domingo, 7 de outubro de 2012

Um comentário:

bruno andrade disse...

Heads up:

Some of my thoughts on Criterion's Michael Cimino-supervised restoration of HEAVEN'S GATE, as I previously posted on the hometheaterforum:

"Lush" is the word I'd use to describe the look of the Criterion restoration of HEAVEN'S GATE as presented October 5th at the New York Film Festival via a DCP. The colors are saturated to a degree that mirrors the look of I.B. Technicolor at times (talk about Technicolor blue skies! And Technicolor green grasses, and Technicolor wildflowers, and Technicolor blood...) and there's a depth and dimensionality to the image that I've never seen in the previous sepia-toned, low-contrast versions. The look is "revisionist" but thankfully not modern (i.e., orange and teal)- the impression I get is that we're seeing things the way they actually would have appeared on location, as opposed to the filtered-via-print-flashing look that the film has had in the past. It's frankly gorgeous.

The film opens with a informational card explaining that this version of HEAVEN'S GATE was reconstructed via YCMs of the long version that were scanned at 2K and recombined digitally at Sony Colorworks. I don't know if what I was seeing was a result of the digital projection or shrinkage of the YMCs, but occasionally there was some color fringing along very high-contrast edges, usually during shots with movement, and usually towards the edges of the frame. It was only noticeable on occasion, though.

Re: the subtitles during immigrant dialogue- they HAVE NOT been restored. As for changes/edits Cimino has made to the film, the biggest edit is the removal of the intermission. I noticed two other small edits- two close-ups of John Hurt after he's been slapped by Sam Waterston including Hurt's line about "son of a bitch being a popular phrase in this country" have been removed, as has a close-up of Brad Douriff while the injured immigrants are singing in the night after the first day of the battle. There may have been other small deletions, but those are the ones I noticed. The one major change that isn't a deletion involves the shot that ends the prologue. Originally, the camera is close on the girl looking out the window in candlelight and drifts down away from her before the jump cut ahead 20 years to the conductor walking through the train. For this new version, Cimino has reversed the shot of the girl- i.e., it now plays backwards, starting down away from her then drifting up TOWARDS her and ending on a close-up, giving an entirely different effect to both the shot itself and the cut forward in time.

Vincent

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