Journal of Film Preservation - FIAF

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eproduce the effect of a close up in the wide scope gauge, he partly reduced the aperture of the wide frame for more intimate scenes. The use of colour isn’t realistic but follows a concept, which assigns every episode to a season whose colours then dominate its costumes, buildings, the scenery and the lightning. The image’s composition gains in depth of field by means of apparently minor objects coming to the fore during long travelling shots, like in the backstage scene this rope, which hangs from the ceiling and swings for several minutes in front of Adolf Wohlbrück’s face, or this stovepipe which covers Martine Carol’s face in the coach during the flight from Bavaria. Ophüls avoided all the stereophonic effects the new four-channel magnetic sound could have made possible, by only using the un-separated three front channels and doing without the effect channel. And finally, some scenes’ exposure is so dark that the faces of the actors as well as the costly set aren’t recognisable anymore. All this remained in the known prints, or at least could be suspected. What we know little about is the original sound mix, for this is what has been modified most in the reedited versions. The direct view to the actresses is blocked to create a feeling of space The curtain in the foreground covers the faces of Martine Carol and Adolf Wohlbrück. The soundscape Most reviews of the German première refer to the sound of Lola Montes, probably with regard to the fact that it was one of the first German films with four-channel magnetic sound, and that a remix of the soundtrack had already been announced for the ulterior German release version. The judgements vary from “technical amateurism” to 8 Journal of Film Preservation / 65 / 2002
Stefan Droessler cuenta la historia del estreno de Lola Montes de Max Ophuls y describe los esfuerzos de restauración recientes tendientes a reconstituir la obra lo más cerca posible de la versión original alemana. Compara las copias de las tres versiones de difusión originales, y estudia las influencias a nivel de las pistas de sonorización que han influenciado las proporciones de la imagen. También enumera los estudios de Ophuls, en particular sobre su manera de tratar a los colores y la utilización de varias pistas sonoras. Un cuadro sinóptico muestra qué idioma se utilizó para las secuencias de las versiones originales alemana y francesa. El autor también detalla cómo han sido modificadas las proporciones de la imagen a raíz del sistema de sonorización utilizado después de 1957, y se analizan los cortes de numerosas secuencias, aunque no quede clara la responsabilidad de Ophuls en dichos cambios. Seguidamente, el autor describe las copias utilizadas para la restauración de la película, provenientes de los archivos de Munich, Luxemburgo y Bruselas. Se tomó como base para la reconstrucción el negativo original alemán, recurriéndose a las copias inglesas y francesas en casos de necesidad. La restauración fue realizada en HDTV. Esta tecnología permitió reducir las diferencias de calidad entre las diferentes fuentes, y de aproximarse a la idea original de Max Ophuls. “interesting experiment” representing an unreasonable demand on the general public. What irritated most was that parts of the sound were hard to understand - which contradicted the promises of the advertisements for the magnetic stereo sound. A short note in the February 1956 issue of Cahiers du Cinéma is the best source regarding the multilinguality of the German première version. Its author had seen the German première Lola Montes in Munich and was impressed by its differences from the French première version, calling the German version the “original” one, since no actor was dubbed. He points out that the German actors (playing Liszt, the young student and king Ludwig) spoke German whereas the French actors (like Lola’s mother) spoke French and were subtitled. He was particularly impressed by Martine Carol’s achievements, who spoke both French and German (with a charming French accent). Additionally consulting the film scripts and analyzing the sound track of the reedited version which wasn’t done properly at all, the repartition of the languages can be inferred. German premiere French premiere sequence version language version language credits German French circus ring German French Lola and Liszt in the coach German/French French arrival at the inn Italian, subtitled Italian arrival of Maurice French French Lola and Liszt at the inn German French Departure German/French French circus ring German French Lola's dressing-room German/French French Lola on the ship French/English, subtitled French/English Lola and steward German/French French Dormitory French/English French/English dining ball, Lola on deck French, subtitled French Lola at the opera French, subtitled French box at the opera French/German French Lola leaves the opera French, subtitled French Lola's dressing-room German/French French circus ring German French Lola in Scotland English/French, subtitled English/French Lola and sister/servant of James German/French French circus ring German French Lola dancing at the Tivoli French, subtitled French circus ring German French Lola in the hotel at the Riviera French/German French the equerry visits Lola German French circus ring German French Lola meets the student French/German French Lola arrives at the Bavarian inn German/French French/German parade at the English Garden German French Lola visits the king German/French French needle and thread German German, subtitled king and queen at the theatre German German, subtitled Lola's dressing-room at the theatre French/German French Lola and the king backstage German French outside the theatre German German, subtitled 9 Journal of Film Preservation / 65 / 2002
Page 1 and 2: Journal of Film Preservation 65 •
Page 3 and 4: Training / Formation / Formación 6
Page 5 and 6: L’énorme soutien de Manoel de Ol
Page 7 and 8: Reconstructing the German Version o
Page 9: 23.12.1955 12.1.1956 première vers
Page 13 and 14: aspect ratio characteristic of Cine
Page 15 and 16: shortened: the last travelling star
Page 17 and 18: survived - until now no trace has s
Page 19 and 20: Thus, the work on Lola Montes is no
Page 21 and 22: archive could become frozen in time
Page 23 and 24: également hybride et devra être a
Page 25 and 26: formato. Podría digitalizar las pe
Page 27 and 28: Photogramme of Liberty, Daughter of
Page 29 and 30: En 1914, Frank N. Thayer, de la Mut
Page 31 and 32: Advertising for Pancho Villa en Col
Page 33 and 34: Sessue Hayakawa, already a famous s
Page 35 and 36: su pelicula Les Chinois à Paris. M
Page 37 and 38: La Bataille, Nicolas Farkas, 1934.
Page 39 and 40: Detail of one of the projectors wit
Page 41 and 42: avant-garde film, once remarked tha
Page 43 and 44: i Kevin Brownlow, “Silent Films:
Page 45 and 46: Antonino Sagarmínaga was one of th
Page 47 and 48: Antonino Sagarmínaga fut l’un de
Page 49 and 50: 1 Henri Joly comenzó trabajando co
Page 51 and 52: forma de guión entre la segunda y
Page 53 and 54: Conclusión Como se ha podido obser
Page 55 and 56: Recuperación y restauración de nu
Page 57 and 58: Fundación Cinemateca Nacional de V
Page 59 and 60: du Ministère de la Culture octroy
Page 61 and 62:
emplacer les pionniers des médias
Page 63 and 64:
Peter von Bagh, Artistic Director o
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precipitaban los espectadores. Prov
Page 67 and 68:
Michel Simon in La Vocation d’And
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par un film d’animation de “Jer
Page 71 and 72:
Rochester Reflections - The 10th FI
Page 73 and 74:
estudiantes y del cuerpo docente es
Page 75 and 76:
l’International Index to Film Per
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Canberra: Big Screen: Touring Films
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En 2001, ScreenSound Australia - Na
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Dublin: The Irish Film Archive Kasa
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El Irish Film Archive (IFA) celebra
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1 John Charles McQuaid was Archbish
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d’appareils, de costumes, de mari
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Depuis sa création en 2001, la Hon
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Monterrey: La Cineteca de Nuevo Le
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entorno de diversión donde se inst
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uno de los rollos encontrados, para
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devenu membre de CCAAA (Coordinatin
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Thilo Wydra, Volker Schlöndorff y
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The highest quality and innovation
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Reglas de catalogacion de la FIAF p
Page 105:
The L. Jeffrey Selznick School of F
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Get the cleaning power of a deep ta
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