Widescreen Watched
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When we think of high definition, the most popular format for viewing television today, we naturally think of sports. Because the technology seems designed specifically for getting a terrific look at the ball game -- which it certainly does -- we forget about the added dimension it has brought to the world of cinema, especially classic cinema.
How can a film from the 1940s be seen today using HD technology? When it comes down to it, every big-budget Hollywood film (and most of the low-budget ones) were shot on high resolution 35mm film. This technology frankly blows any television format out of the water. The catch is, you have to see it in a movie theater and the print used for the screening must be free of glitches. In the case of older films, or any film as it ages, there must be steps taken to get the quality close to its original intention. That is the reason you hear so much about film restoration projects and the laborious efforts made by film historians to bring a movie back to life. The process entails recreating the photographic images, frame-by-frame. In the case of Vertigo's long-awaited restoration in the 1990s, a chip of paint found on a classic car lot was used to re-color the car that Kim Novak drives in the film. To achieve that original brilliance, a prototype of the color was essential.
The resolution standard used in 35mm film has a much higher definition than anything seen on TV today. However, because in the past films were transferred to TV using inadequate equipment, old movies on television have been stigmatized for poor picture quality. Thus the high regard for the cinema revival houses by film purists. Certainly, the high definition revolution changed that for the better. But films are still taking a step down in resolution when making their way to the small screen, even in the highest resolution and on the most expensive flatscreen TV set.
That's the bad news. The good news is that the treasure trove of old movies locked in the vaults all have the potential to shine in high definition on the small screen, because the foundation is there. Furthermore, the horizontal shape of flatscreen TV sets has finally given a widescreen film the chance to show its true colors. Martin Scorsese has often remarked how, after having watched classic films on TV as a child, he later saw the movie in a theater and realized that nearly one-fifth of the picture had been cut out. In the case of Peckinpah's The Wild Bunch, it's the difference between a cowboy walking and a cowboy throwing someone an elbow while he's walking. It makes a huge difference.
So when you see an advertisement for a classic film channel touting a vintage movie as available "in glorious HD where available," it's not a hoax. The classic films all have the capability to be seen in this excellent presentation. While it may be a step down from the movie theater, it's a giant step up from the crackly, dusted black-and-white of television's past.
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