1:33 was the ratio Kane was shot as was the practice at the time. But TOE was coposed by Welles in 1:85 but shot full frame at the order of the studio. Welles was very aware on the compostion that he shot the film in. Welles never complained about the ratio because he screened it a 1:85. I guess those who prefer the studio version feel more is better, but that is going aganst the way the picture was shot and was ment to be seen in theaters. This was supported by both Mety and Lathrop later on the it is by the records on the orig. studio screening and the release theatrical screening that further support how the film was presented. A little homework on this matter goes a long way.
When I was preparing a lecture that I gave on Touch of Evil last year at the National Film Theatre in London I had the chance to compare the prints of the standard and re-release versions of TOUCH OF EVIL both on a Steenbeck and projected on the big screen. I found that the ratio really should be 1.66 and was infact indicated as such on the re-release print. The easiest way to confirm this was the simple fact that in the third shor of the film, the backward dolly shot in which Heston and Leigh run towards the explosion, if shown at 1.33 then the bottom of the dolly would be clearly visible, but was removed at 1.66 - the DVD says that it is masked at 1.85 but in fact it is masked at around 1.77 I think, so as to accomodate widescreen TVs, and I believe that this is still a little too tight, to be honest.
The easiest way to confirm this was the simple fact that in the third shor of the film, the backward dolly shot in which Heston and Leigh run towards the explosion, if shown at 1.33 then the bottom of the dolly would be clearly visible, but was removed at 1.66
Glenn Anders wrote:Of course, I would want to see CITIZEN KANE in the format I first saw in a small town theater, in 1941.
If you don't think that makes me a premier member of your club, I'll form one of my own.
Roger Ryan wrote:I agree with the earlier post that these kind of mistakes don't automatically determine what the correct aspect ratio should be, but I believe some directors/cinematographers will forgive certain objects/equipment sneaking into frame if they believe these things will be cropped out later.
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