Danny Burk wrote:I've never seen a print that wasn't quite soft.
Danny Burk wrote:Interesting - I haven't seen the UCLA print. I've seen MOMA, the old Blackhawk Super-8, a DVD released in Spain (official, not bootleg), and the newer Fox Murnau/Borzage DVD (but not the BFI blu-ray), and all seemed to be from the same source.
Gagman 66 wrote: I have also heard tell the that the MoMA not only has better elements, despite what Fox says, but a longer Road Show version of the film, containing as much as 15 minutes of extra footage. I know people who have seen it, and they describe scenes not in any VHS or DVD version that I have seen over the years.
Big Silent Fan wrote:For me, "Seventh Heaven" seemed more like watching a stage play than seeing a movie. I don't know if I would ever watch it again.
I story needs to be more believable before it can become one of my favorite films. This has nothing to do with image quality which felt was adequate.
Gagman 66 wrote:Big Silent Fan,
Huh! How can you not like SEVENTH HEAVEN? Frankly it is a 10 times better film than MARE NOSTRUM. Were you seeing it with the Movie-tone track??? While based on a Stage-play, I don't see anything remotely Stagy about the film. Moreno and Terry have positively zero chemistry together. At least in what survives. By stark contrast, Gaynor and Farrell are pure magic.
Gagman 66 wrote:Big Silent Fan,
How can you not like SEVENTH HEAVEN? Frankly it is a 10 times better film than MARE NOSTRUM. Were you seeing it with the Movie-tone track??? Moreno and Terry have positively zero chemistry together.
Gaynor and Farrell are pure magic.
Gagman 66 wrote::o Well, I have many friends who consider SEVENTH HEAVEN the best film that have ever seen. No one has ever told me that MARE NOSTRUM was the best film they had ever seen.
Big Silent Fan wrote:All the scenes between the two sisters are frankly unbelievable enough, but the clincher is at the end. It's a stupid Hollywood ending.
After the film finally gave us one real dramatization (his death on the battlefield), complete with his dying words to be sent home...we have to see this guy returning home by some unexplained miracle? No explanation required? That's a conclusion I cannot accept.
Big Silent Fan wrote:
Then there's that "Comrade" character who lives across the roof and comes in through the window.
Rodney wrote:With a new score in our repertoire, I'm naturally curious about where the 35mm print for the UCLA showing came from, and I'd probably be able to identify if there's more than a dozen seconds of extra material in the print (since our score will get out of sync at those points).
and she falls really hard (and very convincingly, to me, Gaynor was a brilliant actress) for him.
Michael O'Regan wrote:and she falls really hard (and very convincingly, to me, Gaynor was a brilliant actress) for him.
I just hated the ending. It was all wrong. Didn't Chico die right in front of the priest's eyes in the trenches?? The very same priest who comes to tell Diane of his death???
Michael O'Regan wrote:The BFI DVD has 114min.
Have you actually timed it?
Rodney wrote:Then there's that "Comrade" character who lives across the roof and comes in through the window.
What of him? It's a French movie after the revolution. Working class people called each other "comrade."
Also, the use of taxis in the Battle of the Marne is a true event (you can google it, it pops right up.) It probably wasn't very significant militarily, but it was huge in terms of giving Parisians morale in WWI, and was perfectly legitimate to use in this story. It's played for comedy, because as you note, this movie is a romantic comedy set in war time.
WaverBoy wrote:I very much like this film, but I agree with you about the ending. It's simply not remotely swallowable. Rather like the endings of two other films I mostly like, THE WIND and CITY GIRL. I really, really hate it when they muck up an ending. Especially CITY GIRL. I hope that absolutely ridiculous ending was studio-imposed, and not Murnau's fault.