Sarita Montiel, one of the icons of 60’s Spanish musical cinema was also dubbed in her early films. She was typecast as an indigeneous Mexican in Westerns by Hollywood until her career as a white European musical star was revived back home in Spain.
My understanding is that Audrey Hepburn recorded all the songs for “FAIR LADY” only to discover she was dubbed at the premiere, but we only heard Marni Nixon. Peter O'Toole’s voice was so awful on the “CHIPS” recordings they had to bring someone else in to replace his songs. I have never been able to find that “CHIPS” CD soundtrack at a resonable price.
Don’t forget that the “MY FAIR LADY” soundtrack was dubbed by others. So was “GOODBYE, MR. CHIPS”. “DOLITTLE” and others were not, and the reviews said that was not such a good idea.
bigjoe, some of those Roadshow lobby cards were on display a year before the film opened. The movies were not yet fully edited and in most cases, still filming.
Lobby cards with scenes not in the film were very common in the 70’s. Also, trailers with scenes that did not make the final cut and there was some controversy over newspaper ads that featured scenes not in the film. This was not limited to Roadshows.
“SCENT OF A WOMAN” was supposed to open on both screens at the Manhattan Twin but was moved here at the last minute when the director complained about that theatre’s presentation.
No Vindanpar, I never saw Todd AO and I think the travelogue novelty on the big screen was better suited for the 1950’s. I found the fake sets in “SOUTH PACIFIC” impossible to imagine being anywhere except inside a theatre. “ICE STATION ZEBRA” also loses its charm on TV.
I liked “GOODBYE, MR. CHIPS”, “PAINT YOUR WAGON”, “CLEOPATRA”, “THE FALL OF THE ROMAN EMPIRE”, “ICE STATION ZEBRA” and “PORGY AND BESS”. All have been trashed over the years. I disliked “AROUND THE WORLD IN 80 DAYS”, “SOUTH PACIFIC”, and “LAWRENCE OF ARABIA”, all classics today. I found the latter beautiful to watch and about an hour too long.
There is no answer to that, bigjoe. If the boxoffice pre-sales were weak the studio would start planning the wide release immediately but run the roadshow for snob appeal prestige. “MARAT/DESADE” and “FAR FROM THE MADDING CROWD” would be examples. In the case of “STAR!” they were just tried to salvage whatever income they could get with the edited version entitled “THOSE WERE THE HAPPY TIMES”.
Any film that did not meet their budget AND marketing costs and didn’t even receive many good reviews could be seen as a “bomb”. “HELLO,DOLLY!”, “PAINT YOUR WAGON” and “TORA! TORA! TORA!” failed to do all three. Okay, how about “flop”, “turkey”, “stinker”, “dud” or “failure”? Only until “Heaven’s Gate” made the term epic did this become an issue.
Mike (saps) makes a good point. But cinema is a matter of personal choice. “Hello, Dolly” and “Tora!” could have been better. Channing over Streisand or no Japanese opinions could have been better. But “Vertigo”, in my opinion, still sucks, anyway.
“The Old Man and the Sea” played for ten weeks. It was followed by another roadshow (“A Night To Remember”) that played only nine weeks. Films are often called “bombs” because they fell short of expectation at the boxoffice, had such huge budgets they failed to make a profit or as in the case of “Tora!Tora!Tora!”, they also had pretty awful reviews nationwide.
He went ahead and made “THE GREAT GATSBY” to spite Ali McGraw for whom he had bought the rights. Remember those desperate Peter Max posters trying to make “PAINT YOUR WAGON” mod?
According to Evan’s book (THE KID STAYS IN THE PICTURE), those big budget musicals were already in progress when he took over the studio and he was unable to stop them. Of course, no studio head will admit sole responsibility for a box office flop.
“Hard to find” is not really accurate. The problem was that patrons expected it to be at the Plaza Hotel and would show up at the Paris or Cinema 3 at showtime looking for the Plaza movie they wanted.
bigjoe, they had dome the same research as for any roadshow but audience behavior was rapidly changing and movies not aimed at the youth market were failing.
Sarita Montiel, one of the icons of 60’s Spanish musical cinema was also dubbed in her early films. She was typecast as an indigeneous Mexican in Westerns by Hollywood until her career as a white European musical star was revived back home in Spain.
My understanding is that Audrey Hepburn recorded all the songs for “FAIR LADY” only to discover she was dubbed at the premiere, but we only heard Marni Nixon. Peter O'Toole’s voice was so awful on the “CHIPS” recordings they had to bring someone else in to replace his songs. I have never been able to find that “CHIPS” CD soundtrack at a resonable price.
Don’t forget that the “MY FAIR LADY” soundtrack was dubbed by others. So was “GOODBYE, MR. CHIPS”. “DOLITTLE” and others were not, and the reviews said that was not such a good idea.
If there were awards for false advertising, the motion picture industry would win the award every year.
bigjoe, some of those Roadshow lobby cards were on display a year before the film opened. The movies were not yet fully edited and in most cases, still filming.
Lobby cards with scenes not in the film were very common in the 70’s. Also, trailers with scenes that did not make the final cut and there was some controversy over newspaper ads that featured scenes not in the film. This was not limited to Roadshows.
https://www.flickr.com/photos/53316491@N08/36383742373
bigjoe, both are for sale on ebay.
This has been going on for about a year now, Cool.
Why would this cinema’s LIEMAX first be added to the description? IMAX here is a joke.
“SCENT OF A WOMAN” was supposed to open on both screens at the Manhattan Twin but was moved here at the last minute when the director complained about that theatre’s presentation.
There were some exceptions including the Strand and the Rivoli (United Artists Twin).
Why would you think that if you thought the historic Strand should be renamed for it’s last incarnation?
ridethectrain, the movie’s title was “Boccaccio ‘70”, not “Three Stories of the Sexes”. That ad continues on the next page.
No Vindanpar, I never saw Todd AO and I think the travelogue novelty on the big screen was better suited for the 1950’s. I found the fake sets in “SOUTH PACIFIC” impossible to imagine being anywhere except inside a theatre. “ICE STATION ZEBRA” also loses its charm on TV.
I liked “GOODBYE, MR. CHIPS”, “PAINT YOUR WAGON”, “CLEOPATRA”, “THE FALL OF THE ROMAN EMPIRE”, “ICE STATION ZEBRA” and “PORGY AND BESS”. All have been trashed over the years. I disliked “AROUND THE WORLD IN 80 DAYS”, “SOUTH PACIFIC”, and “LAWRENCE OF ARABIA”, all classics today. I found the latter beautiful to watch and about an hour too long.
There is no answer to that, bigjoe. If the boxoffice pre-sales were weak the studio would start planning the wide release immediately but run the roadshow for snob appeal prestige. “MARAT/DESADE” and “FAR FROM THE MADDING CROWD” would be examples. In the case of “STAR!” they were just tried to salvage whatever income they could get with the edited version entitled “THOSE WERE THE HAPPY TIMES”.
bigjoe, nobody makes a movie to break even.
Any film that did not meet their budget AND marketing costs and didn’t even receive many good reviews could be seen as a “bomb”. “HELLO,DOLLY!”, “PAINT YOUR WAGON” and “TORA! TORA! TORA!” failed to do all three. Okay, how about “flop”, “turkey”, “stinker”, “dud” or “failure”? Only until “Heaven’s Gate” made the term epic did this become an issue.
Mike (saps) makes a good point. But cinema is a matter of personal choice. “Hello, Dolly” and “Tora!” could have been better. Channing over Streisand or no Japanese opinions could have been better. But “Vertigo”, in my opinion, still sucks, anyway.
“The Old Man and the Sea” played for ten weeks. It was followed by another roadshow (“A Night To Remember”) that played only nine weeks. Films are often called “bombs” because they fell short of expectation at the boxoffice, had such huge budgets they failed to make a profit or as in the case of “Tora!Tora!Tora!”, they also had pretty awful reviews nationwide.
He went ahead and made “THE GREAT GATSBY” to spite Ali McGraw for whom he had bought the rights. Remember those desperate Peter Max posters trying to make “PAINT YOUR WAGON” mod?
According to Evan’s book (THE KID STAYS IN THE PICTURE), those big budget musicals were already in progress when he took over the studio and he was unable to stop them. Of course, no studio head will admit sole responsibility for a box office flop.
“Hard to find” is not really accurate. The problem was that patrons expected it to be at the Plaza Hotel and would show up at the Paris or Cinema 3 at showtime looking for the Plaza movie they wanted.
bigjoe, they had dome the same research as for any roadshow but audience behavior was rapidly changing and movies not aimed at the youth market were failing.