captainsolo said:
Why is the Criterion color so different?
I have a feeling that it all has to do with the original source for the digital copy. I bet the Criterion version came from some archive print that was sent out by MGM/UA to festivals and special showings of the film over the years. The type of print damage and film tears seen within the film seems to back this theory up. When the Criterion Collection started (late 80's), a letterbox release of a film was a very new and untested marketing gamble for the home market. The thing that might have been an issue is that Criterion was just leasing the rights to distribute the film. MGM most likely sent them a festival type print that Janus films (owner/partner with Criterion) had transferred to digital themselves. I don't think much effort was made to unearth the best of best prints of films in the early days. For another example of this, take a look at the horrendous print of "Let it Be" that U.A. sent to Magnetic Home Video Corporation for their leased edition of that film. When MGM/U.A. saw how well the home video market was doing, and also saw how well received the Bond films had been for Criterion, they must have decided to begin distributing their films themselves. It must have been at this time that a newer digital copy was made by MGM/U.A. from a source closer to the negative for their Deluxe Letter Box Series of Bond films in 1989. The 1989 disks sure are not from the Criterion source as you can see. I think the film must have looked closer to the Criterion version when it was out in the Cinema though.
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Edit:
Here is something I never knew about the "Goldfinger" Ultimate Edition DVD. It seems to be missing some frames. The missing frames are located at the 1:17:10 mark right after Oddjob passes the turn to the airport. I will have to look at the Special Edition and THX DVDs to see if they are also missing from them. The Criterion laserdisc has the frames intact.
A Letter from Lowry Digital from another site:
Thanks for your kind attention to “Goldfinger”. We’re very proud of the work we do.
MGM made all of the creative decisions relative to the Bond library (as do all our restoration clients). We invented, and provide, the toolset to accomplish the restorations to the taste, and under the guidance of, our clientele. In the case of “Goldfinger” we were provided with original negative, which we digitized prior to the actual restoration work. I cannot say if the negative was somehow altered prior to scanning and since other versions were released.
We’ve had some interesting feedback about the Bonds. In one case, it was observed that we changed a scene from previous telecine transfers when in fact previous issues contained a telecine fix that was not in the original negative. In some cases we were expressly directed not to change errors in principal photography because audiences were familiar with, and would prefer the flaws.
In any event, feedback means people are watching and interested, and that’s great. Your comments may encourage a more detailed response if you direct them to the content owner, in this case MGM. MGM has undergone many personnel changes over the last couple years, and distribution rights have moved as well. Perhaps it would be best to refer you to Eon in the UK. You may find contact info for MGM and Eon on their websites.
Kind regards,
Alan Silvers
Director/Business Development
Lowry Digital"