Two Legends Flex Their Muscles On This Month’s Great Cover

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I’m returning to Marvel Comics, my true love when it comes to comic books, for this month’s great cover. Let’s look at Sub-Mariner #20 (December, 1969). The legendary artists responsible for this action packed cover are John Buscema (pencils) and Johnny Craig (inks).

Buscema is one of my favorites. I especially like his work from the mid to late 1960s, which included The Avengers, Silver Surfer, and Sub-Mariner. When he took over the penciling of The Avengers, readers were treated to an artist approaching the peak of his abilities. His art was something like a combination of the two previous pencilers who worked on that series. First, was Jack Kirby, then Don Heck. Buscema combined Kirby’s dynamic action with Heck’s more accurate anatomy drawing.

The results are fantastic. (I have previously written in more depth about my appreciation of John Buscema’s masterful illustrating work on The Avengers.)

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By “Crime SuspenStories #22” at The Grand Comics Database. Retrieved June 12, 2008., Fair use, https://en.wikipedia.org/w/index.php?curid=17904260

Johnny Craig goes back to the days of EC Comics. EC really was an excellent producer of comic books that appealed to older readers as well as the typical kid readers of the other publishers in the 1950s. Then came Sen. Estes Kefauver’s attack on comic books which he believed were leading American children to delinquency. He was particularly displeased by EC and it was one of Craig’s covers, the infamous depiction of a woman’s severed head being held by her killer, that drew much of the good senator’s ire.

Senate hearings were convened. Witnesses were harangued. Senators displayed their righteous indignation. The industry created the Comics Code Authority. EC Comics bid the world of comic books a fond farewell, turned to publishing magazines by dropping all of its titles but one, converting that title from a comic to magazine, and Mad Magazine was born anew. Thanks, Sen. Kefauver!

Well, these two excellent illustrators combined their considerable talents to produce a great cover. It’s an action cover in which the complicated hero Sub-Mariner drops in on one of Marvel’s greatest (also complicated) villains Dr. Doom. An epic battle is about to commence!

What kid could resist such a great cover? Both characters are so well drawn. I especially like Dr. Doom’s pose. Sure, he’s wearing a suit of armor, but that doesn’t mean he can’t still jump into action. This is comic books after all. If an artist can draw it, the character can do it.

I also really like the coloring of this cover, likely to have been provided by another legend of comic books – Marie Severin. The red background is attention grabbing and the use of half-toning in the grey of Doom’s armor, along with the use of white for highlighting, gives it a fairly real-looking metallic look.

The same team of artists provide the interior art for this book and it’s outstanding!

Packing Peanuts!

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Warehouse Find is the official blog of NostalgiaZone.com, where you can find books, games, toys, cards, and a huge selection of Golden, Silver, Bronze, and Modern Age comic books. Jim also has a podcast called Dimland Radio. He’d love it if you checked it out. It’s available on iTunes.

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You know what’s a really good movie about cops and corruption set in 1950s Los Angeles?

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“I know Titanic will probably win, but this really is the best movie of the year.”

Those words were said by me to my parents right after we watched the modern classic cop drama L.A. Confidential soon after it hit theaters in 1997. Based on the novel by James Ellroy, L.A. Confidential was directed by Curtis Hanson, who was also co-producer and co-wrote the screenplay. This movie has a stellar ensemble cast: Kevin Spacey (more on him in an upcoming aside), Kim Basinger, Danny DeVito, James Cromwell, Russell Crowe, Guy Pearce, and David Strathairn.

Those last three actors were completely new to me. I was quite surprised to learn Crowe and Pearce weren’t Americans. The latter is an Australian born in England, while the former was born in New Zealand and lives in Australia. In the film, there isn’t a hint of an accent other than American in their performances.

Throughout the movie, everyone is in fine form. The acting is so good and the characters are so well realized, even the secondary characters are spot on.

And as the characters go, no one is pure in this story.

L.A. CONFIDENTIAL, front, from left: James Cromwell, Guy Pearce, Kevin Spacey; back: Russell Crowe,

Cromwell is terrific as the corrupt Capt. Dudley Smith, but just how far will his corruption go? DeVito nails his role as the sleazy celebrity gossip peddler Sid Hudgens, who bribes Spacey’s character (Det. Sgt. Jack Vincennes) to arrange celebrity busts for the headlines and increasing sales of Hush Hush magazine. Vincennes also gained fame through those arranged busts and that helped him land the role of technical advisor, a role he relishes, on a very Dragnet-like TV cop show.

Crowe as Officer Bud White is a cop who provides muscle in helping Capt. Smith rid Los Angeles of organized criminals, but not organized crime. You see, Dudley wants to replace the former crime boss who had been busted on a tax evasion rap. That way he can be the fine upstanding Captain of the world’s finest police force, while secretly controlling and profiting from the organized crime he’s supposed to oppose.

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Basinger won the Best Supporting Actress award for her role as Lynn Bracken, a high priced sex worker made to look like movie star Veronica Lake. She’s part of an expensive stable of call girls made to look like Hollywood stars run by local millionaire Pierce Patchett (Strathairn). He is said to treat his “employees” well as he caters to a more exclusive clientele. His slogan is “Whatever You Desire.”

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And then there’s Sgt. Edmund Exley, son of a legendary cop who was killed on duty. That murder was never solved. Exley, a highly intelligent, scheming, and ambitious, if naive, cop, is determined to live up to and perhaps surpass his father’s legacy.

On Christmas Eve, chaos erupts in the jail cell area of police headquarters. Earlier in the evening, two cops got in a minor skirmish with a group of Hispanic men, who had initially gotten away. But they’re caught and brought in and the over-served police officers celebrating the holiday mete out some payback punishment of their own.

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The press was there and caught the violence on camera and it was big news the next day. Embarrassing news for the LAPD and they needed to save face. That’s when Exley’s smarts and ambition took him from a Sergeant to a Detective Lieutenant. It also made him an enemy of every other cop in the precinct, including Officer White.

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Then came the Nite Owl.

But, first, a short aside.

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Kevin Spacey is in this movie and he’s not very highly thought of at the moment. He’s been accused of sexual misconduct with one case involving a minor. He’s also on trial for sexually assaulting an 18 year-old man.

Our legal system has the presumption of innocence as it’s baseline, but these accusations can’t help but taint the work Spacey has done over his career, much of it outstanding performances, such as his role as Jack Vincennes.

In most cases involving entertainers being flawed human beings or maybe having social and political views I don’t agree with, I try to consider the art and not the artist. It’s not always easy. It’s easy for me to not watch the Spacey movies that I thought were crap (Hurlyburly? Have you seen it? It’s horrible!), but Se7en? The Ref? The Usual Suspects? Baby Driver? Should I give up watching those?

Your answer might be yes. And that’s fair. You might think less of me for it, but I’m going to keep watching the art, while grimacing at the artist when it comes to Kevin Spacey. What you do is your decision.

Aside over, now back to the blog.

Right. Then came the Nite Owl.

The Nite Owl was an all night diner at which the customers and staff were murdered one night during a robbery. Exley was the first detective on the scene, but Capt. Smith took over the case the moment he arrived. It was soon discovered one of the victims was a former cop. He was Bud White’s partner before he was drummed out of the force for taking part in the Christmas Eve brawl.

That’s where I’m going to leave it. To go into any more details of the plot would risk spoiling a story that twists and turns its way through the seedy side of sunny California in the 1950s. There are betrayals, team-ups, double-crosses, some romance, terrific action, and one excellent out-of-nowhere gasp moment! I mean my mother, when she saw that moment, literally gasped.

The production, including using popular music of the time, is spotless as it captures the look and feel of what many think was a simpler time, a more innocent time, a greater time in American history. Except there never was a time of innocence. There was always a dark side to society. And there were always men and women willing to take advantage of it.

It’s brilliant!

If you haven’t seen it. Watch it! If you have, watch it again!

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Packing Peanuts!

Correction 2/1/19: I had the name of that crappy Kevin Spacey movie wrong. I said it was Hodge Podge, but the name is Hurlyburly. I made the correction.

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Warehouse Find is the official blog of NostalgiaZone.com, where you can find books, games, toys, cards, and a huge selection of Golden, Silver, Bronze, and Modern Age comic books. Jim also has a podcast called Dimland Radio. He’d love it if you checked it out. It’s available on iTunes.

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George Perez: Quite An Artist, Quite A Legacy

This past weekend George Perez, one of the comic book industry’s greatest illustrators, announced he was retiring.

Retire? Hold on while I look that up…

“To withdraw from one’s position or occupation or from one’s active working life.”

What?! People can do that? How do their bills get paid?

Huh. Oh, well.

So, Perez is doing this retire thing and that got me thinking of when I first saw his illustrations. As I wrote in my blog about discovering Marvel’s The Uncanny X-Men in the summer of 1978, I had just determined to become serious about collecting comic books and start buying titles and reading the storylines, instead just buying books with interesting covers. Along with The X-men, I began buying The Avengers.

The first issue I picked up with this new zeal for comics was The Avengers #171 (May, 1978).

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It’s cover was drawn by George Perez and inked by Terry Austin and they proved to be a nearly as potent a creative team as John Byrne  and Austin were on The X-Men. The interior art of this issue of The Avengers was inked by Pablo Marcos and he proved to be an even better fit with Perez’s pencils. Some penciler and inker combinations are truly magical. Perez and Marcos was one such combo.

I quickly began scarfing up back issues of The Avengers, which had become my favorite title. (Oh, how I wish I had done the same with the Dave Cockrum drawn X-Men issues.) And what I saw was a young artist becoming great.

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Perez’s early work in the Avengers was more simple and maybe a little awkward. Some of that was undoubtedly due to the inkers he was paired up with in those early days. His drawings with Vince Colletta or Sam Grainger inking weren’t quite there yet. (See the example from Avengers #141 with Colletta inking, above.) Perez was showing promise, but he was still getting settled in and when he teamed up with Marcos his artwork soared.

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By the time Avengers #161 was produced, Perez and Marcos were creating incredible pages. The action sequences were more dramatic and dynamic. The characters’ anatomy and poses were also more dramatic and more precisely drawn. In the example (see above), how great is that explosive first panel? And the expression on Iron Man’s… um… mask in the fourth panel is far more expressive than any of the faces in that earlier sample.

And Perez’s blossoming as an artist was not only confined to the pages of Earth’s Mightest Heroes. He also turned out some fine work in Marvel’s adaption of the 1976 sci-fi classic Logan’s Run. For that series he was teamed up with inker Klaus Janson. And they also gelled well together. In the first sample, just look at the center frame. Fantastic!

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The second sample is an outstanding example of his dramatic splash pages. Also from the Logan’s Run series.

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Finally, I want to look at a cover he did for the Fantastic Four #184 (July, 1977). He did a run of both covers and interior art with pioneer inker Joe Sinnott. Now, I think Sinnott was a fine inker, but by the 1970s his inking tended to overshadow the artist, not compliment them. However, Perez’s style was not too adversely affected.

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I also want to point out that Perez could be a maniac when it came to drawing backgrounds. There would sometimes be an incredible amount of detail involved, but he kept it under control and kept his covers and pages from looking too busy. That’s not an easy thing to do. I think the two covers I’ve included here are good examples of his attention to detail.

And this is all just his work from the 1970s!

George Perez’s career in comic books would span an additional four decades! Over those decades, his artwork maintained the highest quality as he worked for both Marvel and DC Comics. His work always looked fresh. He kept up with the times, while never losing that classic George Perez look. That in itself is a rare and terrific feat.

The man has left an impressive legacy as he now embarks on his well-earned retirement.

Kudos, Mr. Perez!

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And, for my money, no one drew Ultron better than George Perez!

Packing Peanuts!

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Warehouse Find is the official blog of NostalgiaZone.com, where you can find books, games, toys, cards, and a huge selection of Golden, Silver, Bronze, and Modern Age comic books. Jim also has a podcast called Dimland Radio. He’d love it if you checked it out. It’s available on iTunes.

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Concert-Going Veteran Finally Sees A Legend

Guest contributor Michael Noble returns with a review of rock legend Elton John’s Farewell Yellow Brick Road Tour’s stop in Sacramento, CA.

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I’m a veteran of more than a few hundred rock concerts over the years.

BTO, The Police, Bruce Springsteen, U2, David Bowie, The Clash, Peter Gabriel, Queen, Devo, AC/DC, Depeche Mode are a handful of the big boys who come to mind immediately; The Cure, Crowded House, The Cramps, Tears For Fears, The Pretenders, Thompson Twins, Grizzly Bear, The Pixies, Love And Rockets, The The, and Adam And The Ants are a few others who made lasting impressions.

Some of the more adventurous outings featured Flock Of Seagulls, Tones On Tail, Polysics, Wall Of Voodoo, Dread Zeppelin, Haunted Garage, The Tubes and, most recently, Psychostick. Woven within them all, are hundreds more individuals and bands and shows and benefits of mind-boggling number, a couple of which I’m certain I’ve forgotten. I’m sure I’ve witnessed close to 500 events in person. And let me tell you: There were days I woke up ridden hard and put up wet after a show. (Indiana Jones said it best: “It’s not the years, honey, it’s the mileage.”)

But of all those adventures I’d never before seen Elton John.

That changed last night.

His “Farewell Yellow Brick Road” tour was in town (the “town” being Sacramento), the tickets for the event had been purchased back in 2017. The showcase venue was the Golden 1 Center in downtown Sacramento, the relatively recently opened arena (2016) housing the NBA’s Sacramento Kings. With a seating capacity well over 16,000 seats for concerts, the Center did a nice little job of filling up for the night – not quite to capacity but damned close.

Going into the show, I fully predicted a retrospective sampling of John’s storied songwriting history. (And he did not disappoint.) But I was expecting more from the man and the band, regardless of the fact the dude has hit his 70 year mark. (More than a few of his band members, too, are a bit long in the tooth, some having played with him since the 1970s.) Did he still have the chops? How long would the show last? And could his voice hold out for however long the show commenced?

John set the tone for the evening by launching into the familiar strains of “Bennie And The Jets” which, of course, got the crowd clapping in unison. After that rousing beginning, however, things went downhill quickly with “All The Girls Love Alice” and “I Guess That’s Why They Call It The Blues.” Let me explain:

It wasn’t the song selection by any means. It was the unfamiliar, goofy arrangements he decided to use. His odd rendition of “I Guess That’s Why They Call It The Blues” actually had me cocking my head dog-like with its funky queerness; John’s almost off key singing didn’t help matters. And this is something that would continue throughout the evening, I was to discover. Several more tunes (“Rocket Man,” “Crocodile Rock” and especially “Sad Songs” and “The Bitch Is Back”) unapologetically tested the audience’s listening range. But isn’t that part of the concert going experience? You never know what you’re going to get, right? And, after all, they can’t all be gems.

But with the evening’s fourth song came the highlight of the show: “Border Song.” Not only did he execute it brilliantly, he offered a tale about its infancy back in 1970 when it was originally released and how, as a young man with a young band, he discovered the song covered unexpectedly by none other than The Queen Of Soul, Aretha Franklin, who did very well with her version. (Side Note: John shares a birthday with Franklin, a nice little piece of trivia there.) The song has always been a favorite of mine in my history of Elton John Marching And Chowder Society appreciation. It was a pleasant surprise to hear it. Early in the show John formally apologized to the audience in the event he didn’t get to some folks’ preferences given the abundance of tunes in his song repository.

Now, while there was often song quirkiness to break up the evening, some of the more pleasant aspects of the night hovered around the extended piano riffs and copious band pronouncements during several songs. The crowd was treated to “extended versions” of tunes courtesy of “Someone Saved My Life Tonight” and “Funeral For A Friend/Love Lies Bleeding,” the latter already clocking in as a long composition in its original form. There were a couple more examples, but these two in particular were unexpected highlights.

And, yes … there was of course the cheesiness of “Philadelphia Freedom,” “I’m Still Standing” and “Crocodile Rock” – all with ditzy arrangements – to round out the mix and get the crowd jauntily clapping in rhythm. (I’ve never been on board with those particular fluffy songs. It’s a personal thing.)

But, when all was said and done, Elton John turned in an overall worthy two and a half hour concert for the 15,000 or so in attendance. Not bad for someone turning the page on 71 years in a couple months. And while his voice didn’t hit the highs and lows of younger days, he more than made up for it with his enthusiasm and appreciation at being the center of attention. There seemed to be a palpable genuineness to the man whenever he stood and took in the applause of the crowd.

Was I happy to have finally seen him? Yes, regardless of the sometimes weird warbles with which he constructed some songs. (I even plunked down $75.00 for a poster and tour program, well worth it to this concert-attending yahoo.) I mean, come on: The dude’s an icon. He’s a legend. He’s been appointed a Commander of the Order of the British Empire. For his charitable work, he was knighted by Queen Elizabeth II. And, most of all, he’s a major player in music, making up a big part of the fabric of rock and roll history.

See him if you can. His Farewell Yellow Brick Road Tour is worth the effort.

The Evening’s Set List

Set 1:

Bennie And The Jets
All The Girls Love Alice
I Guess That’s Why They Call It The Blues
Border Song
Tiny Dancer
Philadelphia Freedom
Indian Sunset
Rocket Man (I Think It’s Going to Be A Long, Long Time)
Take Me To The Pilot
Someone Saved My Life Tonight
Levon
Candle In The Wind

Set 2:

Funeral For A Friend/Love Lies Bleeding
Burn Down The Mission
Believe
Daniel
Sad Songs (Say So Much)
Don’t Let The Sun Go Down On Me
The Bitch Is Back
I’m Still Standing
Crocodile Rock
Saturday Night’s Alright For Fighting

Encore:

Your Song
Goodbye Yellow Brick Road

Thanks, Michael! You can read more by Michael Noble at Hotchka.com.

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Great Album Retro Review: The Blurred Crusade By The Church

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One of my favorite bands from the 1980s produced this, one of my all-time favorite albums. The album is The Blurred Crusade, released in 1982, and it was recorded by Australia’s guitar-based alt-rock band The Church. It was their second album.

There’s an adage in the music industry that asserts artists have a lifetime to write their first album, but then only a year or two to write their second. The adage is meant to explain why the sophomore efforts of so many recording artists seem to drop off in quality from their freshman work. The adage may have some merit, but not in this case.

The Blurred Crusade is a brilliant album that improves on the band’s first release, Of Skins And Hearts (1981). This album is more focused and cohesive. It’s also more of a full band effort than their first album, which was more influenced by lead singer/bassist/songwriter Steve Kilbey. The guitar work of Peter Koppes and Marty Wilson-Piper is fantastic and flows so well together. And it’s jangly guitar. I love jangly guitar!

This is one of those albums that is best listened to from beginning to end. I strongly suggest that’s how you experience it.

The Tracks:

Almost With You – Holy smokes! What an outstanding opening track. If I were asked to suggest which song of The Church’s early career best defines their sound, this would be the one. Great guitar interplay, great pace, Kilbey’s deep voice, with plenty of that ethereal feel for which the band was (and still is) known. It’s my favorite track.

When You Were Mine – There’s that big 80s drum sound going on throughout the album and it’s quite noticeable here in Richard Ploog’s drumming. This is one of their rockers!

Field Of Mars – Wilson-Piper takes lead vocal on this trippy, ethereal track. I’m not sure what the lyrics mean, but so what? Most of The Church’s songs are more about the feel of the lyrics than the literal meaning. I’m sure there’s some meaning in here, but why ask why?

An Interlude – Written by the entire band, we once again get plenty of jangly guitars and trippy, albeit few, lyrics as the song builds in intensity, backs off, and builds again. The intermittent use of the hushed female vocals is a nice touch on this mostly instrumental track.

Secret Corners – A brief track that is a nice little breather to cap off the first half of the album.

Just For You – This track opens with a little theatrics. Kilbey is heard strumming away on an acoustic guitar and humming when he is interrupted by a knock on the door. He responds to the knock and opens the door to the beginning of this song. It’s a great love song, but there’s a better one yet to come.

A Fire Burns – Some good buzz to the jangly guitar on this track. Good riff.

To Be In Your Eyes – This is the better love song I was referring to earlier. It’s really good. “I want the person inside me to be someone I’d recognize, if he was in your eyes…” Nice line.

You Took – An epic track that takes the listener on quite a musical journey. Slowly building at first, but then it rocks threw most of its eight minutes, it culminates with the lyric that became the album’s title. This was always a show-stopper when played in their live sets.

Don’t Look Back – A gentle, mostly acoustic, track to wrap up such an excellent album.

Packing Peanuts!

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Warehouse Find is the official blog of NostalgiaZone.com, where you can find books, games, toys, cards, and a huge selection of Golden, Silver, Bronze, and Modern Age comic books. Jim also has a podcast called Dimland Radio. He’d love it if you checked it out. It’s available on iTunes.

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Tonto Is Surprisingly Menacing On This Great Cover

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This month’s great comic book cover is a surprisingly menacing one. It’s also surprising that it’s by Dell Comics and not EC. Being that it is from late in comic books’ Golden Age, I wonder if it caused anti-comic book crusader Sen. Estes Kefauver any pause for concern.

The popular series The Lone Ranger, with Clayton Moore as the title character, was still in its original run on television when this issue of Tonto hit the newsstands (issue #16 dated August-October, 1954). The Lone Ranger’s faithful companion had gotten his own comic book series and, on this cover anyway, it seems he’s quite the badass!

Not only is the coloring of the cover dark, the tone is dark. Very dark. It sure looks as though Tonto might be more than willing to break that bad guy’s neck. He shows no signs of mercy. His deadly serious look of calm determination is in stark contrast to the look of fear in the bad guy’s eyes. “D-d-don’t kill me, M-m-mister Tonto!”

If the baddie wasn’t wearing the nose and mouth covering handkerchief (the disguise of choice of villains in Hollywood’s Old West) and we didn’t know it was Tonto this cover would certainly have us thinking a Native American is going to kill. With his bare hands!

Don Spaulding’s illustration is masterful. Beautifully done in those darker colors with a flat black background. Tonto’s expression is terrific, if damn cold. Those hands are fantastic and, along with the clothing, look almost photographic.

This really is a great cover.

Packing Peanuts!

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Images used under Fair Use.

Warehouse Find is the official blog of NostalgiaZone.com, where you can find books, games, toys, cards, and a huge selection of Golden, Silver, Bronze, and Modern Age comic books. Jim also has a podcast called Dimland Radio. He’d love it if you checked it out. It’s available on iTunes.

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An Old (And Pretty Much Solved) Complaint

Going way back to the early days of the cinema there has been what is known as the widescreen format: A film with its image being wider than it is tall. This format is also called landscape, because it’s the best format for capturing the horizon in nature. And in those early days, there was also a more square format for movies. Both formats were fairly common until Hollywood (and the rest of the world) was plunged into the Great Depression and in the early 1930s movies went to the more square image. It was a move to help limit costs.

Then, in the early 1950s with the American economy booming, televisions became more and more common and Hollywood began to worry it would lose its movie-going audience. Theaters installed air conditioning and some movies experimented with 3D in hopes of pulling people away from their TV sets.

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Another way Hollywood tried to entice movie-goers was to return to the widescreen format with VistaVision and CinemaScope. Using that wider screen, filmmakers made epics even more epic; filling the screens with luscious colors, vast landscapes, and thrilling action. And it worked. People went to see those magnificent spectacles.

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Then a new problem arose. Audiences wanted to see those movies on TV and the networks wanted to show them, but how? Ben-Hur (1959) was certainly not going to fit on a more square-like screen. What could they do?

The solution was to have someone crop the image and move that crop from side to side to shift the focus. The process was called pan and scan. Most people wouldn’t notice, but filmmakers and movie lovers did.

Pan and scan made the images and characters feel too close to the camera. Many films felt claustrophobic. Action scenes became confusing and far less impactful. The use of pan and scan essentially was a re-directing or re-interpretation of the film. The technician doing the cropping had to decide which part of the image to show and which part to leave out. The process changed the films. And absolutely ruined them.

Of course, I didn’t realize this when I was a kid. But even then I would notice that, when one of those epic films would start on TV, the opening with the title and the actors’ names would have black bars across the top and bottom of the image. Once the opening credits were complete the image would then fill the TV screen. Eventually, I understood why. They needed those bars to change the aspect ratio of the screen in order to not have the title and the actors’ names cut off at the sides.

When home video became a thing, most movies, maybe even all, were released in the pan and scan or full screen format. Eventually, filmmakers and movie lovers began to demand widescreen or letterboxed videos and DVDs. They wanted the entire picture, which would give the full and intended vision of the filmmaker. That meant the black bars would stay for the entire movie.

Well, a couple weeks ago I watched the mess of a movie Mackenna’s Gold (1969) on DVD. It came into Nostalgia Zone and I borrowed this favorite from when I was a kid. It is a mess. The producers realized the movie was so confusing they had to rely heavily on a narrator to keep the audiences clued in on what the hell was going on.

It was also in full screen. Ugh.

I was able to grab an image from the internet that shows how this particular shot was supposed to look. I then cropped the image to look the way it appeared in the pan and scan.

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This is how it was supposed to look.

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This is pan and scan.

In a movie as lousy as Mackenna’s Gold it probably isn’t vitally important to see Telly Savalas in the same shot. But, let’s look at a shot from Tombstone (1993). A sometimes silly (I mean just how many bullets does Holliday have in his two six-shooters during the big OK Corral gunfight? 40?), but very rousing and entertaining Western telling the tale of the Earp Brothers’ and Doc Holliday’s battle with the lawless gang known as The Cowboys. The shot (sorry about the poor quality of the image) is from the scene in which Johnny Ringo (Michael Biehn) and Doc Holliday (Val Kilmer) meet for the first time.

As you can see in the widescreen shot, the two gunman are intended to be on screen at the same time. This adds to the tension of the scene. We are supposed to see the two interact with each other and we are also meant to see the reactions of the surrounding characters – all at the same time.

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All the actors interacting in this scene is what makes this such a great shot.

A full screen version of this scene would be laughable. In the wide shot, it would have to pan back and forth between Ringo and Holliday. It would be distracting and would kill the impact of the scene.

Tombstone pan & scan Doc

Pan and scan would force the scene to…

 

Tombstone pan & scan Ringo

…cut back and forth between the two characters.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

I think you get the idea.

As the headline of this blog suggests, I realize that we live in great times for film lovers, because our TVs have all gone widescreen. This also means that full screen videos and DVDs are old hat. No one does the pan and scan anymore, so why am I complaining?

Eh. It’s what I do.

Packing Peanuts!

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Warehouse Find is the official blog of NostalgiaZone.com, where you can find books, games, toys, cards, and a huge selection of Golden, Silver, Bronze, and Modern Age comic books. Jim also has a podcast called Dimland Radio. He’d love it if you checked it out. It’s available on iTunes.

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