No, it’s not strange. It’s a remarkable achievement in cinema. One should be blown away by this viewing experience, particularly on the big screen.
I wish I could see this on the big screen.
U, sir are lucky
Not strange at all. It’s one of my favourite movie-going memories too.
I can only agree with the above. Lawrence Of Arabia was one of my most memorable film going experiences.
I must have seen this film 10 times or more, including a 70 mm big screen showing, and it never fails to move me.
Okay, now I’ve sorta been thrown into turmoil. Because I saw this in a theater at my film school, our less discerning eyes could not differentiate if it was 35 mm or 70 mm? Did they even create 35 mm prints???
When Lawrence Of Arabia was released in 1962, typically, 70mm films were shown as “road show” presentations in theatres equipped to handle the large gauge. All other theatres (the majority) would get cropped, 35 mm reduction prints.
All initial home video transfers were from the 35 mm reduction prints. The current DVD is a transfer of Harris’s restored 70 mm print, but watching this DVD at home, even on a wide screen monitor, is not comparable to seeing it on the big (theatre) screen.
A 70mm print of this film will screen in Austin, TX on Sept. 11th and 12th.
Details can be found here.
I will be attending on the 12th. Maybe I’ll see some Auteurs members…
Repost of comment from another thread, but pertinent to this one:
In 1996 the Odeon Leicester Square, London (where the film was premiered) mounted a special screening of Lawrence of Arabia in 70mm in honour of its cinematographer, Freddie Young, who was in attendance. I was lucky enough to get tickets – I think all 2000 seats sold out – not only to see this epic on a very large screen in 70mm, but also for Young – then very elderly – to make a short speech afterwards remarking on his work on the film (the occasion was capped by the surprise appearance of the eulogy-ridden television series, This is Your Life to honour Young before whisking him off to a television studio). Before the overture, the house organist played excerpts from the score on the Compton organ.
I wish I’d had the chance to see the restored version in 1989 when it was showcased at the Odeon Marble Arch, London on a screen 80 feet wide – just made for 70mm epics. The story has it that David Lean objected to this cinemas original curved screen – depth of curvature about 17 feet – distorting the desert horizon so he personaly paid for a somewhat flatter screen to be installed to ensure a more level horizon (about £30,000 then).
Offing the topic, the only time I saw a screening on a curved screen was TWO TOWER at the Arclight (I think…some snazzy LA screen), and you could actually see the light from left side of the screen reflecting over to the right side (or vice versa) and washing out the contrast. Great way to blow tens of thousands of dollars, geniuses!
Still off-topic (sorry): That performance of Two Towers sounds bad, but no such trouble at the ’Arch which was a dream to behold for film presentation, with the curved screen engulfing your vision (long before IMAX and the like). I understand the building was built-up around the screen with an incredible attention to detail: acoustic fibre glass panelling in the auditorium backed by rouched material for sound absorbtion, speakers in the ceiling (opening of Star Wars, anyone?), etc. Whoever designed that, had a real love for cinema.
As mentioned, I didn’t get a chance to see Lawrence there, but some of its presentations were legendary amoung 70mm fans – Star Wars in DP150 and A Bridge Too Far which commenced with the overture in Acamedy Ratio with the masking then pulling back to reveal the vast 70mm screen as the film began, clearing each credit as it went. Match that modern multiplexes!
It there is any movie that must be seen on the biggest screen available in 70mm and stereophonic sound it’s David Lean’s masterpiece.
Lawrence is one of the few films I’ve had the fortune to see in 70MM, and this was before the advent of big screen HD TVs. I’ll never forget feeling as if I could stand up and walk right onto the Nefu desert, it was so pristine.
This is one of those films that I can sit down and watch in its entirety at any time. It was my favorite film for much of my youth.
Nick, it isn’t strange to be elated after seeing LAWRENCE in 70mm. It’d be stranger, and cause for alarm, if you weren’t elated after seeing LAWRENCE in 70mm.
LAWRENCE is one of the movies that I never miss on a big screen. The Ziegfeld in NYC runs occasional big-screen classics series, and LAWRENCE is usually one of the film they include. Always a pleasure, and a reminder of what can happen when films are made for adults.
Ben – You must be talking about the Cinerama dome. There’s a reason why the screen is wrapped. Check out wikipedia or google “Cinerama” for the history of the process. Quite fascinating stuff.
They show Larry of Arabia in 70mm quite often in LA. I urge anyone who hasn’t seen it to see it on the big screen.
When Paul Allen, co-founder of Microsoft, bought the stand-alone Cinerama theatre in Seattle several years ago, he saved it from the wrecking ball. The theatre was closed for 5 or 6 months and, not only restored, but also brought up-to-date with installation of a digital-capable projection system and an ingenious theatre screen system. A new, flat 70mm screen was positioned in front of the restored, curved screen. The flat screen can be removed or reset in place, given five hours.
The curved Cinerama screen is only used when true, three-projector screenings of Cinerama films are shown. Mind you, there are only something like a dozen or fewer films that were ever shot with three cameras and meant to be shown with three projectors. “How the West was Won”, for example. Every couple of years, Paul Allen presents a 2-week-long celebration of these films. It’s a sold-out event.
Otherwise, “Blade Runner”, “Lawrence of Arabia” and other widescreen classics are shown on the huge 70mm flat screen.
Although his theatre shows new releases 46 weeks out of the year, Allen turns his cinema over to the programmers of the Seattle Internat’l Film Fest, our Jewish Film Fest and Gay Film Fest staff for about six weeks total. It’s fantastic to see foreign-language films on that screen! I was enthralled to see “Lovers of the Arctic Circle” at our Cinerama, for instance. All three films of “Infernal Affairs” were shown in a single day.
Paul Allen’s a billionaire who owns the Seattle Seahawks, Portland Trailblazers and who built the Gehry-designed Experience Music Project museum. While his real estate developments have drawn a lot of ire from a wide array of citizenry, I’ll always admire his decision to save and renovate the Cinerama and his support of our local film festivals.
I’ve seen it 7 or 8 times in 70mm and it floors me every time. The only thing that comes close to its visual clarity is the 70mm prints of Playtime and 2001: A Space Odyssey, and the new print of Pierrot Le Fou, absolutely essential. I wish more films were shown in 70, shit I wish more movies were photographed in 70mm.
Paul Allen is a gem and a big supporter of the arts and therefore I’ve always admired the guy, even if he loves shitty sports teams.
I was under the impression there was only one Cinerame Dome still in existance; I’m happy to hear that there is one up in Seattle.
I believe there were only three films actually shot using Cinerama’s three-camera system – How the West Was Won being the only feature narrative film. Incidentally, they are showing these films at the dome in Hollywood this month. For anyone who lives in LA and hasn’t seen this, I highly recommend it.
Just checked wikipedia. They show 10 films that were shot with 3 cameras and are meant to be shown using 3 projectors. The other narrative film besides “HTWWW” filmed this way was “The Wonderful World of the Brothers Grimm” which I haven’t seen. I did see “Windjammer”, though, at Seattle’s Cinerama…quite an awe-inspiring documentary about young men spending their summer vacation at sea.
saw 2001 in 70mm at londons BFI… astounding. not crazy at all… L.O.A deserves the biggest print possible!
It’s a masterpiece. Every scene is like a painting (I think I stole that from someone on TCM, but it’s true). I was lucky to see it during the 70MM re-release.
Cineaste – Regarding Brothers Grimm, here’s an interesting factoid from IMDB (this accounts for why I’ve never seen it in the Dome):
The major reason that ‘Wonderful World of the Brothers Grimm’ has never been restored is because the original 3-panel Cinerama camera negatives were heavily water damaged in a warehouse fire. The film was never transferred to a 70mm version after it was made so the only surviving prints are edited 35mm composite prints with the three joined panels. The surviving print are not the roadshow version and do not contain all three panels of information. The left area of the A panel and the right area of the C panel are missing from the composite prints. In addition, the color is badly faded. It is doubtful we will ever see a properly restored version of this film.
Watching a movie in Cinerama is not the greatest thing in the world; it takes some getting used to because the edges of the negative are so clearly visible in the image. But as a one time novelty, it’s sort of interesting.
I’d love to see Lawrence of Arabia on a big screen. Does New York City have a large screen like a Cinerama one? I know there is an IMAX at the Museum of Natural History and one at the aquarium in Norwalk, Connecticut. I did see Lawrence in the early 90’s on a 35mm screen, but I don’t think it would be the same experience compared to a big screen.
For anyone in the UK around March-time each year, the Pictureville Cinema at the Museum of the Moving Image, Bradford, mounts an excellent Widescreen Weekend. Details of this, and previous, years below.
http://www.in70mm.com/widescreen_weekend/index.htm
I definately intend to visit during the 2010 season, but no idea what’s planned at this point.
I’d give anything to see Lawrence this way. Have only seen a 35mm reduction, and even that was unbelievable.
I saw it at the Aero in 70 mil… holy S, it was awesome!
I’m seeing “Lawrence” again tonight at Seattle’s Cinerama Theatre. The print being shown is on loan from the AMPAS’ own vault. I’m almost giddy with anticipation, especially since I’m taking six young friends with me, only two of whom have ever seen this movie before and that was via DVD’s at home.
This screening is part of the Seattle Cinerama’s 3-week long festival of 70mm films. Both “How the West Was Won” and “This is Cinerama” are being presented properly with 3 projectors on the deeply-curved Cinerama screen. The 70mm films are projected on an immense flat screen.
If interested, google “Seattle Cinerama” and check out the titles being shown through mid-October.
No wonder it inspired you that way.
They show this in 70mm every couple months in Los Angeles (along with The Wild Bunch, Vertigo, etc.). I still haven’t gone but I’ve been meaning to. Love this movie.
Santino, get moving….;-) one day they may not be showing it any more.
We have one place left in DC (that I know of) that is 35/70mm capable, unless they have gotten rid of the Century combo-machines without me hearing about it.
The Uptown Theatre. Curved Cinerama screen, balcony, old but still powerful sound system.
In the 70es, during the summer scheduling doldrums (they don’t exist anymore) the Uptown would have 70mm matinees of the "big ones’: “Lawrence”, “2001”, “Ben-Hur”, “10 Commandments”…nothing compares.
I guess one should be happy they are still running 35mm film, but to think that with only a few minutes’ conversion (aperture plate and such) one could once again revel in the beauty of 70mm is frustrating.
I have heard of the Cinerama, and I send a major “Thank You” to Paul Allen for not turning the place into his personal digital playground, but for actually helping in the appreciation of the great film formats. I look forward to visiting what sounds like a wonderful theatre.
Nick Kostopoulos
Just had the good fortune to came back from a 70 mm screening of “Lawrence”. The print was pristine. Quite possibly one of the greatest movie going experiences I’ve had, and ever will have. I have seen the film about five times previously and it holds a very special place in my heart; it being one of the films that truly inspired me to become a filmmaker.
It is strange to be this elated after seeing a film?