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One of the great things to come out of the now-sundering Paramount-DreamWorks match-up—aside from Michael Bay’s forthcoming “Transformers 2: Revenge of the Fallen”—is Steven Spielberg’s discovery that Paramount had, through various forms of neglect, demolished the negatives of the “Godfather” trilogy. He stepped up and insisted that the corporation restore at great expense one of the crown jewels of American cinema. Restoration expert Robert Harris worked with Coppola and retired cinematographer Gordon “King of Darkness” Willis to bring the picture to an equivalent of its 1972 Technicolor glory. Forget your HDTV: see this on the Music Box screen. (“Godfather II” will also be shown.) 175m. (Ray Pride)
Ray Pride is Newcity’s film critic and a contributing editor to Filmmaker magazine.
His multimedia history of Chicago “Ghost Signs” will be published in 2023.
Previews on Twitter (twitter.com/chighostsigns) as well as photography on Instagram: instagram.com/raypride.
Twitter: twitter.com/RayPride
