List of 70 Mm Films - European 65/70 Mm Films

European 65/70 Mm Films

  • Flying Clipper – Traumreise unter weissen Segeln (West Germany 1962) – Superpanorama 70. A re-edited version was shown as Mediterranean Holiday (1964) in 70 mm Cinerama and in Wonderama in the USA
  • Shéhérazade (France/Spain/Italy 1963) – Superpanorama 70
  • La Tulipe noire/The Black Tulip (France/Italy/Spain 1964) – Superpanorama 70; shown in 70mm Cinerama
  • Old Shatterhand (West Germany/Yugoslavia/France/Italy 1964) – Superpanorama 70
  • Onkel Toms Hütte /La Case de l'Oncle Tom/Uncle Tom's Cabin (France/Italy/West Germany/Yugoslavia 1965) – Superpanorama 70
  • Der Kongress amüsiert sich/Congress of Love (West Germany/Austria 1966) – Superpanorama 70
  • El Fantástico Mundo del Dr Coppelius /Dr. Coppelius (Spain/US 1966) – Superpanorama 70
  • Pampa Salvaje/Savage Pampas (Spain/Argentina/US 1966) – Superpanorama 70
  • Play Time (France 1967) – filmed with 65mm Mitchell cameras, with an aperture masked for a non-standard aspect ratio of approximately 1.7:1
  • Con la muerte a la espalda/With Death On Your Back (Spain/France/Italy 1967) – Hi-Fi Stereo 70
  • La Marca del Hombre Lobo (Spain 1968) – Hi Fi Stereo 70. Re-edited with new footage and released in the USA in 35mm 3D as Frankenstein's Bloody Terror.
  • Chitty Chitty Bang Bang (United Kingdom 1968) – Super Panavision 70
  • Ryan's Daughter (United Kingdom 1970) – Super Panavision 70
  • Liebe in drei Dimensionen/Love in 3D (West Germany 1973) – Triarama
  • Map of the Human Heart (Australia/United Kingdom 1993) – Panavision System 65. Released in 35mm only.
  • As Wonderland Goes By (Australia/Bulgaria 2012) - Panavision System 65

Read more about this topic:  List Of 70 Mm Films

Famous quotes containing the words european and/or films:

    No European spring had shown him the same intermixture of delicate grace and passionate depravity that marked the Maryland May.
    Henry Brooks Adams (1838–1918)

    Television does not dominate or insist, as movies do. It is not sensational, but taken for granted. Insistence would destroy it, for its message is so dire that it relies on being the background drone that counters silence. For most of us, it is something turned on and off as we would the light. It is a service, not a luxury or a thing of choice.
    David Thomson, U.S. film historian. America in the Dark: The Impact of Hollywood Films on American Culture, ch. 8, William Morrow (1977)