George Feltenstein announces the Warner Archive's August releases, featuring a diverse lineup including classic dramas, a Technicolor musical, a John Ford film, a 4K crime thriller, and a complete Hanna-Barbera series.
• "The Hard Way" (1943) starring Ida Lupino in possibly her finest performance as a driven woman advancing her sister's career
• "That Midnight Kiss" (1949) introducing Mario Lanza alongside Catherine Grayson in a Technicolor musical about classical music
• "Intruder in the Dust" (1949) addressing racism and lynching in the South with Juano Hernandez in a powerful social drama
• "Seven Women" (1966), John Ford's final film about female missionaries in 1935 China starring Anne Bancroft
• "Get Carter" (1971) on 4K UHD featuring Michael Caine as a ruthless killer, restored in partnership with the British Film Institute
• The complete "Huckleberry Hound Show" on 11 Blu-ray discs, featuring all 68 episodes as originally broadcast from 1958-1962
Check out the Warner Archive Facebook page for pre-order information and release dates for all these titles. Currently pre-orders are not yet available.
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Transcript
Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Tim Millard (00:00):
Hello and welcome to the Extras.
I'm Tim Millard, your host, andjoining me is George
Feltenstein of the WarnerArchive to announce the August
Blu-rays, and that includes ahighly anticipated Hanna-Barbera
series, plus a new 4K release.
Hi, George.
George Feltenstein (00:18):
Hello, Tim, great to be with you yet again,
as always.
Tim Millard (00:22):
Well, there's a lot of excitement around the August
releases, and maybe a part ofthat is that the announcement is
just a little bit later thanusual, and I know that I was on
vacation, so the 4th of Julyholiday maybe pushed it just a
little bit, as others might havebeen as well, but that just
built the excitement, and soit's great to see these new
(00:46):
releases and I'm looking forwardto going through these with you
today.
George Feltenstein (00:51):
I'm looking forward to talking with you
about them as well.
Tim Millard (00:56):
It's a very diverse group and a little something
for everyone, I hope, yeah yeah,and I think that animation fans
are going to be very happy thismonth.
We'll hold off on that for justa little bit, because we do
have quite a few titles to gothrough and I thought we'd kind
(01:17):
of go through starting with someof the oldest ones first.
So that means that first up wehave the 1943 drama the Hard Way
.
What can you tell us about thisfilm?
George Feltenstein (01:29):
I've actually talked about this, I
think, when we did ourdiscussion about the man I Love,
which I think maybe was a yearago, maybe more, but you know
I've spoken on that occasion, aswell as other occasions, about
my opinion that Ida Lupino needsto be more significantly
(01:54):
recognized for her reallysupreme acting ability, as well
as completely unrelated in thisparticular situation.
But, uh, she was a finedirector and, uh, she was trying
to establish herself as adirector when the industry
(02:17):
wouldn't even consider the ideaof a female director.
Uh, so I just have greatrespect for her.
I think this might be her bestfilm performance, which is
saying a lot, and she did get aBest Actress nod from the New
York Film Critics Circle for herperformance in this film, the
(02:40):
Hard Way, which is directed byVincent Sherman.
This is a film that only reallyWarner Brothers could pull off.
It doesn't have any of theHollywood puffery or sheen that
would have come from anotherstudio, even some studios that I
really admire.
This is a tough, gritty filmthat is making really no secret
(03:07):
of the fact that I Lupino playsa hardened, driven woman who
will stop at nothing to supportthe stage performer career of
her younger sister, played byJoan Leslie, stage performer
career of her younger sister,played by Joan Leslie.
(03:28):
And I did mention in thewrite-up that we put out about
the picture that it's a littlebit foreshadowing the true life
story of Gypsy Rose Lee and hermother Rose Hovik.
Rose Lee and her mother, roseHovik who that whole dynamic
(03:51):
between mother and daughter andthe mother stopping at nothing
to help Gypsy's career as aperformer?
Well, the role of Ida Lupino inthis film and her kind of just
tough as nails approach to doinganything she can to further the
performance career of hersister, katie, played by Joan
(04:12):
Leslie, is just she.
I don't want to say she choosethe scenery, because that would
mean she's just right and morepeople need to know this film.
And now it has finally morphedfrom looking ratty and awful in
a 35-year-old analog videomaster, which is what we put out
(04:36):
as a DVD-R 15 years ago, andwhat now is a 4K scan off the
camera negative, the nitratecamera negative, and a stunning,
gorgeous master.
That does the film proud.
And I also happen to be a fanof the director, vincent Sherman
(05:00):
, who lived a long enough lifethat I actually got to meet him
and we recorded somecommentaries with him.
Alas.
We tried to record commentarieswith him on films that hadn't
been released yet andunfortunately the Hard Way
(05:21):
wasn't one of them that gotrecorded.
So I'm grateful for what wehave, but it would have been
wonderful to have had hisparticular thoughts on this film
, because it wasn't Betty Davis,it wasn't Joan Crawford, it
wasn't Bogart.
You know it's a whole otherthing.
My understanding is that therole that Lupino plays in this
(05:43):
film was offered to Betty Davisand she turned it down, so that
seems very plausible.
She had also turned downMildred Pierce, something she
probably regretted for the restof her life.
But Ida Lupino is the realcenterpiece of the film and her
(06:04):
performance just makes itmagnetic.
I remember seeing this film ontelevision as a kid and being
really mesmerized by the factthat Ida Lupino's character is
just so well.
Let's just say maybe evil is alittle too hard, but not a nice
(06:27):
person and not a very ethicalperson and not a very
considerate person.
Vaudevillians that come across,uh, joan lizzie's character when
she goes to the vaudevillehouse.
Jack carson gives a a veryvulnerable performance, which
(06:55):
isn't usually like him.
His characters are usually verywise ass and of course he was
downright applicably nasty in.
A Star is Born in 1954.
But here you actually feelcompassion for him because he's
basically destroyed by IdaLupino in her wake to make her
(07:17):
sister a success.
So it's a great deal of fun inthat respect.
It's not fun watching somebodyget destroyed, but when Ida
Lupino is doing the destructionwork it's impressive.
Tim Millard (07:33):
Well, it feels like we've talked about this one, as
you said earlier last year,maybe the year before.
I mean, this has been requestedby many people and we've talked
about it because of theinclusion of Ida Lupino and Joan
Leslie, so I'm excited to seethis come out, and I know a lot
of others are as well.
Now, do you have any extras onthis release?
George Feltenstein (07:55):
Yes, we do, and it was an omission when we
made the Facebook announcementyesterday that we didn't talk
about the extras.
So I will be happy to sharethat information here and then
we're going to update ourFacebook page.
There was a radio show versionon Lux Radio Theater, full hour,
(08:19):
but none of the original castwere participatory in the radio
version.
It starred Miriam Hopkins andFrench O'Tone, among others, and
it's a very good audiotranslation or audio edition of
(08:42):
the storytelling.
It's quite effective, uh,edition of the storytelling.
It's quite effective, andmiriam hopkins was very strong
personality, uh, in her own way,and uh, she takes on the lapino
role very, very interestingly,so I think people will enjoy
that.
Then we have two 1943 uh warnerbrothers shorts Warner Brothers
(09:02):
shorts, both of which are in HD.
One of them is called Gun toGun and the other is called Over
the Wall, and they reflect thewartime activities of 1943.
And then we also have, inaddition to the original trailer
, we also have two WarnerBrothers cartoons, both of which
(09:26):
are in HD and both of which Iconsider to be famous the
Aristocat, which is a wonderful,wonderful cartoon Not with any
of the most familiar characters,but it's tremendous, and then a
very famous cartoon Scrap HappyDaffy, which is black and white
(09:47):
, and both of those cartoons, asI said, are in HD, so this is
going to be a really, reallygreat disc.
Tim Millard (09:54):
Yeah, yeah, it sounds like it.
Well, next up, george, you havea Technicolor release, that
Midnight Kiss from 1949.
What can you tell us about thisfilm?
George Feltenstein (10:06):
Well, this is a production from what I
jokingly refer to as the land ofPasternakia.
Joe Pasternak, who produced avery specific kind of musical at
MGM, of musical at MGM.
(10:32):
His production unit was kind ofin competition sort of at MGM
with the Arthur Freed unit.
The Freed musicals were veryclassy and used the very best
talent and Freed musicals aregenerally trying to advance the
form and they were much more inthe direction of having music be
(10:59):
a justified part of thescreenplay.
Joe Pasternak's films were muchmore light, they were lighter
entertainment, but that doesn'tmean that they weren't
impressive productions.
He tended to really loveclassical music and so
performers like CatherineGrayson and Jane Powell they
were often seen in Pasternakproductions and Esther Williams
(11:23):
swam more for Joe Pasternak, Ithink, than any of the producers
and he liked to put noveltyacts in his films.
As a result, his films wereoften more profitable for the
studio than the more culturallyrespected Arthur Freed
productions were.
(11:44):
Culturally respected ArthurFreed productions were, and that
Midnight Kiss was a 1949Technicolor entertainment gala.
I would say it's based in theworld of classical music and
opera.
You have pianist Jose Iturbiwho was in several Pasternak
(12:04):
films and many films at MGM.
This was his last because hewas getting word from various
people that his performances inthese movies were taking away
from his reputation as a seriousmusician.
So he decided to cast Hollywoodaside after this.
(12:28):
But with a goodbye there's alsoa hello, and this is the film
that introduced Mario Lanza tothe movie screen.
And Lanza had alreadyestablished himself he was a
truck driver from Philadelphiaand they changed his name.
(12:50):
He started making recordingsfor RCA and when he was at the
Hollywood Bowl performing, thestory is I don't know if this is
apocryphal or not that LBMayer's assistant, ida Coberman,
went to Mayer and said I heardthe most amazing tenor at the
(13:15):
bowl last night.
We've got to sign him to thestudio.
However it happened exactly.
However it happened exactly.
That's probably how it happened.
But whatever the methodologywas, the studio signed him for a
contract.
He does not get top billing inthis movie.
(13:36):
It says and introducing MarioLanza.
But so the top billed stars ofthe film were, in fact,
catherine Grayson, jose Turbiand then Ethel Barrymore.
And then there's in big lettersand introducing Mario Lanza.
(13:56):
So in the film like life, heplayed a Philadelphia truck
driver who had a great voicePhiladelphia truck driver who
had a great voice and it's aromance between Catherine
Grayson and Mario Lanza and thishad an original screenplay, so
the storytelling is actuallyvery good and most of the music
(14:19):
actually takes place on thestage in terms of operatic arias
and so forth and so on.
There is a scene where MarioLanza serenades Catherine
Grayson singing Jerome Kern fromthe street.
He serenades her in her window.
He sings they Didn't Believe Meby Jerome Kern, a very famous
(14:44):
popular song of the earlier partof the 20th century.
It's a highlight of the movie.
I mean, they both had wonderfulvoices and they had good
chemistry.
The film was a substantial boxoffice performer and it did uh
(15:04):
lead to them being re-teamedvery shortly thereafter in a
movie called uh the toast of neworleans, which also co-starred
david niven, and that's the songwhere uh be my love was
introduced, written for themovie it.
It became a huge hit for MarioLanza and he made several films
(15:28):
at MGM and his tenure there wasbrief.
He walked out on the studiowhen they were making the
Student Prince in 1952.
And there was a legal skirmishand eventually the settlement
was that Lonza would not be inthe film, that he would record
(15:53):
the songs for the student princecharacter and it would be
performed by actor Edmund Purdom.
So that was the last MGM studiobased production that Lonza was
in.
And then he made a film here atWarner Brothers Serenade, which
(16:16):
was actually based on a book byJames M Kane who wrote Mildred
Pierce.
And then a couple of years wentby where there are no Lonza
movies and Lonza hooked up within the the late 50s a company
called Titanis in Italy and madetwo films Seven Hills of Rome
(16:39):
and then, for the First Time,both of which were filmed
overseas but MGM ended updistributing, I think, for the
entire world except Italy.
So there's this irony that MGMand Lonza parted company after a
(17:00):
lawsuit in the early 50s andhis last two films were done
basically for Titanus and MGM.
He died very, very young.
He had a heart attack, he was aheavy smoker, he had fluct.
(17:27):
Death was heartbreaking, but hestill has a worldwide following
, especially among opera lovers,and his recordings still sell
all over the world.
And his most famous film workwas portraying Enrico Caruso in
(17:50):
the Great Caruso, which was ahuge box office hit and which we
released a Technicolorrestoration on Blu-ray of in, I
think, 2019 or 2020.
But it was one of ourTechnicolor recombinations and
it looked and sounded fantastic,as does this.
(18:12):
This is another one of thosefilms where we've taken the
original Technicolor negatives,used our proprietary technology
to make a sharp, colorfulpresentation and it's very
entertaining.
And it's very entertaining andwe've added to the disc
something we also had on the DVDof it almost 20 years ago a
(18:34):
deleted musical number calledOne Love of Mine.
And we also have two MGMcartoons in high def Heavenly
Puss with Tom and Jerry andSeñor Droopy with Droopy, from
(18:55):
Mr Tex Avery and the originaltrailer.
So it should be a very fun discand I know that Lonza fans will
be very happy by this news.
Tim Millard (18:58):
They're coming out of the woodwork just saying how
happy they are, so reallylooking forward to it.
The Technicolor restorationsare always home runs, so looking
forward to this when it comesout in August.
Well, next we have another filmfrom 1949, and that's the drama
Intruder in the Dust.
What can you tell us about thisrelease?
George Feltenstein (19:22):
Well, it couldn't be more different from
that Midnight Kiss in terms ofwhat filmed entertainment is,
and this was a social drama thatwas based on the novel by
William Faulkner, and MGM wasvery brave to make this film.
(19:47):
Mgm was very brave to make thisfilm.
It deals with racism, lynchingprejudice, in a very adult,
straightforward manner.
That is not Hollywood.
And in fact, director ClarenceBrown, who had established
himself as one of the greatdirectors at MGM in the silent
(20:14):
era he did many of the Garbomovies in the talkie era as well
and Clarence Brown brought hiscameras to Oxford Mississippi
where this story takes place.
Oxford Mississippi, where thisstory takes place, and one of my
favorite actors, who is veryunderrated but has now been
(20:41):
properly recognized in acontemporary sense Juano
Hernandez.
He plays a black man who isfalsely accused of a crime.
You know, a white man ismurdered and the cops the
Mississippi cops are completelycorrupt and they're ready to
(21:03):
lynch this man.
And David Bryan portrays alawyer who is helped by Claude
Jarman Jr, a teenager who a lotof people will remember from his
work as Jody in the Yearling.
That really put him on the mapas an actor, but he was a young
(21:24):
man here.
This is several years after theYearling and there's like a
trio.
This is several years after theYearling and there's like a
trio.
It's the David Bryan character,the Claude Jarman Jr character
and also an older woman playedby Elizabeth Patterson, who is
best known.
She was in some early 30sWarner pre-code movies.
(21:45):
She did a lot of work but mostpeople know her as Mrs Trumbull
from I Love Lucy.
She's terrific in the movie andthe three of them, against all
odds, fight for JuanoHernandez's freedom.
And at the time this movie cameout, bosley Crowther, who was
(22:08):
the reviewer for the New YorkTimes, who very often didn't
have many nice things to sayabout most films very popular
(22:32):
films.
He would usually trash them.
And how he ended up being theTimes film critic for as long as
he was is kind of shocking.
What ended his career was aterrible review he gave Bonnie
and Clyde and when Bonnie andClyde turned out to be revered
as breakthrough in cinema, mrCrowther was sent packing.
Mr Crowther was sent packing,but this was long before that
(22:54):
and yet he referred to A Trueris in the Dust as one of the
great cinema dramas of our times.
If anybody wants to go back anduse the New York Times machine
and read Crowther's review.
It's just an out-and-out ravethat speaks to the excellence of
this film and the fact that MGMhad the courage to make it in
(23:15):
1949, I think shooting probablystarted in 1948, but it was
released in 49.
And it is not a long film it's87 minutes long.
It is captivating, it ismagnetic and here again we're
(23:36):
able to take a film that wasn'tlooking very good in what we've
been distributing in televisionand on DVD.
Now it's got a gorgeous newmaster.
It's a 4k scan from ourpreservation elements, which
were second generation.
This is one of the many blackand white negatives that burnt
(23:58):
up in the Eastman fire in 1978.
So fortunately we have finegrain that is quite beautiful
and very well made and it almostlooks like you're looking at
the original negative.
It's just that beautiful.
This film was named one of the10 best of the year by the
(24:20):
National Board of Review backwhen they were doing the best
films of 1949.
But I still believe that itisn't well-known enough and I
urge people to see it.
And, of course, I urge peopleto buy it and make it part of
their libraries, because thesethings don't happen without
(24:41):
consumer support and I can'timagine anyone who loves film
not wanting to have this filmamong their collection.
Tim Millard (24:50):
It's just knockout performances, fine filmmaking
and, uh, as they said on theposter, it's sensational and you
also put in a nice uh amount ofextras on here as well for the
fans.
You got uh shorts, it lookslike.
George Feltenstein (25:09):
Yeah, they're diversionary.
One is this would be again ifyou went to a Lowe's theater and
saw Intruder in the Dust, itwould likely be with a cartoon
in a short.
We've got a Fitzpatrick TravelTalks short filmed in
Technicolor talks short filmedin technicolor play lands of
(25:34):
michigan, uh.
And then we have another texavery cartoon in hd, counterfeit
cat.
Both of these are from 1949 anduh.
You know, I usually researchand try to figure out what film
opened with what short orcartoon, but it it changed from
locale to locale.
So I did find one theater thatwas showing Counterfeit Cat with
(26:00):
Intruder in the Dust.
So that felt like a rightconnection and it's ironic in
the sense that the Fitzpatricktravel talk, which is talking
about fun places to be inMichigan, it's completely the
opposite of the serious, darkdrama of Intruder in the Dust,
(26:28):
how people were wanting to beentertained in the movies and
how, after World War II ended,more dark, realistic, serious
stories started to come from themajor studios.
And this was a very brave andwonderful piece of filmmaking by
MGM.
Tim Millard (26:45):
Well, next we have the John Ford film Seven Women,
and that's from 1966.
What can you tell us about thisfilm?
George Feltenstein (27:15):
copyright because its first public
performance, I believe, was inJapan in 1965, like about a
month before, like December, ifthat information is correct.
But this was John Ford's lastfilm and this has never been on
DVD legally.
There's bootlegs floatingaround but there's never been a
legitimate DVD release and thereason for that was is that our
(27:41):
materials were really not goodon the film and we needed to go
back to the negative and thatwas like a no-no for a long time
.
But now we scan the negative at4K, it looks magnificent and
this is not a John Ford sweepingepic on the outdoor vistas.
(28:06):
This is much more of aconstrained atmosphere.
It is very, very well written,very well performed and it is a
story of female empowerment.
Coming from John Ford, who isso well known as being a man's
(28:29):
director, well, john Ford alsodirected Shirley Temple in Wee
Willie Winkler, which is a verygood film, by the way, and not
ours.
But Seven Women has beenrequested for so long because
there was no DVD and whatthey've been showing on
(28:50):
television is a four by threeletterbox master that has been
blown up to be in 16 by nine andlooks wretched.
So this so needed to be doneand the performances are
tremendous.
(29:11):
Anne Bancroft is the leadinglady.
She happens to be one of myfavorites for a number of
reasons.
She gave so many wonderfulperformances but she's really
the glue that holds us together.
She was a last-minute castingchange because the original
(29:39):
person cast in this role wasPatricia Neal, who suffered a
stroke.
And you also have Sue Lyon, whois in Lolita and Night of the
Iguana, and Margaret Layton andFlora Robeson and Betty Field
Really great group of women inthis film.
(30:00):
And, can't forget, there's evenan appearance by Eddie Albert.
He's one of the few major maleroles in the movies and he
probably started the firstseason of Green Acres after they
shot this movie, I wouldimagine.
But it's a terrific, terrificfilm and it's about, obviously,
(30:25):
seven women who are missionariesin China in 1935.
And it is not a long film butit is very tightly packed.
And you have John Ford, clearlystill in full faculties of his
craft, and by this point he hadbeen making movies for nearly 50
(30:49):
years.
I looked for something to putwith this that would be
appropriate.
So what we added was an Oscarwinning cartoon.
That is not, I really shouldsay, an Oscar winning short
animated film made by ChuckJones called the Dot and the
(31:09):
Line and it's based on thewritings of Norton Juster, who
wrote the Phantom Tollbooth, avery favorite book, children's
book for many people, and thatChuck Jones actually filmed for
MGM in future years.
The Dot and the Line is in HDand it comes with the feature
(31:30):
along with the trailer.
I know this is going to makepeople very happy, because who
doesn't love John Ford and hisfilms?
He's probably the, if not the,most respected American
filmmaker from the golden era ofthe 20th century.
He's certainly at the tip top.
(31:51):
He was the very first recipientof the AFI Life Achievement
Award, which says something soreally important to his
filmography that we bring thisout.
And we have other John Fords inthe offing as well that we're
working on.
We're actually, I would say wehave about 75 films planned or
(32:19):
in various stages ofpre-production or production
right now, but which have allbeen approved and then we're
working on.
So we're even doing more thanthe four Betty Davis movies that
I mentioned.
I think it's six or seven now.
So there is more John Fordcoming as well, and people will
(32:40):
be happy.
Tim Millard (32:41):
Well, speaking of more, you are releasing your
third 4K in August, which isterrific.
It's going to be your third onein the course of about well,
less than a year.
What can you tell us about thisone?
George Feltenstein (32:59):
Well, I'd like to give credit where credit
is due.
This is our release of a majorrestoration effort that was
undertaken under license from usby the British Film Institute,
one of the very most importantBritish films of the last 50
(33:20):
years Get Carter, starringMichael Caine, the British Film
Institute.
They're wonderful, wonderfulpeople, wonderful to work with
and they pulled out all thestops to make a 4K, uhd, hdr,
amazing special edition of GetCarter.
(33:43):
Our agreement was that theywould give us access to their
work on the feature, so it was acollaborative effort.
We scanned the negative andthey did beautiful, beautiful
work.
They were kind enough to giveus access to several of the
(34:03):
special features that they hadin their deluxe edition.
Not all of them were they ableto share with us, but many of
them were.
So this is a very loaded disc.
It's a 4K disc, bd100, highbitrate, of course.
Disc production, encoding,authoring, compression, done by
(34:28):
Fidelity in Motion.
David McKenzie is the best.
I've've said it before, I'llsay it again.
We're so lucky to be workingwith him and the presentation is
loaded with lots of extrafeatures and yet we keep the
high bit rate on the bd 100 forthe 4K HDR UHD presentation,
(34:49):
which has Dolby Vision and HDR10.
But the Blu-ray which is on theBD50, is the same remaster with
the same content in terms ofspecial features.
So when you buy the combo, ifyou haven't gotten your 4K set
(35:09):
yet, you have that disc waitingfor you when you upgrade.
But you can get that newremastered Blu-ray in this
presentation.
And the film itself was directedby a gentleman named Mike
Hodges who just passed away.
In the last few years I got tospeak with him on the phone
(35:30):
several times.
It was his, I would say, dyingwish because I believe he was in
his 90s at the time to see thisfilm get properly anointed the
way the BFI did.
And they not only created thisamazing special edition, they
(35:53):
also toured the film throughoutthe UK.
We had released our own, notWarner Archive, but Warner Home
Video had released a Blu-ray ofthe feature.
I would say probably a littleover 10 years ago, maybe 11
years ago, might've been 10, butthat had an Americanized audio
track where the Cockney accentshad been kind of uh minimized to
(36:20):
be more understandable, britishuh accents by certain players
and uh.
That was an appropriate choicefor 1970.
But our domestic Blu-ray hadthat track and it really should
(36:41):
have had both.
What we've offered here is theoriginal UK track, thanks to the
work done by the BFI.
So I really want to be clearthat the reason we are releasing
this through the Warner Archiveis to give the proper treatment
(37:03):
to all the work that the BFIdid, and I want to thank all the
folks at the BFI for theirincredible generosity in sharing
these elements with us so thatwe could make a US disc with a
4K Blu-ray combo that wasaffordable and that had plenty
(37:26):
of special features that speakto the excellence of this
British crime drama.
Because if you only think ofMichael Caine, in his
delightfully fun you know he hadso many roles where he just
loved him because he was, youknow the cider house rules and
(37:47):
all the films that came beforehe plays a ruthless killer.
Now, the irony of it is thisfilm was remade into a
blaxploitation film that we justput out a few months ago.
Hitman MGM was very they werevery anxious to repurpose the
(38:10):
property for a differentaudience, and that's all well
and good.
But this is the original.
Uh, it's not sanitized, it'srated r and it's exactly how the
film premiered in the uk, withits original audio and its mono.
Because of that there's noAtmos, there's no remix.
(38:32):
It looks and sounds tremendousbecause the BFI did a beautiful
job restoring it from theoriginal negative and I think
people will be very muchappreciative of the fact that
this work is now available.
There will be more 4Ks comingfrom us.
Not very many.
(38:52):
They'll be occasional, as Isaid before, maybe three, four a
year, just because of theincrease in cost and also
because some of the older filmsthey don't really have 4,000 in
the negative.
(39:12):
They're just, it's just notthere.
So, um, this is a film where,courtesy of the bfi's work, the
colors are tight and they snapand it looks really, really good
and it's.
It's a wonderful thing to beable to add to your library at a
very reasonable price.
So that's Get Carter and not tobe confused with the Sylvester
(39:37):
Stallone remake of the same namethat came along in 2000.
That's not what we're sellinghere.
Tim Millard (39:43):
Well, as you mentioned, there is just a load
of extras.
George Feltenstein (39:46):
We won't go through all of them here, but
that would take a whole podcastjust to talk about.
Tim Millard (39:51):
It's a lot.
It's a lot.
So this is going to be a greatrelease, and it's really great
to hear about the partnershipbetween the Warner Archive,
Warner Brothers and the BFI inthis instance, for this release.
Well, George, that leaves uswith one TV series highly
anticipated animated TV seriesfrom Hanna-Barbera.
What can you tell us about thisrelease?
George Feltenstein (40:15):
Well, when I was growing up, this was, I
think, my first favoritetelevision show as a toddler,
and this is a show that went onthe air before I was born, so I
was late to the party.
But the Huckleberry Hound showfinally arriving, not just on
Blu-ray remastered but finallyarriving in complete form.
(40:36):
Arriving in complete form andwe've spent, I would say,
probably about three yearsworking on this, because there
was a DVD that was released with.
The first 26 episodes came frominterpositives and, strangely,
(41:04):
the famous theme song was notthere.
It was in.
They did reconstruct the pilotepisode and, if my memory is
serving me and I haven't seenthe DVD in a very long time I
don't think they had the mainand end titles and they did the
(41:25):
best they could at the time.
But there was this rumorfloating around that the reason
why the rest of the series wasnever released was because the
first DVD volume didn't sellwell.
That's absolutely not true.
It sold very well.
(41:45):
The problem was that at thispoint in the early years of
Hanna-Barbera, music was usedfor these cartoons in the
Huckleberry Hound show.
That was licensed and thelicenses did not include home
video, because home video didn'texist then.
(42:05):
The licenses were for freetelevision and non-theatrical.
So we had to go back and clearall this music.
And that was just the beginning.
Not only did we have to spendquite a bit of money clearing
the music, but we also had toput the shows back together.
(42:26):
And that was a daunting taskbecause it wasn't like and I
think I may have talked aboutthis before in a similar fashion
with McGilligrilla there is noHuckleberry Hound show, episode
one negative.
That's the whole show, theindividual segments which in the
(42:49):
first two seasons wereHuckleberry Hound, yogi Bear and
Boo Boo, pixie and Dixie and MrJinx.
Those three segments were savedand inventoried.
As such, that represents thefirst two seasons.
The third season, yogi Bear,left the Huckleberry Hound show
(43:16):
and was replaced by Hokey Wolffor seasons three and four.
So what we have here in effectnow are the 68 shows as they
were originally broadcast acrossfour seasons.
We have included as manybumpers and bridges as we could
(43:39):
find.
They were all buried in a massinventory listing.
That required our people topull their hair out trying to
find as many pieces as possible.
And then we had to deal withthe fact that when the show was
(44:16):
originally broadcast, that asearly as I believe the 10th
episode, there was a repeatedHuckleberry Hound segment.
So we were really at acrossroads.
What do we want to do?
So what we chose to do was toreplicate as close as possible
how each show was broadcastduring the original 1958 and
1961-62 seasons.
(44:38):
So there are 68 shows.
Within those individualhalf-hour shows there will be on
occasion repeated segments thatwere in earlier shows.
So this is almost a referenceseries and if you want to binge
(45:00):
all the episodes, you may wantto fast forward through a
segment that you saw earlier orwe added as many original
commercials from our goodmaterials that we could find.
They're all black and whitecommercials, but some of those
(45:22):
commercials and some of theinterstitials are repeated.
We did find some guidepaperwork from the advertising
agency that had put the packagetogether, because Kellogg's
Cereals was the sponsor.
We have the original Kellogg'srooster, the picture of the
(45:46):
cornflakes, in color.
We were thrilled that we couldfind the original main titles in
color because they were changedfor syndication later.
We have the original maintitles, which is wonderful.
The end titles that we have areoriginal and we could only find
black and white for that.
So that's what we used and weused as many of these
(46:10):
commercials and interstitialpieces as we could find.
So the shows actually, witheverything put together, are
just a hair longer than 30minutes.
So that's why we're on 11 discs, because we're being as
comprehensive as possible.
It isn't 100% perfection.
(46:33):
100% perfection would have beenif we had every bumper, every
commercial.
Uh, they just weren't saved.
Nobody thought there was a needto use these things again.
So, to reconstruct thisproperly and faithfully as we
(46:53):
could, I look upon this ascourse entertainment and
something for the animationcollector, but also as as much
of a record of what people saw.
For those four seasons we hadthe Yogi Bear segments.
(47:13):
They had been mastered alreadya few years earlier, I believe,
for the launch of HBO Max backin 2020.
But everything else was newlydone for this from the original
negatives, and the result isquality that is quite remarkable
(47:36):
.
Quality that is quiteremarkable.
I had only seen them in 16millimeter, you know, until the
DVD came out, which wasn'tcomplete.
Those came from interpositives,this came from the original
negatives, and I can't tell youthe amount of work our mastering
and preservation and inventoryteams put into all of this and
(48:03):
trying to find the guide tomaking sure we were doing as
close as possible are-approximation of the four
seasons and what they entailed.
All the segments are there infull.
There are a lot of bumpers andbridges that I had never seen
(48:24):
that we were able to find.
The vintage Kellogg'scommercials are a treat, but
again, they have to be repeatedso that every half hour show is
similar to or exactly asbroadcast.
Certainly, in terms of thesegments in each show are the
(48:46):
segments as broadcast, and I'mvery grateful to my colleagues
for the incredible amount ofresearch and work that they put
into this, along with myself andever since we started the
warner archive back in 2009,people were asking for the rest
of huckleberry hound because allthey had was the first 26
(49:12):
episodes and now you have all 68shows that ran across the four
seasons with all the segments,and Huckleberry Hound and Yogi
Bear really set the stage forwhat Hanna-Barbera was about to
do.
Pixie and Dixie are terrificand Mr Jigs is a great character
(49:35):
and Hokey Wolf and Ding-a-lingwere fine fill-ins as Yogi Bear
got his own show and I justthink people are going to be
really, really happy I hope theywill be with what we've put
together here, because it's beenreally a labor of love and
(49:55):
dedication to treating hannahbarbara right and uh, 15, 16
years of people writing to ussaying when are we going to get
the full huckleberry hound show?
Tim Millard (50:08):
well, the day has finally come I remember george
you mentioning this a year ortwo, I mean, you have been
mentioning to me this ongoingwork.
It's been a huge task and nowit's finally ready and it's
fantastic the way that you choseto do it so that you get the
(50:30):
experience.
It's the Saturday morning, getyour bowl of cereal, watch the
episode with the commercials,with the repeated, repeated.
You know it's that experience.
It's not just here's a bunch ofepisodes, it's the experience
that you absolutely.
George Feltenstein (50:46):
And I mean I know like when I think of this
series or rocky and bullwinkle,there are little interstitials.
You know fan mail from someflounder on Rocky and Bo Winkle.
The repetition was somethingthat was actually welcomed by
the younger audience.
The great thing about theseHanna-Barbera early works is
(51:10):
they were written more for allages, not talked down to
children, and so they can beentertaining to adults as well
as kids.
But the fact that each episodeis there either exactly as it
was presented or as close as wecould get as possible, that's
(51:35):
very, very important, because itthen becomes more of a
reference as well as a piece ofentertainment.
And if anything is somethingyou've seen repeated, uh, if
you've seen that commercial likefive times over the watching
three discs, you just skipthrough it.
There's ample chaptering, likeevery bumper, every bridge,
(52:01):
every commercial, every segment,every main and end title, they
all are chaptered.
And uh, I also want to talkabout the way this will be
packaged.
There will be an elite case.
It's kind of along the lines ofwhat we did with Cheyenne.
There will be an elite casewith the first season episodes
(52:24):
in their own elite case, then anelite case with seasons two and
three and an elite case withthe discs of season four.
They will be inside an outersleeve, so this is sturdy
packaging.
You don't have to worry aboutsomething that is DVD-sized.
It's Blu-ray packaging and youdon't have to worry about
(52:48):
opening up the case and havingthe disc fall all over you.
This is very important to whatwe do at the Warner Archive and
I'm delighted to.
We've been working on this avery long time and I'm delighted
that the day is finally herethat we can present it to the
fans, who have been verypatiently waiting.
Tim Millard (53:10):
Now you have a lot of extras.
Are those on the 11th disc orare they spread out?
George Feltenstein (53:24):
11th disc or are they spread out?
Uh, they're on the last discand we carried over the dvd
extras, with one exception.
The one exception we didn'tcarry over because it really
makes no sense now.
Uh, is reconstructing the pilot.
They did a whole piece on howthey were trying to piece
together the original.
That was also a passion projectfor the people who were
involved at the time.
(53:44):
But they also weren't able tofind a lot of the things that we
have subsequently found andthey didn't have as much support
within the company for theirefforts.
So it's not to denigrate theirefforts.
They were thinking along thesame lines that we are now.
(54:07):
But that one piece isn't there.
But we have a piece that is atribute to Dawes Butler who did
so many wonderful voices forHanna-Barbera.
He was Elroy Jetson, he wasHuckleberry Hound, he was Yogi
Bear.
He did just an amazing amountof voices and there's a piece
(54:30):
dedicated to him.
There is something that wasvery cutely put together as like
a little music video andanother piece that cut together
the way huckleberry hound wouldfracture the language with this
southern drawl.
So those pieces are on here.
But the extras not to pull thetitle of your podcast really are
(54:54):
built into every episode withthe vintage commercials from
catalogs and the bumpers and thebridges.
And to have you know, huck andPixie and Dixie introduce the
next Pixie and Dixie cartoon.
Those pieces weren't seen.
I can't be exactly certain ofthis but I'm pretty sure that
(55:19):
after the 1966 rerun,syndication airings began and
everything got re-chopped up.
I know there were certainbridges that were kept for the
syndication reruns and then lessas years went on, but most of
(55:44):
this material hasn't been seenuntil there have been some
recent television broadcasts asa result of the work that we've
been doing for the last coupleof years, but the commercials
have not been part of that andKellogg's has not not been part
of that and Kellogg's has notbeen a part of that and
Kellogg's sponsorship of theHuckleberry Hound Show led to
(56:06):
Kellogg's sponsorship of theYogi Bear Show and Quick Draw
McGraw and there was a very goodrelationship between that
company and Hanna-Barbera reallyhelped them off their feet
because the first Hanna-Barberaseries was Rough and Ready,
which I hope we can releasesomeday.
(56:26):
That was made in 16 millimetersso it's a technical challenge
because it doesn't lookparticularly wonderful, because
it was made quickly on a lowbudget.
Bill and Joe were fired fromMGM and they wanted to get
something on NBC, hence Roughand Ready, but we do want to
tackle that at some point.
But Huckleberry Hound throughthe sponsorship of Kellogg's and
(56:49):
their ad agency, leo Burnett,they were able to go to over 100
stations and get theHuckleberry Hound Show broadcast
once a week, sponsored byKellogg's, and that is what we
now can bring to the fans andthe enthusiasts who've been
waiting.
So I hope people appreciate thework that went into it and,
(57:12):
most importantly, I hope theyenjoy it, because it's really
entertaining, right.
Tim Millard (57:16):
Well, George, August is another terrific month
.
I love the fact that you've gota brand new animation that has
been highly anticipated by thefans.
You've got that wonderful 4Kfrom the BFI and then, of course
, the classic films, includinganother Technicolor.
George Feltenstein (57:35):
Well, thank you for the opportunity to speak
about it, tim.
I'm glad to share with thefolks what's coming up, and
we'll have lots more to talkabout in the future.
A lot of exciting thingshappening.
Tim Millard (57:47):
That's for sure.
Thanks again, george.
Thank you those who would likemore information about the films
George announced today.
Be sure and check out ourFacebook page and our Warner
Archive Facebook group.
You can find links to those andall of our social media sites
in the podcast show notes.
Facebook is also the best placeto get the pre-order links for
(58:08):
these titles when they becomeavailable.
If you aren't yet subscribed orfollowing the show at your
favorite podcast provider, youmay want to do that so that you
don't miss anything.
We have coming up Until nexttime.
You've been listening to TimMillard.
Stay Slightly Obsessed.
Hello and welcome to the Extras.
I'm Tim Millard, your host, andjoining me is George
Feltenstein of the WarnerArchive to announce the August
Blu-rays, and that includes ahighly anticipated Hanna-Barbera
series, plus a new 4K release.
Hi, George.
George Feltenstein (00:18):
Hello, Tim, great to be with you yet again,
as always.
Tim Millard (00:22):
Well, there's a lot of excitement around the August
releases, and maybe a part ofthat is that the announcement is
just a little bit later thanusual, and I know that I was on
vacation, so the 4th of Julyholiday maybe pushed it just a
little bit, as others might havebeen as well, but that just
built the excitement, and soit's great to see these new
(00:46):
releases and I'm looking forwardto going through these with you
today.
George Feltenstein (00:51):
I'm looking forward to talking with you
about them as well.
Tim Millard (00:56):
It's a very diverse group and a little something
for everyone, I hope, yeah yeah,and I think that animation fans
are going to be very happy thismonth.
We'll hold off on that for justa little bit, because we do
have quite a few titles to gothrough and I thought we'd kind
(01:17):
of go through starting with someof the oldest ones first.
So that means that first up wehave the 1943 drama the Hard Way
.
What can you tell us about thisfilm?
George Feltenstein (01:29):
I've actually talked about this, I
think, when we did ourdiscussion about the man I Love,
which I think maybe was a yearago, maybe more, but you know
I've spoken on that occasion, aswell as other occasions, about
my opinion that Ida Lupino needsto be more significantly
(01:54):
recognized for her reallysupreme acting ability, as well
as completely unrelated in thisparticular situation.
But, uh, she was a finedirector and, uh, she was trying
to establish herself as adirector when the industry
(02:17):
wouldn't even consider the ideaof a female director.
Uh, so I just have greatrespect for her.
I think this might be her bestfilm performance, which is
saying a lot, and she did get aBest Actress nod from the New
York Film Critics Circle for herperformance in this film, the
(02:40):
Hard Way, which is directed byVincent Sherman.
This is a film that only reallyWarner Brothers could pull off.
It doesn't have any of theHollywood puffery or sheen that
would have come from anotherstudio, even some studios that I
really admire.
This is a tough, gritty filmthat is making really no secret
(03:07):
of the fact that I Lupino playsa hardened, driven woman who
will stop at nothing to supportthe stage performer career of
her younger sister, played byJoan Leslie, stage performer
career of her younger sister,played by Joan Leslie.
(03:28):
And I did mention in thewrite-up that we put out about
the picture that it's a littlebit foreshadowing the true life
story of Gypsy Rose Lee and hermother Rose Hovik.
Rose Lee and her mother, roseHovik who that whole dynamic
(03:51):
between mother and daughter andthe mother stopping at nothing
to help Gypsy's career as aperformer?
Well, the role of Ida Lupino inthis film and her kind of just
tough as nails approach to doinganything she can to further the
performance career of hersister, katie, played by Joan
(04:12):
Leslie, is just she.
I don't want to say she choosethe scenery, because that would
mean she's just right and morepeople need to know this film.
And now it has finally morphedfrom looking ratty and awful in
a 35-year-old analog videomaster, which is what we put out
(04:36):
as a DVD-R 15 years ago, andwhat now is a 4K scan off the
camera negative, the nitratecamera negative, and a stunning,
gorgeous master.
That does the film proud.
And I also happen to be a fanof the director, vincent Sherman
(05:00):
, who lived a long enough lifethat I actually got to meet him
and we recorded somecommentaries with him.
Alas.
We tried to record commentarieswith him on films that hadn't
been released yet andunfortunately the Hard Way
(05:21):
wasn't one of them that gotrecorded.
So I'm grateful for what wehave, but it would have been
wonderful to have had hisparticular thoughts on this film
, because it wasn't Betty Davis,it wasn't Joan Crawford, it
wasn't Bogart.
You know it's a whole otherthing.
My understanding is that therole that Lupino plays in this
(05:43):
film was offered to Betty Davisand she turned it down, so that
seems very plausible.
She had also turned downMildred Pierce, something she
probably regretted for the restof her life.
But Ida Lupino is the realcenterpiece of the film and her
(06:04):
performance just makes itmagnetic.
I remember seeing this film ontelevision as a kid and being
really mesmerized by the factthat Ida Lupino's character is
just so well.
Let's just say maybe evil is alittle too hard, but not a nice
(06:27):
person and not a very ethicalperson and not a very
considerate person.
Vaudevillians that come across,uh, joan lizzie's character when
she goes to the vaudevillehouse.
Jack carson gives a a veryvulnerable performance, which
(06:55):
isn't usually like him.
His characters are usually verywise ass and of course he was
downright applicably nasty in.
A Star is Born in 1954.
But here you actually feelcompassion for him because he's
basically destroyed by IdaLupino in her wake to make her
(07:17):
sister a success.
So it's a great deal of fun inthat respect.
It's not fun watching somebodyget destroyed, but when Ida
Lupino is doing the destructionwork it's impressive.
Tim Millard (07:33):
Well, it feels like we've talked about this one, as
you said earlier last year,maybe the year before.
I mean, this has been requestedby many people and we've talked
about it because of theinclusion of Ida Lupino and Joan
Leslie, so I'm excited to seethis come out, and I know a lot
of others are as well.
Now, do you have any extras onthis release?
George Feltenstein (07:55):
Yes, we do, and it was an omission when we
made the Facebook announcementyesterday that we didn't talk
about the extras.
So I will be happy to sharethat information here and then
we're going to update ourFacebook page.
There was a radio show versionon Lux Radio Theater, full hour,
(08:19):
but none of the original castwere participatory in the radio
version.
It starred Miriam Hopkins andFrench O'Tone, among others, and
it's a very good audiotranslation or audio edition of
(08:42):
the storytelling.
It's quite effective, uh,edition of the storytelling.
It's quite effective, andmiriam hopkins was very strong
personality, uh, in her own way,and uh, she takes on the lapino
role very, very interestingly,so I think people will enjoy
that.
Then we have two 1943 uh warnerbrothers shorts Warner Brothers
(09:02):
shorts, both of which are in HD.
One of them is called Gun toGun and the other is called Over
the Wall, and they reflect thewartime activities of 1943.
And then we also have, inaddition to the original trailer
, we also have two WarnerBrothers cartoons, both of which
(09:26):
are in HD and both of which Iconsider to be famous the
Aristocat, which is a wonderful,wonderful cartoon Not with any
of the most familiar characters,but it's tremendous, and then a
very famous cartoon Scrap HappyDaffy, which is black and white
(09:47):
, and both of those cartoons, asI said, are in HD, so this is
going to be a really, reallygreat disc.
Tim Millard (09:54):
Yeah, yeah, it sounds like it.
Well, next up, george, you havea Technicolor release, that
Midnight Kiss from 1949.
What can you tell us about thisfilm?
George Feltenstein (10:06):
Well, this is a production from what I
jokingly refer to as the land ofPasternakia.
Joe Pasternak, who produced avery specific kind of musical at
MGM, of musical at MGM.
(10:32):
His production unit was kind ofin competition sort of at MGM
with the Arthur Freed unit.
The Freed musicals were veryclassy and used the very best
talent and Freed musicals aregenerally trying to advance the
form and they were much more inthe direction of having music be
(10:59):
a justified part of thescreenplay.
Joe Pasternak's films were muchmore light, they were lighter
entertainment, but that doesn'tmean that they weren't
impressive productions.
He tended to really loveclassical music and so
performers like CatherineGrayson and Jane Powell they
were often seen in Pasternakproductions and Esther Williams
(11:23):
swam more for Joe Pasternak, Ithink, than any of the producers
and he liked to put noveltyacts in his films.
As a result, his films wereoften more profitable for the
studio than the more culturallyrespected Arthur Freed
productions were.
(11:44):
Culturally respected ArthurFreed productions were, and that
Midnight Kiss was a 1949Technicolor entertainment gala.
I would say it's based in theworld of classical music and
opera.
You have pianist Jose Iturbiwho was in several Pasternak
(12:04):
films and many films at MGM.
This was his last because hewas getting word from various
people that his performances inthese movies were taking away
from his reputation as a seriousmusician.
So he decided to cast Hollywoodaside after this.
(12:28):
But with a goodbye there's alsoa hello, and this is the film
that introduced Mario Lanza tothe movie screen.
And Lanza had alreadyestablished himself he was a
truck driver from Philadelphiaand they changed his name.
(12:50):
He started making recordingsfor RCA and when he was at the
Hollywood Bowl performing, thestory is I don't know if this is
apocryphal or not that LBMayer's assistant, ida Coberman,
went to Mayer and said I heardthe most amazing tenor at the
(13:15):
bowl last night.
We've got to sign him to thestudio.
However it happened exactly.
However it happened exactly.
That's probably how it happened.
But whatever the methodologywas, the studio signed him for a
contract.
He does not get top billing inthis movie.
(13:36):
It says and introducing MarioLanza.
But so the top billed stars ofthe film were, in fact,
catherine Grayson, jose Turbiand then Ethel Barrymore.
And then there's in big lettersand introducing Mario Lanza.
(13:56):
So in the film like life, heplayed a Philadelphia truck
driver who had a great voicePhiladelphia truck driver who
had a great voice and it's aromance between Catherine
Grayson and Mario Lanza and thishad an original screenplay, so
the storytelling is actuallyvery good and most of the music
(14:19):
actually takes place on thestage in terms of operatic arias
and so forth and so on.
There is a scene where MarioLanza serenades Catherine
Grayson singing Jerome Kern fromthe street.
He serenades her in her window.
He sings they Didn't Believe Meby Jerome Kern, a very famous
(14:44):
popular song of the earlier partof the 20th century.
It's a highlight of the movie.
I mean, they both had wonderfulvoices and they had good
chemistry.
The film was a substantial boxoffice performer and it did uh
(15:04):
lead to them being re-teamedvery shortly thereafter in a
movie called uh the toast of neworleans, which also co-starred
david niven, and that's the songwhere uh be my love was
introduced, written for themovie it.
It became a huge hit for MarioLanza and he made several films
(15:28):
at MGM and his tenure there wasbrief.
He walked out on the studiowhen they were making the
Student Prince in 1952.
And there was a legal skirmishand eventually the settlement
was that Lonza would not be inthe film, that he would record
(15:53):
the songs for the student princecharacter and it would be
performed by actor Edmund Purdom.
So that was the last MGM studiobased production that Lonza was
in.
And then he made a film here atWarner Brothers Serenade, which
(16:16):
was actually based on a book byJames M Kane who wrote Mildred
Pierce.
And then a couple of years wentby where there are no Lonza
movies and Lonza hooked up within the the late 50s a company
called Titanis in Italy and madetwo films Seven Hills of Rome
(16:39):
and then, for the First Time,both of which were filmed
overseas but MGM ended updistributing, I think, for the
entire world except Italy.
So there's this irony that MGMand Lonza parted company after a
(17:00):
lawsuit in the early 50s andhis last two films were done
basically for Titanus and MGM.
He died very, very young.
He had a heart attack, he was aheavy smoker, he had fluct.
(17:27):
Death was heartbreaking, but hestill has a worldwide following
, especially among opera lovers,and his recordings still sell
all over the world.
And his most famous film workwas portraying Enrico Caruso in
(17:50):
the Great Caruso, which was ahuge box office hit and which we
released a Technicolorrestoration on Blu-ray of in, I
think, 2019 or 2020.
But it was one of ourTechnicolor recombinations and
it looked and sounded fantastic,as does this.
(18:12):
This is another one of thosefilms where we've taken the
original Technicolor negatives,used our proprietary technology
to make a sharp, colorfulpresentation and it's very
entertaining.
And it's very entertaining andwe've added to the disc
something we also had on the DVDof it almost 20 years ago a
(18:34):
deleted musical number calledOne Love of Mine.
And we also have two MGMcartoons in high def Heavenly
Puss with Tom and Jerry andSeñor Droopy with Droopy, from
(18:55):
Mr Tex Avery and the originaltrailer.
So it should be a very fun discand I know that Lonza fans will
be very happy by this news.
Tim Millard (18:58):
They're coming out of the woodwork just saying how
happy they are, so reallylooking forward to it.
The Technicolor restorationsare always home runs, so looking
forward to this when it comesout in August.
Well, next we have another filmfrom 1949, and that's the drama
Intruder in the Dust.
What can you tell us about thisrelease?
George Feltenstein (19:22):
Well, it couldn't be more different from
that Midnight Kiss in terms ofwhat filmed entertainment is,
and this was a social drama thatwas based on the novel by
William Faulkner, and MGM wasvery brave to make this film.
(19:47):
Mgm was very brave to make thisfilm.
It deals with racism, lynchingprejudice, in a very adult,
straightforward manner.
That is not Hollywood.
And in fact, director ClarenceBrown, who had established
himself as one of the greatdirectors at MGM in the silent
(20:14):
era he did many of the Garbomovies in the talkie era as well
and Clarence Brown brought hiscameras to Oxford Mississippi
where this story takes place.
Oxford Mississippi, where thisstory takes place, and one of my
favorite actors, who is veryunderrated but has now been
(20:41):
properly recognized in acontemporary sense Juano
Hernandez.
He plays a black man who isfalsely accused of a crime.
You know, a white man ismurdered and the cops the
Mississippi cops are completelycorrupt and they're ready to
(21:03):
lynch this man.
And David Bryan portrays alawyer who is helped by Claude
Jarman Jr, a teenager who a lotof people will remember from his
work as Jody in the Yearling.
That really put him on the mapas an actor, but he was a young
(21:24):
man here.
This is several years after theYearling and there's like a
trio.
This is several years after theYearling and there's like a
trio.
It's the David Bryan character,the Claude Jarman Jr character
and also an older woman playedby Elizabeth Patterson, who is
best known.
She was in some early 30sWarner pre-code movies.
(21:45):
She did a lot of work but mostpeople know her as Mrs Trumbull
from I Love Lucy.
She's terrific in the movie andthe three of them, against all
odds, fight for JuanoHernandez's freedom.
And at the time this movie cameout, bosley Crowther, who was
(22:08):
the reviewer for the New YorkTimes, who very often didn't
have many nice things to sayabout most films very popular
(22:32):
films.
He would usually trash them.
And how he ended up being theTimes film critic for as long as
he was is kind of shocking.
What ended his career was aterrible review he gave Bonnie
and Clyde and when Bonnie andClyde turned out to be revered
as breakthrough in cinema, mrCrowther was sent packing.
Mr Crowther was sent packing,but this was long before that
(22:54):
and yet he referred to A Trueris in the Dust as one of the
great cinema dramas of our times.
If anybody wants to go back anduse the New York Times machine
and read Crowther's review.
It's just an out-and-out ravethat speaks to the excellence of
this film and the fact that MGMhad the courage to make it in
(23:15):
1949, I think shooting probablystarted in 1948, but it was
released in 49.
And it is not a long film it's87 minutes long.
It is captivating, it ismagnetic and here again we're
(23:36):
able to take a film that wasn'tlooking very good in what we've
been distributing in televisionand on DVD.
Now it's got a gorgeous newmaster.
It's a 4k scan from ourpreservation elements, which
were second generation.
This is one of the many blackand white negatives that burnt
(23:58):
up in the Eastman fire in 1978.
So fortunately we have finegrain that is quite beautiful
and very well made and it almostlooks like you're looking at
the original negative.
It's just that beautiful.
This film was named one of the10 best of the year by the
(24:20):
National Board of Review backwhen they were doing the best
films of 1949.
But I still believe that itisn't well-known enough and I
urge people to see it.
And, of course, I urge peopleto buy it and make it part of
their libraries, because thesethings don't happen without
(24:41):
consumer support and I can'timagine anyone who loves film
not wanting to have this filmamong their collection.
Tim Millard (24:50):
It's just knockout performances, fine filmmaking
and, uh, as they said on theposter, it's sensational and you
also put in a nice uh amount ofextras on here as well for the
fans.
You got uh shorts, it lookslike.
George Feltenstein (25:09):
Yeah, they're diversionary.
One is this would be again ifyou went to a Lowe's theater and
saw Intruder in the Dust, itwould likely be with a cartoon
in a short.
We've got a Fitzpatrick TravelTalks short filmed in
Technicolor talks short filmedin technicolor play lands of
(25:34):
michigan, uh.
And then we have another texavery cartoon in hd, counterfeit
cat.
Both of these are from 1949 anduh.
You know, I usually researchand try to figure out what film
opened with what short orcartoon, but it it changed from
locale to locale.
So I did find one theater thatwas showing Counterfeit Cat with
(26:00):
Intruder in the Dust.
So that felt like a rightconnection and it's ironic in
the sense that the Fitzpatricktravel talk, which is talking
about fun places to be inMichigan, it's completely the
opposite of the serious, darkdrama of Intruder in the Dust,
(26:28):
how people were wanting to beentertained in the movies and
how, after World War II ended,more dark, realistic, serious
stories started to come from themajor studios.
And this was a very brave andwonderful piece of filmmaking by
MGM.
Tim Millard (26:45):
Well, next we have the John Ford film Seven Women,
and that's from 1966.
What can you tell us about thisfilm?
George Feltenstein (27:15):
copyright because its first public
performance, I believe, was inJapan in 1965, like about a
month before, like December, ifthat information is correct.
But this was John Ford's lastfilm and this has never been on
DVD legally.
There's bootlegs floatingaround but there's never been a
legitimate DVD release and thereason for that was is that our
(27:41):
materials were really not goodon the film and we needed to go
back to the negative and thatwas like a no-no for a long time
.
But now we scan the negative at4K, it looks magnificent and
this is not a John Ford sweepingepic on the outdoor vistas.
(28:06):
This is much more of aconstrained atmosphere.
It is very, very well written,very well performed and it is a
story of female empowerment.
Coming from John Ford, who isso well known as being a man's
(28:29):
director, well, john Ford alsodirected Shirley Temple in Wee
Willie Winkler, which is a verygood film, by the way, and not
ours.
But Seven Women has beenrequested for so long because
there was no DVD and whatthey've been showing on
(28:50):
television is a four by threeletterbox master that has been
blown up to be in 16 by nine andlooks wretched.
So this so needed to be doneand the performances are
tremendous.
(29:11):
Anne Bancroft is the leadinglady.
She happens to be one of myfavorites for a number of
reasons.
She gave so many wonderfulperformances but she's really
the glue that holds us together.
She was a last-minute castingchange because the original
(29:39):
person cast in this role wasPatricia Neal, who suffered a
stroke.
And you also have Sue Lyon, whois in Lolita and Night of the
Iguana, and Margaret Layton andFlora Robeson and Betty Field
Really great group of women inthis film.
(30:00):
And, can't forget, there's evenan appearance by Eddie Albert.
He's one of the few major maleroles in the movies and he
probably started the firstseason of Green Acres after they
shot this movie, I wouldimagine.
But it's a terrific, terrificfilm and it's about, obviously,
(30:25):
seven women who are missionariesin China in 1935.
And it is not a long film butit is very tightly packed.
And you have John Ford, clearlystill in full faculties of his
craft, and by this point he hadbeen making movies for nearly 50
(30:49):
years.
I looked for something to putwith this that would be
appropriate.
So what we added was an Oscarwinning cartoon.
That is not, I really shouldsay, an Oscar winning short
animated film made by ChuckJones called the Dot and the
(31:09):
Line and it's based on thewritings of Norton Juster, who
wrote the Phantom Tollbooth, avery favorite book, children's
book for many people, and thatChuck Jones actually filmed for
MGM in future years.
The Dot and the Line is in HDand it comes with the feature
(31:30):
along with the trailer.
I know this is going to makepeople very happy, because who
doesn't love John Ford and hisfilms?
He's probably the, if not the,most respected American
filmmaker from the golden era ofthe 20th century.
He's certainly at the tip top.
(31:51):
He was the very first recipientof the AFI Life Achievement
Award, which says something soreally important to his
filmography that we bring thisout.
And we have other John Fords inthe offing as well that we're
working on.
We're actually, I would say wehave about 75 films planned or
(32:19):
in various stages ofpre-production or production
right now, but which have allbeen approved and then we're
working on.
So we're even doing more thanthe four Betty Davis movies that
I mentioned.
I think it's six or seven now.
So there is more John Fordcoming as well, and people will
(32:40):
be happy.
Tim Millard (32:41):
Well, speaking of more, you are releasing your
third 4K in August, which isterrific.
It's going to be your third onein the course of about well,
less than a year.
What can you tell us about thisone?
George Feltenstein (32:59):
Well, I'd like to give credit where credit
is due.
This is our release of a majorrestoration effort that was
undertaken under license from usby the British Film Institute,
one of the very most importantBritish films of the last 50
(33:20):
years Get Carter, starringMichael Caine, the British Film
Institute.
They're wonderful, wonderfulpeople, wonderful to work with
and they pulled out all thestops to make a 4K, uhd, hdr,
amazing special edition of GetCarter.
(33:43):
Our agreement was that theywould give us access to their
work on the feature, so it was acollaborative effort.
We scanned the negative andthey did beautiful, beautiful
work.
They were kind enough to giveus access to several of the
(34:03):
special features that they hadin their deluxe edition.
Not all of them were they ableto share with us, but many of
them were.
So this is a very loaded disc.
It's a 4K disc, bd100, highbitrate, of course.
Disc production, encoding,authoring, compression, done by
(34:28):
Fidelity in Motion.
David McKenzie is the best.
I've've said it before, I'llsay it again.
We're so lucky to be workingwith him and the presentation is
loaded with lots of extrafeatures and yet we keep the
high bit rate on the bd 100 forthe 4K HDR UHD presentation,
(34:49):
which has Dolby Vision and HDR10.
But the Blu-ray which is on theBD50, is the same remaster with
the same content in terms ofspecial features.
So when you buy the combo, ifyou haven't gotten your 4K set
(35:09):
yet, you have that disc waitingfor you when you upgrade.
But you can get that newremastered Blu-ray in this
presentation.
And the film itself was directedby a gentleman named Mike
Hodges who just passed away.
In the last few years I got tospeak with him on the phone
(35:30):
several times.
It was his, I would say, dyingwish because I believe he was in
his 90s at the time to see thisfilm get properly anointed the
way the BFI did.
And they not only created thisamazing special edition, they
(35:53):
also toured the film throughoutthe UK.
We had released our own, notWarner Archive, but Warner Home
Video had released a Blu-ray ofthe feature.
I would say probably a littleover 10 years ago, maybe 11
years ago, might've been 10, butthat had an Americanized audio
track where the Cockney accentshad been kind of uh minimized to
(36:20):
be more understandable, britishuh accents by certain players
and uh.
That was an appropriate choicefor 1970.
But our domestic Blu-ray hadthat track and it really should
(36:41):
have had both.
What we've offered here is theoriginal UK track, thanks to the
work done by the BFI.
So I really want to be clearthat the reason we are releasing
this through the Warner Archiveis to give the proper treatment
(37:03):
to all the work that the BFIdid, and I want to thank all the
folks at the BFI for theirincredible generosity in sharing
these elements with us so thatwe could make a US disc with a
4K Blu-ray combo that wasaffordable and that had plenty
(37:26):
of special features that speakto the excellence of this
British crime drama.
Because if you only think ofMichael Caine, in his
delightfully fun you know he hadso many roles where he just
loved him because he was, youknow the cider house rules and
(37:47):
all the films that came beforehe plays a ruthless killer.
Now, the irony of it is thisfilm was remade into a
blaxploitation film that we justput out a few months ago.
Hitman MGM was very they werevery anxious to repurpose the
(38:10):
property for a differentaudience, and that's all well
and good.
But this is the original.
Uh, it's not sanitized, it'srated r and it's exactly how the
film premiered in the uk, withits original audio and its mono.
Because of that there's noAtmos, there's no remix.
(38:32):
It looks and sounds tremendousbecause the BFI did a beautiful
job restoring it from theoriginal negative and I think
people will be very muchappreciative of the fact that
this work is now available.
There will be more 4Ks comingfrom us.
Not very many.
(38:52):
They'll be occasional, as Isaid before, maybe three, four a
year, just because of theincrease in cost and also
because some of the older filmsthey don't really have 4,000 in
the negative.
(39:12):
They're just, it's just notthere.
So, um, this is a film where,courtesy of the bfi's work, the
colors are tight and they snapand it looks really, really good
and it's.
It's a wonderful thing to beable to add to your library at a
very reasonable price.
So that's Get Carter and not tobe confused with the Sylvester
(39:37):
Stallone remake of the same namethat came along in 2000.
That's not what we're sellinghere.
Tim Millard (39:43):
Well, as you mentioned, there is just a load
of extras.
George Feltenstein (39:46):
We won't go through all of them here, but
that would take a whole podcastjust to talk about.
Tim Millard (39:51):
It's a lot.
It's a lot.
So this is going to be a greatrelease, and it's really great
to hear about the partnershipbetween the Warner Archive,
Warner Brothers and the BFI inthis instance, for this release.
Well, George, that leaves uswith one TV series highly
anticipated animated TV seriesfrom Hanna-Barbera.
What can you tell us about thisrelease?
George Feltenstein (40:15):
Well, when I was growing up, this was, I
think, my first favoritetelevision show as a toddler,
and this is a show that went onthe air before I was born, so I
was late to the party.
But the Huckleberry Hound showfinally arriving, not just on
Blu-ray remastered but finallyarriving in complete form.
(40:36):
Arriving in complete form andwe've spent, I would say,
probably about three yearsworking on this, because there
was a DVD that was released with.
The first 26 episodes came frominterpositives and, strangely,
(41:04):
the famous theme song was notthere.
It was in.
They did reconstruct the pilotepisode and, if my memory is
serving me and I haven't seenthe DVD in a very long time I
don't think they had the mainand end titles and they did the
(41:25):
best they could at the time.
But there was this rumorfloating around that the reason
why the rest of the series wasnever released was because the
first DVD volume didn't sellwell.
That's absolutely not true.
It sold very well.
(41:45):
The problem was that at thispoint in the early years of
Hanna-Barbera, music was usedfor these cartoons in the
Huckleberry Hound show.
That was licensed and thelicenses did not include home
video, because home video didn'texist then.
(42:05):
The licenses were for freetelevision and non-theatrical.
So we had to go back and clearall this music.
And that was just the beginning.
Not only did we have to spendquite a bit of money clearing
the music, but we also had toput the shows back together.
(42:26):
And that was a daunting taskbecause it wasn't like and I
think I may have talked aboutthis before in a similar fashion
with McGilligrilla there is noHuckleberry Hound show, episode
one negative.
That's the whole show, theindividual segments which in the
(42:49):
first two seasons wereHuckleberry Hound, yogi Bear and
Boo Boo, pixie and Dixie and MrJinx.
Those three segments were savedand inventoried.
As such, that represents thefirst two seasons.
The third season, yogi Bear,left the Huckleberry Hound show
(43:16):
and was replaced by Hokey Wolffor seasons three and four.
So what we have here in effectnow are the 68 shows as they
were originally broadcast acrossfour seasons.
We have included as manybumpers and bridges as we could
(43:39):
find.
They were all buried in a massinventory listing.
That required our people topull their hair out trying to
find as many pieces as possible.
And then we had to deal withthe fact that when the show was
(44:16):
originally broadcast, that asearly as I believe the 10th
episode, there was a repeatedHuckleberry Hound segment.
So we were really at acrossroads.
What do we want to do?
So what we chose to do was toreplicate as close as possible
how each show was broadcastduring the original 1958 and
1961-62 seasons.
(44:38):
So there are 68 shows.
Within those individualhalf-hour shows there will be on
occasion repeated segments thatwere in earlier shows.
So this is almost a referenceseries and if you want to binge
(45:00):
all the episodes, you may wantto fast forward through a
segment that you saw earlier orwe added as many original
commercials from our goodmaterials that we could find.
They're all black and whitecommercials, but some of those
(45:22):
commercials and some of theinterstitials are repeated.
We did find some guidepaperwork from the advertising
agency that had put the packagetogether, because Kellogg's
Cereals was the sponsor.
We have the original Kellogg'srooster, the picture of the
(45:46):
cornflakes, in color.
We were thrilled that we couldfind the original main titles in
color because they were changedfor syndication later.
We have the original maintitles, which is wonderful.
The end titles that we have areoriginal and we could only find
black and white for that.
So that's what we used and weused as many of these
(46:10):
commercials and interstitialpieces as we could find.
So the shows actually, witheverything put together, are
just a hair longer than 30minutes.
So that's why we're on 11 discs, because we're being as
comprehensive as possible.
It isn't 100% perfection.
(46:33):
100% perfection would have beenif we had every bumper, every
commercial.
Uh, they just weren't saved.
Nobody thought there was a needto use these things again.
So, to reconstruct thisproperly and faithfully as we
(46:53):
could, I look upon this ascourse entertainment and
something for the animationcollector, but also as as much
of a record of what people saw.
For those four seasons we hadthe Yogi Bear segments.
(47:13):
They had been mastered alreadya few years earlier, I believe,
for the launch of HBO Max backin 2020.
But everything else was newlydone for this from the original
negatives, and the result isquality that is quite remarkable
(47:36):
.
Quality that is quiteremarkable.
I had only seen them in 16millimeter, you know, until the
DVD came out, which wasn'tcomplete.
Those came from interpositives,this came from the original
negatives, and I can't tell youthe amount of work our mastering
and preservation and inventoryteams put into all of this and
(48:03):
trying to find the guide tomaking sure we were doing as
close as possible are-approximation of the four
seasons and what they entailed.
All the segments are there infull.
There are a lot of bumpers andbridges that I had never seen
(48:24):
that we were able to find.
The vintage Kellogg'scommercials are a treat, but
again, they have to be repeatedso that every half hour show is
similar to or exactly asbroadcast.
Certainly, in terms of thesegments in each show are the
(48:46):
segments as broadcast, and I'mvery grateful to my colleagues
for the incredible amount ofresearch and work that they put
into this, along with myself andever since we started the
warner archive back in 2009,people were asking for the rest
of huckleberry hound because allthey had was the first 26
(49:12):
episodes and now you have all 68shows that ran across the four
seasons with all the segments,and Huckleberry Hound and Yogi
Bear really set the stage forwhat Hanna-Barbera was about to
do.
Pixie and Dixie are terrificand Mr Jigs is a great character
(49:35):
and Hokey Wolf and Ding-a-lingwere fine fill-ins as Yogi Bear
got his own show and I justthink people are going to be
really, really happy I hope theywill be with what we've put
together here, because it's beenreally a labor of love and
(49:55):
dedication to treating hannahbarbara right and uh, 15, 16
years of people writing to ussaying when are we going to get
the full huckleberry hound show?
Tim Millard (50:08):
well, the day has finally come I remember george
you mentioning this a year ortwo, I mean, you have been
mentioning to me this ongoingwork.
It's been a huge task and nowit's finally ready and it's
fantastic the way that you choseto do it so that you get the
(50:30):
experience.
It's the Saturday morning, getyour bowl of cereal, watch the
episode with the commercials,with the repeated, repeated.
You know it's that experience.
It's not just here's a bunch ofepisodes, it's the experience
that you absolutely.
George Feltenstein (50:46):
And I mean I know like when I think of this
series or rocky and bullwinkle,there are little interstitials.
You know fan mail from someflounder on Rocky and Bo Winkle.
The repetition was somethingthat was actually welcomed by
the younger audience.
The great thing about theseHanna-Barbera early works is
(51:10):
they were written more for allages, not talked down to
children, and so they can beentertaining to adults as well
as kids.
But the fact that each episodeis there either exactly as it
was presented or as close as wecould get as possible, that's
(51:35):
very, very important, because itthen becomes more of a
reference as well as a piece ofentertainment.
And if anything is somethingyou've seen repeated, uh, if
you've seen that commercial likefive times over the watching
three discs, you just skipthrough it.
There's ample chaptering, likeevery bumper, every bridge,
(52:01):
every commercial, every segment,every main and end title, they
all are chaptered.
And uh, I also want to talkabout the way this will be
packaged.
There will be an elite case.
It's kind of along the lines ofwhat we did with Cheyenne.
There will be an elite casewith the first season episodes
(52:24):
in their own elite case, then anelite case with seasons two and
three and an elite case withthe discs of season four.
They will be inside an outersleeve, so this is sturdy
packaging.
You don't have to worry aboutsomething that is DVD-sized.
It's Blu-ray packaging and youdon't have to worry about
(52:48):
opening up the case and havingthe disc fall all over you.
This is very important to whatwe do at the Warner Archive and
I'm delighted to.
We've been working on this avery long time and I'm delighted
that the day is finally herethat we can present it to the
fans, who have been verypatiently waiting.
Tim Millard (53:10):
Now you have a lot of extras.
Are those on the 11th disc orare they spread out?
George Feltenstein (53:24):
11th disc or are they spread out?
Uh, they're on the last discand we carried over the dvd
extras, with one exception.
The one exception we didn'tcarry over because it really
makes no sense now.
Uh, is reconstructing the pilot.
They did a whole piece on howthey were trying to piece
together the original.
That was also a passion projectfor the people who were
involved at the time.
(53:44):
But they also weren't able tofind a lot of the things that we
have subsequently found andthey didn't have as much support
within the company for theirefforts.
So it's not to denigrate theirefforts.
They were thinking along thesame lines that we are now.
(54:07):
But that one piece isn't there.
But we have a piece that is atribute to Dawes Butler who did
so many wonderful voices forHanna-Barbera.
He was Elroy Jetson, he wasHuckleberry Hound, he was Yogi
Bear.
He did just an amazing amountof voices and there's a piece
(54:30):
dedicated to him.
There is something that wasvery cutely put together as like
a little music video andanother piece that cut together
the way huckleberry hound wouldfracture the language with this
southern drawl.
So those pieces are on here.
But the extras not to pull thetitle of your podcast really are
(54:54):
built into every episode withthe vintage commercials from
catalogs and the bumpers and thebridges.
And to have you know, huck andPixie and Dixie introduce the
next Pixie and Dixie cartoon.
Those pieces weren't seen.
I can't be exactly certain ofthis but I'm pretty sure that
(55:19):
after the 1966 rerun,syndication airings began and
everything got re-chopped up.
I know there were certainbridges that were kept for the
syndication reruns and then lessas years went on, but most of
(55:44):
this material hasn't been seenuntil there have been some
recent television broadcasts asa result of the work that we've
been doing for the last coupleof years, but the commercials
have not been part of that andKellogg's has not not been part
of that and Kellogg's has notbeen a part of that and
Kellogg's sponsorship of theHuckleberry Hound Show led to
(56:06):
Kellogg's sponsorship of theYogi Bear Show and Quick Draw
McGraw and there was a very goodrelationship between that
company and Hanna-Barbera reallyhelped them off their feet
because the first Hanna-Barberaseries was Rough and Ready,
which I hope we can releasesomeday.
(56:26):
That was made in 16 millimetersso it's a technical challenge
because it doesn't lookparticularly wonderful, because
it was made quickly on a lowbudget.
Bill and Joe were fired fromMGM and they wanted to get
something on NBC, hence Roughand Ready, but we do want to
tackle that at some point.
But Huckleberry Hound throughthe sponsorship of Kellogg's and
(56:49):
their ad agency, leo Burnett,they were able to go to over 100
stations and get theHuckleberry Hound Show broadcast
once a week, sponsored byKellogg's, and that is what we
now can bring to the fans andthe enthusiasts who've been
waiting.
So I hope people appreciate thework that went into it and,
(57:12):
most importantly, I hope theyenjoy it, because it's really
entertaining, right.
Tim Millard (57:16):
Well, George, August is another terrific month
.
I love the fact that you've gota brand new animation that has
been highly anticipated by thefans.
You've got that wonderful 4Kfrom the BFI and then, of course
, the classic films, includinganother Technicolor.
George Feltenstein (57:35):
Well, thank you for the opportunity to speak
about it, tim.
I'm glad to share with thefolks what's coming up, and
we'll have lots more to talkabout in the future.
A lot of exciting thingshappening.
Tim Millard (57:47):
That's for sure.
Thanks again, george.
Thank you those who would likemore information about the films
George announced today.
Be sure and check out ourFacebook page and our Warner
Archive Facebook group.
You can find links to those andall of our social media sites
in the podcast show notes.
Facebook is also the best placeto get the pre-order links for
(58:08):
these titles when they becomeavailable.
If you aren't yet subscribed orfollowing the show at your
favorite podcast provider, youmay want to do that so that you
don't miss anything.
We have coming up Until nexttime.
You've been listening to TimMillard.
Stay Slightly Obsessed.
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