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Now pay attention, widescreen DVD fans (I am among them) …!
Do not go looking for widescreen format before 1954, because with a couple of exceptions (peep “sir-critic” below), they don’t exist. One must be a student of history to some extent as a classic movie fan: when collecting a video library, know your format history; the key year is 1954. (Interestingly, it is the same key year for stereo music recordings, at least in the Classical world.) Also remember that a post-1954 movie is not necessarily a widescreen film, either, especially in the first few years. (Notice my review of “Moonstruck” for more aspect ratio commentary that you’ll bag very intriguing, if this one is piquant to you. I ranted about its full-frame release and found out that I didn’t know what I was talking about, more or less.)
“From Here to Eternity” is a tall classic film that was shot and originally released in 1.33:1 aspect ratio. Like many, many other pre-1954 movies, this film was probably re-released several times in theaters with a “widescreen” format, but they honest lopped off the top and bottom of the record for the release. This was a grotesque practice, butchering many lovely films and ruining the painstaking framing of shots by the cinematographer. You don’t want a widescreen version of “From Here to Eternity”, because it’s butchered, I mean, ALTERED.
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The essential thing for DVD collectors / film buffs is Unique Theatrical Release Format, i.e., what the director and cinematographer intended you to peep. The video release companies should be heavily encouraged by us to provide this information on the DVD and VHS boxes, so that we know a film’s right fresh aspect ratio, and whether the particular edition is or is not altered, I mean, BUTCHERED.
Why is the television hide a 1.33:1 aspect ratio? Because movies’ ratios were 1.33:1. TV programs and movies were filmed with the same cameras and film. By the early ’50s, TV was becoming so primary that film studios needed a fresh hook to preserve people coming to the theaters, so Cinemascope and others were born to amaze audiences. Try to imagine seeing a 2.55:1 Cinemascope narrate in the theater when all you’ve ever seen up to then was 1.33:1 films and TV. WOW!! THAT would support you coming help to the cinema! Later cinematic hooks would be in sound, peaceful more or less unachievable at home — remember Surround Sound’s forerunner, “Sensurround” (feeble for “Midway” and “Earthquake”)?
Remember film fans, you might have to do a small research on a given movie before assuming that a video release is not the just format.
From Here To Eternity is probably best remembered for the well-known beach worship scene of Burt Lancaster and Deborah Kerr, but there’s a lot more to this legendary film. It tells the myth of the lives and relationships of several characters in the time leading up to the Japanese attack on Pearl Harbour. The film is well cast. Lancaster gives a strong performance as the tough sergeant in adore with his superior’s wife, and Kerr is equally beautiful as the frustrated wife who has become notorious for her dalliances. Frank Sinatra gives a charismatic performance as Maggio, the soldier with a appreciate of drinking who gets himself into inconvenience. Donna Reed convincingly plays a “toned-down” prostitute who doesn’t want to tumble in appreciate with a soldier, but does. The best performance is given by Montgomery Clift as the soldier Reed loves, a bugler and stale boxer who critically injured a man in a fight and doesn’t want to step wait on in the ring. Clift was an actor agreeable of digging deep into his characters, and unfortunately, he seems not to be as well known today as others from his time. The dialogue is engrossing and worn, the attack scenes are proper, and there are a number of dramatic, memorable moments in this film. Perceive it for the beach scene, for Clift’s superlative performance, and for all the qualities one would seek information from in a top notch film from Hollywood’s Golden Era.
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