The BBC's copies of RKO movies almost certainly date from the 50s, when RKO went bust and the BBC bought permanent TV rights for the 35mm and 16mm prints they were supplied with. At some point, probably in the 90s, they were transferred to video (Digibeta most likely) as the Beeb doesn't broadcast feature films from celluloid prints any more. Given that the Beeb has had its income cut by the licence fee being frozen, I can't see them spending money on new versions for films which are showing at 6am and will certainly play to a minority audience, the one which watches old movies. It was noticeable a couple of Christmases ago when BBC4 made a documentary on Clara Bow but didn't show one of her films to go with it, as they didn't have TV rights for any of them.

I notice SAFARI (shown this morning) wasn't on your list, as two sources I have at hand say that it's a CinemaScope film. The bit I caught on TV this morning was in 16:9 and was apparently an HD broadcast, so a newer copy - if so, there's no excuse for that. The film isn't on Iplayer though so I can't check the opening credits to see what they say.

I've noticed this a couple of times - documentaries about movies which use footage from trailers to illustrate the films in question, because they can't get the rights to screen actual narrative clips (did that happen in the Clara Bow case?). As you say, cutbacks across the board will do that.


At first I thought you were talking about the 1995 TV movie which has been playing on Movie Mix recently, which was a bit confusing! But you're absolutely right - the SAFARI in question was on BBC 2 this morning and was filmed in CinemaScope way back in 1956. Apologies for missing that one, and glad you picked up on it.

Can anyone confirm the recent TV miniseries NEW WORLDS was broadcast at 2.35:1?

Much ta in advance...

It's on 4oD in widescreen, so I'd assume it's 2.35:1, seems to be a recent style thing, BBC Three's In The Flesh also airs in 2.35:1...

Would you go to the cinema & pay to watch a film in letterbox mode?

Personally, no, I hate cinemas with a passion, and the prices they charge are ridiculous. But if I were to go to a cinema, I would want to see the film as the director intended, rather than cropped/opened up or otherwise altered photographically...

And if you went to a good cinema, they'd show it on a screen in the correct ratio, so there wouldn't be any need for letterboxing...

Well, he has to do what he can to watch those "Bly Rays"!


Both my nearest two Odeons have mostly 2.35:1 screens, but also some 1.85:1, and it's annoying when a 2.35:1 film is broadcast on the latter as it feels no different to watching at home, in a way.

I asked both Odeons for a list of which screens were which ratio, so I can plan in advance if a film is on more than one screen. Worth everyone checking with their local cinema of choice.

My local Empire is a pisstake, the last time I went to see a film there (it was Looper from 18 months ago - both the first and last time I've been to this cinema) it was on one of their less well loved screens and the projector flickered and blinked constantly, to point where it nearly gave me a seizure and I don't even have epilepsy. It seemed like every other frame had been dropped and replaced by a black screen, and after about 30 seconds of the constant black flashes every other frame, it just gave me a headache. Thankfully, most of the film was dark, so it wasn't especially noticeable and my headache subsided, and fortunately, the awful flickering was not able to ruin the film, which I thoroughly enjoyed.

Looking back, I almost wish I'd complained, but I doubt I'd have got anywhere, nobody else seemed to notice, and if they did it didn't piss them off as much as it did me...

Back in the Dark Ages, I went to see a double-bill of EXORCIST II: THE HERETIC and the 1980 version of FRIDAY THE 13th (yes, we're talking THAT far back!!), and towards the end of the latter film, the image 'jumped' and we got the bottom half of the frame at the top, and the top half of the frame at the bottom, with a whacking great black line across the centre of the screen. This went on for a full two or three minutes, with everyone sat there like rabbits in the headlights, until I decided to get up and complain.

People really will sit still for any old rubbishy treatment, always have done, always will...

Another film I missed off Friday's listings - SUS, broadcast OAR on BBC 2 last night. No excuses - it's there in my own personal scope listings, so it somehow got overlooked. Grovelling apologies all round...

All "scope" films are letter box in digital format (Google "Digital Cinema Initiatives" for full specs). Cinemas where the image widens for 2.35 presentation use a zoom lens, see Sony professional website for further information. Anamorphic projection is no longer the norm in the cinema industry.

Oh dear, out of rack splices. I remember them... (And I have projected 35mm prints - University Film Society, way back when.)

Is that what it's called?! And there's me calling it a "bleedin' liberty" all these years!! Ya live and learn!

To be fair, it only ever happened the once at that particular cinema, and I went there A LOT back in the day, so I can't complain too much. But what was more amazing to me was the acquiescence of the audience - myself included, until I decided to move my bum and do something about it.

Always worth complaining. At the very least you'll get free tickets. I complained last year when, and I like to stay for the end credits, I was so engrossed in the music at the end of Gravity, after loving the film, but the staff whacked the lights on full (thus, obscuring some of the credits as they shine on the screen), walked in, saw I was stlll sat there, hung about for a bit, then realised I still wasn't moving, and left. About a minute before the end of the credits, they finally switched the lights off(!)

Atmopshere all gone (if you'll pardon the pun about a film set in space)

They gave me free tickets.

Since chatting to the manager, I know they have a high turnover of staff, but I had to complain again when the lights were put on full as Godzilla's credits began and the guy started cleaning up, got about halfway through the room, then paused and waited in the aisle until the credits got up and I left. I complained, but as it was the first time in six months, I asked for them just to send out a reminder to all staff, as I'm more concerned about it happening again than getting free tickets, but they've still offered me them so I will take them and use them.


I wondered what was going on. Would the image be better if they just left it, then?

And in this case, does it mean that we're losing resolution or sharpness as they zoom in?

I heard the turning the lights on during the credits was a safety thing, so early leavers didn't trip, injure themselves and sue the cinema....

That's true - the light level is raised considerably at the commencement of closing credits for this very reason. And very sensible, too. But I think DVDfever means they just switched the whole lot on, full blast, which is a VERY different thing altogether. Lights partially raised mean the screen is still watchable, whereas 'full blast' creates a very real compromise. It's just plain ignorance.

I complained when they switched off the credits twice in a row at my local cattleplex (once during FRIGHTNIGHT, the other during FINAL DESTINATION 5), and while the manager appeared sympathetic, it put me off going to the cinema at all. They just don't seem to give a damn.

You loose nothing but it may look softer because it is bigger. My local VUE cinema has Sony 4K projection but very little seems to be shown in that format despite the fact that according to their website it is used more at other venues. Possibly awaiting a storage/software update of some kind.

I went to see Godzilla and it opened and played the first two minutes in bright green and I decided to stay put to see if anybody would go and ask. Luckily the chap who flips the switches in some remote town probably saw what was happening on his monitor.

I've seen 3D films broadcast in 2D, and its very noticeable that something is suss. I watched Speed Racer with its commentary for the blind on the soundtrack on and subtitles for the hard of hearing during a regular screening. Watch Grand Budapest Hotel recently with the automotive screen adjustment thingy (thats if it exists) appear to give up the ghost before the film finally settled into academy. Have seen a couple of films open with the top at the bottom and the bottom screen at the top with a black bar.

I watched South Pacific a couple of years ago on a digital screening and observe the projector pack up as every thing went pixilated.

Yes, they put the lights on full blast.

I went to see the new X-Men film late afternoon today and only the low lights came on. Quite surprised that there were so many people (8 in this case, including me) staying for the full credits, but like I suspected (as I hadn't checked in advance) there was an additional scene after the credits.


I got like that with the Manchester Showcase after the Trafford Centre opened. I don't know if they've improved things since, but since I know I can generally get the right presentation at the TC, why bother anywhere else?


Ah, I wondered what that was. Yes, I have noticed that

Isn't there any way of projecting them anamorphically?

Not as many films are made in 4K as are made in 2K, but whether they get 4K prints of 4K films and then show them on the right screen is a different matter. I should ask Odeon if they have any 4K screens. There's no mention of it on the website - just DBOX, ISense (neither of which are available in TC or Manchester Printworks), and the usual 3D, 2D and IMAX (the latter of which isn't worth a light at the TC - if you want proper IMAX outside of London, go to Manchester Printworks. The screen's the same width as the BFI but about 3m short of height, AIUI)


Isn't that when Godzilla kicks off first-thing and there's a radiation leak?


Several cock-ups there. What happened with GBH? Did the screen/curtains physically move about?

It's a wonderful film and shows there's still a hell of a lot that can be done with the 4:3 format.

Both SAANGHURO and THAT'S LIFE! screened OAR on their respective channels over the last couple of days, but I missed the re-broadcast of SOMEBODY KILLED HER HUSBAND, so I couldn't check the presentation. Doesn't appear to be screening again anytime soon. Damn! Never mind, it'll be on again eventually.

(Unless otherwise indicated, all films in the following list were projected at 2.35:1 prior to 1971, and at 2.39:1 thereafter)

* = May not be screened in all areas (check your local listings).

Scope and 3-D movies across the Freeview platform for the coming week (24 - 30 May):


Saturday (24 May)

• 633 Squadron (C5)
• The American (Film 4)
• Basic Instinct 2 (C4)
• The Boston Strangler (movies4men)
• Breaking Dawn Part 1 (C4)
• The Bridge at Remagen (5 USA)
• Carriers (Film 4)
• City of Ember (Film 4)
• Copycat (C4)
• Die Hard 2 (E4)
• Dragonfly Squadron (movies4men) [3-D] [1.66:1]
• El Cid (BBC 2) [Super Technirama 70] [2.21:1]
• Extreme Measures (ITV 4)
• The Goonies (5*)
• Ice Age 3: Dawn of the Dinosaurs (Film 4) [3-D] [1.85:1]
• The Last Wagon (Film 4)
• Letters to Juliet (Film 4)
• Nanny McPhee (ITV 2)
• Nim's Island (5*)
• Out of Time (5 USA)
• Piranha (5*) [3-D]
• Serenity (ITV 4)
• Starman (Movie Mix)
• Star Wars Episode IV: A New Hope [Star Wars] (ITV 2)
• Tears of the Sun (Movie Mix)


Sunday (25 May)

• 1941 (Movie Mix)
• Coast of Skeletons (movies4men)
• A Cock and Bull Story (BBC 2)
• Drive Angry (C5) [3-D] [1.85:1]
• The Fifth Element [Le cinquième élément] (5*)
• Friends With Benefits (Film 4)
• Ghost Rider (C5)
• The Human Stain (ITV 3)
• Kick-Ass (C4)
• Man of the House (Movie Mix)
• The Rainmaker (Viva)
• Romancing the Stone (E4)
• Serenity (ITV 4)
• The Seventh Sign (Movie Mix)
• Star Wars Episode V: The Empire Strikes Back (ITV 2)
• Step Up (Film 4)
• They Came to Cordura (BBC 2)
• The Time Machine (C5)


Bank Holiday Monday

• 5 Days of War (movies4men)
• 55 Days at Peking (5 USA) [Super Technirama 70] [2.21:1]
• The Aviator (Movie Mix)
• Blind Date (Movie Mix)
• Crooks in Cloisters (Film 4)
• The Devil's Brigade (C5)
• The Lincoln Lawyer (Film 4)
• Man of the House (Movie Mix)
• Pirates of the Caribbean: On Stranger Tides (BBC 1) [3-D]
• Raid on Rommel (C5)
• Run Fatboy Run (Film 4)
• Spy Kids: All the Time in the World (Film 4) [3-D] [1.85:1]
• The Wedding Planner (Film 4)
• When Time Ran Out... (BBC 2)


Tuesday (27 May)

• 1941 (Movie Mix)
• Alien (Film 4)
• The Boston Strangler (movies4men)
• Double Team (5 USA)
• Haywire (Film 4)
• Jubal (BBC 2)
• Leap Year (Film 4)
• Maximum Risk (5 USA)
• Mother [마더] (Film 4)
• The Next Three Days (5*)
• Runaway (Movie Mix)
• Sink the Bismarck! (Film 4)
• Stardust (E4)
• Starman (Movie Mix)


Wednesday (28 May)

• Apt Pupil (Movie Mix)
• Beowulf (5*) [3-D]
• Fast Five (Film 4)
• Inkheart (Film 4)
• Julia (C4)
• Kismet (BBC 2)
• Merrill's Marauders (More 4)
• Running Scared (Film 4)


Thursday (29 May)

• Anna Karenina (Movie Mix)
• As Far As My Feet Will Carry Me [So weit die Füße tragen] (movies4men)
• City of Ember (Film 4)
• Gun for a Coward (5 USA)
• Law Abiding Citizen (Film 4)
• Limitless (Film 4)
• The Seventh Sign (Movie Mix)
• Wild Target (ITV 2)


Friday (30 May)

• Alvarez Kelly (BBC 2)
• The Bank Job: Based on a True Story (More 4)
• Black Swan (Film 4)
• Casino Royale (ITV 1)*
• Die Hard 2 (E4)
• The Exorcism of Emily Rose (5*)
• Friends With Benefits (Film 4)
• The Human Stain (ITV 3)
• Ice Age 3: Dawn of the Dinosaurs (Film 4) [3-D] [1.85:1]
• The Rainmaker (Viva)
• Step Up (Film 4)
• Valhalla Rising (BBC 2)

El Cid should be 2.20:1, instead looks like we've got a 16:9 crop of a pan & scan, v. poor BBC .

The Beeb has been showing this same gawdawful print for YEARS. I believe it was just re-released on Blu-ray, presumably at the correct ratio, so... time for an update, Auntie.

(And while they're at it, an update for THE FALL OF THE ROMAN EMPIRE would be nice, along with an update for CIRCUS WORLD, which the Beeb has been showing 4:3 in the same tatty print since 1749 BC, under the original UK release title THE MAGNIFICENT SHOWMAN. Again, just re-released on BR at the correct ratio. Same for TFOTRE, if memory serves)

In my local Reel cinema which was an Apollo before they went bust, they cut numbers of staff so now they have the security style blindingly bright lights on all the time, the ones cinemas use for cleaning, so at the end of these films these come on and they don't dim so just are on 100% right away. Horrid.

What happens when you've complained?