em !
Ah, those Dell comics were great, I remember scouring the secondhand magazine shops in West London for them in the early sixties (& early issues of Famous Monsters Of Filmland), remember, no home cinema in those days. I bought a disc on ebay with about 40 issues on it, but it's not the same, you really need the mag. The Fox Blu-ray of The Comancheros has the Dell version on it as an extra.
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What "unreleased film material" is there? Do you mean deleted scenes? Or publicity shorts?
It's curious that, for years, the only available version of JOAN OF ARC was about 100 mins. long, and was, essentially, a re-edited version of the story, accompanied with newly added narration by Sheppard Strudwick. The eventual release of the roadshow version was a revelation, complete with stylistic elements of director Fleming's work from GONE WITH THE WIND. (I'm particularly reminded of the presentation of the characters, accompanied by their respective locations, at the beginning of the film.)
All of which, by the way, was cut for the later version I mentioned above.
Now, I suppose the later version is the collectible.
Funny, that.
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Posted: |
Apr 14, 2014 - 7:23 PM
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By: |
pp312
(Member)
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Seems like a lot of rumbling about SOLOMON AND SHEBA here and on other forums lately. Of course there are those who hate it and those that like it. What strikes me as funny is how unforgiving the "critics" can be when it comes to these historical epics as they usually gloss over hambone cliches in second tier noirs, science fiction and "relevant" social dramas of the period.
I agree that they're too easy targets, Ed. I try to take them on their individual merits or de-merits rather than, like most critics, waxing glib about the whole genre. Even in the lesser ones there's a lot of fine work from the artists and craftsmen behind the camera. I'm often astonished to read long intellectual diatribes about the brilliant editing in this or that socially relevent (usually foreign) film when if you want brilliant editing you only have to go to the Rowing of the Galley Slaves in Ben-Hur (or the Sea Battle or Chariot race, for that matter). Or for a brilliant juxtaposition of scenes take a look at the cross-cutting between Crassus's daytime speech to the senate and Spartacus' night speech to his army in Spartacus. These are the heights, of course, but even lesser efforts are worth a closer look for the many fine ideas (and visual delights) they offer. Intelligence wasn't herded into one particular corral (social realism, say) and not allowed out without a pass. It's to be found everywhere talented people were working.
On reflection it's a pity the historical epic as a genre was first defined in the public mind by De Mille, whose basic campy style was rooted in the silents. Even after the genre matured, the critics were still reviewing epics as if they were all De Mille potboilers. (With apologies to lovers of The Ten Commandments, that film's determination to constantly remind us of 2000 years of religious art with endless static poses did the genre no good at all). But it wasn't just De Mille--King Vidor carried over his style from the silents as well, and it can be found in both Solomon & Sheba and, to a lesser degree, War & Peace. (It's interesting that Wyler, who also goes back to the silents--just--shows no sign of such traits).
Anyway, I feel a need to revile from my previous glib dismissal of S & S. I only ever saw it once, in an empty theatre, and should see it again for fairness. The sight of Lollobrigida in a chariot wielding a whip has to be worth a second look. 
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