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My Darling Clementine (John Ford, 1946) DVDRip VOSE + AE
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Re: My Darling Clementine (Ford, 1946) DVDRip VOSE + Audio Esp.
Publicado por Mr.Magoo en Cine-Clásico.com
Para Bruce Banner, donde quiera que esté ... ... Vuelve, Bruce ... 
Amnesiac, Divadaniela y Mr. Magoo presentan
My darling Clementine (J. Ford, 1946) ... Preview version + extra
"Pasión de los fuertes"
http://www.imdb.com/title/tt0038762
Story: Sam Hellman
Screenplay: Samuel G. Engel & Winston Miller
Based on Stuart N. Lake's book
Producer: Samuel G. Engel
Music: Cyril J. Mockridge
Cinematographer: Joseph MacDonald
Editor: Dorothy Spencer
Cast: Henry Fonda, Linda Darnell, Victor Mature, Cathy Downs, Walter Brennan, Tim Holt, Ward Bond, Francis Ford, Danny Borzage
Review (Contains spoilers)
John Ford's My Darling Clementine (1946) finally gets a video release with a bit of respect, after languishing in poor VHS transfers for decades. It's considered one of the great American Westerns, but it remains clouded by an unfortunate history. There is no doubt it has become an important antecedent to countless great Westerns in the following decades (especially Peckinpah's The Wild Bunch). The film is a beautifully rendered Western, more folk poem than shoot-out, and it borrowed liberally from the Film Noir genre in vogue during the mid-40's, creating beauty in the bleakness of the wide open lawless prairie.
The film, as a director's work, is full of controversy. John Ford made the film under contract to Darryl F. Zanuck in 1946. For many Western fans, it's always been a point of substantial disgust that Zanuck took Ford's original cut, chopped out 30 minutes, tested the hell out of it with preview audiences, and then re-edited the film as this producer routinely did. The result? Still a pretty good film - but for anyone who has been awed by Ford's best work (e.g., The Searchers (1956)) - the question has always remained: How good was the first cut? That answer seems obvious - probably one of the greatest westerns ever made.
For this release, Fox and the UCLA Film and Television Archives have unearthed a pre-release version of the film which contains a handful of scenes not found in the film's original theatrical release (the same version which subsequently circulated in poor prints on television and video), and indicates a small sample of what was left on Zanuck's cutting room floor. This pre-release version is available on the DVD along with the original release version.
So anyone is likely to ask: is this pre-release version significantly different from the original version? Unfortunately, no. The pre-release print that has surfaced represents a version that was clearly quite far-along in the re-cutting process by Zanuck. It varies only slightly from the final version of the film released to theaters. Further, the changes are quite slight, in the form of music cues and the smallest of scene alterations. Nevertheless, there is enough material here to engage fans about this lost cut, and hint at directions Ford's original cut may have pursued.
In a supplement on the DVD, Robert Gitt, the Chief Preservation Officer of the UCLA Film and Television Archive who restored the film, provides a video study comparing the two versions of the film.
Here is a complete breakdown of the new or altered scenes contained in the pre-release version he discusses:
-Chihuahua (Linda Darnell) meets Billy Clanton (John Ireland) outside the Saloon as a stagecoach arrives in Tombstone. This new scene helps establish the romantic connection between Chihuahua and Billy Clanton, providing some logical explanation for the final reel of the film where she is caught protecting Billy from Earp's inquisition over the death of Earp's brother.
Also, it should be noted here that Gitt takes unusual liberties with this pre-release version of Clementine that are not entirely warranted or prudent. In an attempt to reconstruct the Chihuahua and Billy Clanton scene to it's fullest, Gitt physically duplicates a scene from later in the film (of a stagecoach arrival) and inserts it here, adding some technical processing to make the scene pass for a night setting, and cropping the image to boot. The result is a poor looking day-for-night shot, and while Mr. Gitt's intentions remain honorable, it's hard to see the merit of this tinkering. It adds very little, and runs the risk of having any viewer or student ponder the director's meaning and its obfuscation. Better to leave some things untouched.
-Wyatt Earp (Henry Fonda) exchanges a brief comment with Holliday (Victor Mature) about their Champagne toast at the bar. This scene only hints at what other material Ford likely shot to develop a report between these two mythic characters. The scene is superfluous, but for a film which needs to establish a bond between these two figures - why remove it?
-At the Tombstone town theater, scenes of the crowd ordering tamales and beer, and Earp and Holliday discuss Holiday's recent shave at the barber. A group of scenes which Ford uses to add atmosphere and spell out the rivalry for Clementine's affections between the leads. It's a nice comic piece that lightens the film. Zanuck would later cut perfectly acceptable scenes like this - only to add unnecessary music orchestrations later in his attempt to add back levity into the film.
-An extended scene, with the absence of music, of Clementine's (Cathy Downs) arrival to Tombstone via stagecoach. This scene, in its original form, is a wonderful, masterful touch by Ford that was unnecessarily muddied by Zanuck in the release version. In the pre-release version, the scene comes to life with Ford's skill at building a connection between characters, a slow-burn process that was one of his trademarks. The scene now breathes like the fulcrum it was meant to be, with ambient sound the poignant soundtrack, letting the psychology of the scene unfold - a pivotal point where Earp's destiny is set. Cut from the release version was Earp's lazy saunter and bored routine of setting-up his chair on the porch as he awaits the stagecoach arrival - creating engaging counterpoint to the entrance of Clementine. Zanuck would later cut most of this and add a highly manipulative and unnecessary orchestration, reducing the scene to flat melodrama.
-Brief dialogue between Holliday and Clementine on an outside balcony of the Saloon, with Holiday elaborating on his fate. In this scene, Holiday clarifies to the audience and Clementine that he is doomed and "dead," further distancing himself from the love of Clementine. Although the scene may appear superfluous, it's another small piece which telegraphs that there is no future for Clementine and Doc.
-Brief footage of townsfolk arriving for a Sunday church meeting and dance, with a different soundtrack. A small addition which helps establish the importance of Clementine's and Earp's dance, but also the progress of Tombstone since Earp has taken the job of Marshall.
-The absence of music when Chihuahua dashes across town after witnessing Doc's stagecoach rush out of Tombstone. Ford shot this without music - Zanuck added overly-dramatic orchestration. It's pretty clear - the music is unnecessary.
-Some new scenes of Holliday's operation on Chihuahua. Here, a new scene sees Holiday bark "Mrs. Carter!" while Clementine coldly retorts "Yes Doctor" Also, there is a shot of Earp in deep silhouette as he watches the exchange. It's clear Ford wanted this scene to help establish (and provide some closure) to the fact that Clementine had accepted Doc's refusal of her, and that his love has been clearly placed toward Chihuahua - an important scene if the audience is to sympathize and logically understand that Clementine will be willing to receive Earp's love. These shots must add about 20 seconds to the film - to cut these scenes is baffling. It appears Zanuck never believed it was necessary to establish that Clementine had psychologically shed, or needed to shed, Holliday in order to fall in love with Earp.
-The final sequence in the film, in which Earp says goodbye to the townsfolk, acknowledges Chihuahua's passing, and heads out of town. On the outskirts of town, he meets Clementine, shakes her hand, and promises to return. This final sequence is perhaps the best part of the pre-release version. It establishes several important elements: that Ford probably explored much more back-story concerning Chihuahua and Holliday in the footage that is missing. Earp's reverent glance at Chihuahua's window would likely have had greater resonance if this were the case. Also, that Clementine is waiting for Earp at the outskirt of town, not within it, making their meeting more significant. She has clearly made the effort to see him alone. And that, most importantly, Earp only shakes Clementine's hand, rather than kissing her on the cheek (in the Zanuck version).
The ending to Clementine remains perhaps the best example of the difference between Zanuck and Ford. Ford looked at Earp as a folk hero, a man of propriety, of depth. Within Earp's eyes were the lingering sorrow of Holliday and Chihuahua's deaths, their human tragedy. It was important to leave the audience with this understanding of the character. For Zanuck,Earp was a melodrama trope. It was easy to insert a kiss (that doesn' even match the shot); it was just business.
The sleeve of Fox's DVD states an audio commentary by Wyatt Earp III. In reality, this should state an audio commentary by Scott Eyman, author of the fine book on Ford Print the Legend: The Life and Times of John Ford. Although Earp does speak occasionally, it is Eyman who provides the vast majority of comments, and walks the viewer through a number of fascinating facts and observations, switching between historical clarifications as well as pointed facts on Ford's craft and his legacy.
Richard Steiner, TCM.com
Includes a behind the scenes featurette about the alternate version.
John.Ford-My.Darling.Clementine.(Preview).avi 
Preview.comparison.featurette.avi
John.Ford-My.Darling.Clementine.(Preview).rar
John.Ford-My.Darling.Clementine.(Preview).idx
Ripeo publicado originalmente por Amnesiac en KG, cedido amablemente por Divadaniela
Amnesiac, Divadaniela y Mr. Magoo presentan
My darling Clementine (J. Ford, 1946) ... Preview version + extra
"Pasión de los fuertes"
http://www.imdb.com/title/tt0038762
Story: Sam Hellman
Screenplay: Samuel G. Engel & Winston Miller
Based on Stuart N. Lake's book
Producer: Samuel G. Engel
Music: Cyril J. Mockridge
Cinematographer: Joseph MacDonald
Editor: Dorothy Spencer
Cast: Henry Fonda, Linda Darnell, Victor Mature, Cathy Downs, Walter Brennan, Tim Holt, Ward Bond, Francis Ford, Danny Borzage
Review (Contains spoilers)
John Ford's My Darling Clementine (1946) finally gets a video release with a bit of respect, after languishing in poor VHS transfers for decades. It's considered one of the great American Westerns, but it remains clouded by an unfortunate history. There is no doubt it has become an important antecedent to countless great Westerns in the following decades (especially Peckinpah's The Wild Bunch). The film is a beautifully rendered Western, more folk poem than shoot-out, and it borrowed liberally from the Film Noir genre in vogue during the mid-40's, creating beauty in the bleakness of the wide open lawless prairie.
The film, as a director's work, is full of controversy. John Ford made the film under contract to Darryl F. Zanuck in 1946. For many Western fans, it's always been a point of substantial disgust that Zanuck took Ford's original cut, chopped out 30 minutes, tested the hell out of it with preview audiences, and then re-edited the film as this producer routinely did. The result? Still a pretty good film - but for anyone who has been awed by Ford's best work (e.g., The Searchers (1956)) - the question has always remained: How good was the first cut? That answer seems obvious - probably one of the greatest westerns ever made.
For this release, Fox and the UCLA Film and Television Archives have unearthed a pre-release version of the film which contains a handful of scenes not found in the film's original theatrical release (the same version which subsequently circulated in poor prints on television and video), and indicates a small sample of what was left on Zanuck's cutting room floor. This pre-release version is available on the DVD along with the original release version.
So anyone is likely to ask: is this pre-release version significantly different from the original version? Unfortunately, no. The pre-release print that has surfaced represents a version that was clearly quite far-along in the re-cutting process by Zanuck. It varies only slightly from the final version of the film released to theaters. Further, the changes are quite slight, in the form of music cues and the smallest of scene alterations. Nevertheless, there is enough material here to engage fans about this lost cut, and hint at directions Ford's original cut may have pursued.
In a supplement on the DVD, Robert Gitt, the Chief Preservation Officer of the UCLA Film and Television Archive who restored the film, provides a video study comparing the two versions of the film.
Here is a complete breakdown of the new or altered scenes contained in the pre-release version he discusses:
-Chihuahua (Linda Darnell) meets Billy Clanton (John Ireland) outside the Saloon as a stagecoach arrives in Tombstone. This new scene helps establish the romantic connection between Chihuahua and Billy Clanton, providing some logical explanation for the final reel of the film where she is caught protecting Billy from Earp's inquisition over the death of Earp's brother.
Also, it should be noted here that Gitt takes unusual liberties with this pre-release version of Clementine that are not entirely warranted or prudent. In an attempt to reconstruct the Chihuahua and Billy Clanton scene to it's fullest, Gitt physically duplicates a scene from later in the film (of a stagecoach arrival) and inserts it here, adding some technical processing to make the scene pass for a night setting, and cropping the image to boot. The result is a poor looking day-for-night shot, and while Mr. Gitt's intentions remain honorable, it's hard to see the merit of this tinkering. It adds very little, and runs the risk of having any viewer or student ponder the director's meaning and its obfuscation. Better to leave some things untouched.
-Wyatt Earp (Henry Fonda) exchanges a brief comment with Holliday (Victor Mature) about their Champagne toast at the bar. This scene only hints at what other material Ford likely shot to develop a report between these two mythic characters. The scene is superfluous, but for a film which needs to establish a bond between these two figures - why remove it?
-At the Tombstone town theater, scenes of the crowd ordering tamales and beer, and Earp and Holliday discuss Holiday's recent shave at the barber. A group of scenes which Ford uses to add atmosphere and spell out the rivalry for Clementine's affections between the leads. It's a nice comic piece that lightens the film. Zanuck would later cut perfectly acceptable scenes like this - only to add unnecessary music orchestrations later in his attempt to add back levity into the film.
-An extended scene, with the absence of music, of Clementine's (Cathy Downs) arrival to Tombstone via stagecoach. This scene, in its original form, is a wonderful, masterful touch by Ford that was unnecessarily muddied by Zanuck in the release version. In the pre-release version, the scene comes to life with Ford's skill at building a connection between characters, a slow-burn process that was one of his trademarks. The scene now breathes like the fulcrum it was meant to be, with ambient sound the poignant soundtrack, letting the psychology of the scene unfold - a pivotal point where Earp's destiny is set. Cut from the release version was Earp's lazy saunter and bored routine of setting-up his chair on the porch as he awaits the stagecoach arrival - creating engaging counterpoint to the entrance of Clementine. Zanuck would later cut most of this and add a highly manipulative and unnecessary orchestration, reducing the scene to flat melodrama.
-Brief dialogue between Holliday and Clementine on an outside balcony of the Saloon, with Holiday elaborating on his fate. In this scene, Holiday clarifies to the audience and Clementine that he is doomed and "dead," further distancing himself from the love of Clementine. Although the scene may appear superfluous, it's another small piece which telegraphs that there is no future for Clementine and Doc.
-Brief footage of townsfolk arriving for a Sunday church meeting and dance, with a different soundtrack. A small addition which helps establish the importance of Clementine's and Earp's dance, but also the progress of Tombstone since Earp has taken the job of Marshall.
-The absence of music when Chihuahua dashes across town after witnessing Doc's stagecoach rush out of Tombstone. Ford shot this without music - Zanuck added overly-dramatic orchestration. It's pretty clear - the music is unnecessary.
-Some new scenes of Holliday's operation on Chihuahua. Here, a new scene sees Holiday bark "Mrs. Carter!" while Clementine coldly retorts "Yes Doctor" Also, there is a shot of Earp in deep silhouette as he watches the exchange. It's clear Ford wanted this scene to help establish (and provide some closure) to the fact that Clementine had accepted Doc's refusal of her, and that his love has been clearly placed toward Chihuahua - an important scene if the audience is to sympathize and logically understand that Clementine will be willing to receive Earp's love. These shots must add about 20 seconds to the film - to cut these scenes is baffling. It appears Zanuck never believed it was necessary to establish that Clementine had psychologically shed, or needed to shed, Holliday in order to fall in love with Earp.
-The final sequence in the film, in which Earp says goodbye to the townsfolk, acknowledges Chihuahua's passing, and heads out of town. On the outskirts of town, he meets Clementine, shakes her hand, and promises to return. This final sequence is perhaps the best part of the pre-release version. It establishes several important elements: that Ford probably explored much more back-story concerning Chihuahua and Holliday in the footage that is missing. Earp's reverent glance at Chihuahua's window would likely have had greater resonance if this were the case. Also, that Clementine is waiting for Earp at the outskirt of town, not within it, making their meeting more significant. She has clearly made the effort to see him alone. And that, most importantly, Earp only shakes Clementine's hand, rather than kissing her on the cheek (in the Zanuck version).
The ending to Clementine remains perhaps the best example of the difference between Zanuck and Ford. Ford looked at Earp as a folk hero, a man of propriety, of depth. Within Earp's eyes were the lingering sorrow of Holliday and Chihuahua's deaths, their human tragedy. It was important to leave the audience with this understanding of the character. For Zanuck,Earp was a melodrama trope. It was easy to insert a kiss (that doesn' even match the shot); it was just business.
The sleeve of Fox's DVD states an audio commentary by Wyatt Earp III. In reality, this should state an audio commentary by Scott Eyman, author of the fine book on Ford Print the Legend: The Life and Times of John Ford. Although Earp does speak occasionally, it is Eyman who provides the vast majority of comments, and walks the viewer through a number of fascinating facts and observations, switching between historical clarifications as well as pointed facts on Ford's craft and his legacy.
Richard Steiner, TCM.com
Includes a behind the scenes featurette about the alternate version.
Código: Seleccionar todo
File Name ...................: John Ford - My Darling Clementine (Preview).avi
File Size (in bytes) ..........: 1,465,694,208 bytes
Runtime ....................: 01:43:19
Video Codec .....................: XviD
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Video Bitrate .................: 1809 kb/s
Bits per Pixel ...............: 0.246 bpp
B-VOP, N-VOP, QPel, GMC.............: [B-VOP], [], [], []
Audio Codec .....................: 0x0055(MP3, ISO) MPEG-1 Layer 3
Sample Rate .....................: 48000 Hz
Audio Bitrate .................: 75 kb/s [1 channel(s)] VBR
No. of audio streams ...............: 1
File Name ...................: Preview comparison featurette.avi
File Size (in bytes) ..........: 523,997,184 bytes
Runtime ....................: 00:41:50
Video Codec .....................: XviD
Frame Size ....................: 640x480 (AR: 1.333)
FPS .......................: 23.976
Video Bitrate .................: 1583 kb/s
Bits per Pixel ...............: 0.215 bpp
B-VOP, N-VOP, QPel, GMC.............: [B-VOP], [], [], []
Audio Codec .....................: 0x0055(MP3, ISO) MPEG-1 Layer 3
Sample Rate .....................: 48000 Hz
Audio Bitrate .................: 74 kb/s [1 channel(s)] VBR
No. of audio streams ...............: 1Ripeo publicado originalmente por Amnesiac en KG, cedido amablemente por Divadaniela
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James Mason
- Mensajes: 177
- Registrado: Vie 18 May, 2007 18:43
Re: My Darling Clementine (Ford, 1946) DVDRip VOSE + Audio Esp.
Me quedo con la copia COOLDuDE y los subtitulos. Gracias a todos los implicados
Saludos
Saludos
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FLaC
- Se alquila
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Re: My Darling Clementine (Ford, 1946) DVDRip VOSE + Audio Esp.
Me llevo la versión que nos trajo Keyser, muchas gracias.
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diogenesg
- Mensajes: 739
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Re: My Darling Clementine (John Ford, 1946) DVDRip VOSE + AE
Hola a todos.
Dado que observo que la "versión del director" posteada por pizio no tiene audio en español, me voy a poner a ello. Voy a intentarlo, porque me parece que hay diferencia en cuanto al tipo de audio, los frames y los herzios, pero voy a ello.
Es decir, insisto, si puedo, montaré un audio en mp3 (que es el que permite el sound forge 9) es español y con los 6 o 7 minutos que faltan para esta versión, en ingles.
Si alguien está interesado, que se vaya apuntando, porque espero hacerlo.
Saludos.
Dado que observo que la "versión del director" posteada por pizio no tiene audio en español, me voy a poner a ello. Voy a intentarlo, porque me parece que hay diferencia en cuanto al tipo de audio, los frames y los herzios, pero voy a ello.
Es decir, insisto, si puedo, montaré un audio en mp3 (que es el que permite el sound forge 9) es español y con los 6 o 7 minutos que faltan para esta versión, en ingles.
Si alguien está interesado, que se vaya apuntando, porque espero hacerlo.
Saludos.
Siéntate a la puerta de tu casa y verás pasar el cadáver de tu enemigo
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diogenesg
- Mensajes: 739
- Registrado: Sab 10 Jun, 2006 00:26
Re: My Darling Clementine (John Ford, 1946) DVDRip VOSE + AE
Pasión de los fuertes (FOR).srt Audio de Pasión de los fuertes.mp3 Bueno, pues a pesar del éxito del ofrecimiento, aquí pongo los enlaces del audio en español sincronizado para la versión de ZEN y posteada por pizio, que es la que está remasterizada y se ve francamente bien.
Tiene unos 6-7 minutos de escenas no vistas anteriormente, aunque no influyen en absoluto para la trama.
También van los forzados.
Lo tendré una semana en lanzamiento.
Saludos.
Siéntate a la puerta de tu casa y verás pasar el cadáver de tu enemigo
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MILLER
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Re: My Darling Clementine (John Ford, 1946) DVDRip VOSE + AE
Pinchado queda. Muchas gracias por el trabajo diogenesg.
Saludos.
By MILLER.
Saludos.
By MILLER.
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Cirlot
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Re: My Darling Clementine (John Ford, 1946) DVDRip VOSE + AE
¿Podría alguien recompartir la versión Preview de Mr. Magoo? La pinché hace meses pero no hay ni una sola fuente. Gracias de antemano.
Salud, comas, clowns y República
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mot
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