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Miss Hepburn, who had warbled sweetly in "Breakfast at Tiffany's," expected to sing her way through the great Lerner and Loewe songs, but her voice was dubbed. Miss Andrews got her own back when she won the Oscar for best actress for "Mary Poppins" that year. And now Miss Hepburn will get a little justice as well.
In the course of restoring "My Fair Lady," two film conservators have discovered some of the vocal tracks she recorded in pre-production and, using a little sleight of hand, have rescued two of the recordings from oblivion, "Wouldn't It Be Loverly" and "Show Me. The first public screening is on Sept. Katz and Robert A. Harris, who restored "Spartacus" three years ago. CBS plans to rerelease the film in selected markets and produce 30th anniversary laser-disk and videotape versions that include some of the archival material that Mr.
Katz and Mr. Harris have unearthed. Death by Film Canister. The film, a smash hit inhas led a tough existence over the last 30 years. In January, when Mr. What remained, several thousand cans of film in 10 rooms, did not look promising. For one thing, most of the cans lay in piles on the floor, having been dislodged by the big quake of Jan.
Katz had to crowbar his way into the vaults. More seriously, so many duplicate prints had been made from the original negative that the original negative began falling apart as soon as it was removed from the can. Most of the labels on the cans had fallen off, so their contents were a mystery. To make matters worse, as Mr. Katz inspected the trove, the vaults were rocked by two mighty aftershocks, and film cans went flying.
Katz said. When the dust settled, Mr. Katz removed "My Fair Lady" to a film lab, and he and Mr. Harris embarked on the arduous process of sorting through the cans, correcting color, fixing ripped film and filling in gaps. They also interviewed members of the original production to obtain technical information, notably from Gene Allen, the set deer, and John Burnett, an assistant film editor. Film restoration poses a touchy diplomatic problem.
In the past, the studios discarded vast quantities of material that has turned out to be valuable, either financially or historically. In many cases, the material has found its way into the collectors' hands. The Best of the Outtakes. Harris's company, Film Preserve, can walk the shaky line between the two hostile parties, plumbing the studio archives and library collections with one hand and reaching out to the underground network of collectors with the other.
In this way, they rediscovered a dramatic eight-minute sequence of "Spartacus," in which a line of slaves marched across Italy. And it was a collector who came up with the Hepburn songs, which no one knew existed. Harris said.
By picking out the best bits of the outtakes, the two men were able to produce two complete songs. The Rex Harrison vocal tracks also turned out to be peculiar. In carrying out the restoration, Mr. Harris noticed that Harrison's soundtrack and lip movements were perfectly synchronized, something that was not true of the other singers.
It turned out that Harrison insisted on performing the role of Henry Higgins as he had onstage, doing each song in a single long take, and singing directly into a tiny microphone, visible as a bulge in his tie. This newfangled invention, the lavaliere microphone, picked up more sounds than the primitive playback equipment of the time revealed.
Harris had to edit out the sounds of not only rustling cloth, but also police radio als, taxicab calls and flies buzzing in the studio. A Surprise at Ascot. The missing labels turned out to be a blessing in disguise, or at least not a hindrance. Often the studios mislabel or simply don't know what they own. By going through each can, Mr.
Harris unearthed an eight-minute documentary in which Cecil Beaton, the costume deer for the film, takes the viewer on a backstage tour and discusses his work on the film. They also found a minute production short on the making of the film.
Fortunately, Beaton did not live to see what happened to his tour-de-force Ascot scene, which most audiences remember as a symphony of black-and-white costumes.
When Mr. Harris played it back, it went from purple to yellow to green because the film stock had deteriorated and faded. In trying to being the color back into balance, the two men discovered that the original was actually black and ivory. In certain cases, to correct color, they searched out original costumes, but on occasion, the big fish got away.
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Julie Andrews Would Have ‘Spat in Someone’s Eye’ If She Had Made ‘My Fair Lady’ Like Audrey Hepburn