Perhaps the most painful of all the musical moments is
the Act One finale from THE KING AND I (where the gag
is that Anna cannot have her head higher than the
King).   The video camera pans to Anna, cuts to the
King, back and forth.  Poor home viewers never get to
see the visual joke as Yul Brenner slides slowly into
a full split, and Anna struggles to keep up with him.

David Ezell

--- Ed Owens <[log in to unmask]> wrote:
> Let me add a vast assortment of musicals (Gigi, My
> Fair Lady, Hello Dolly,
> and The Music Man, just to name a few) where dance
> numbers are abysmally
> cropped and parts of songs are often sung by
> offscreen voices (voices that
> become embodied in the letterboxed versions).
> Ed
> In a message dated 5/10/00 9:47:48 AM,
> [log in to unmask] writes:
> >In _Star Trek IV: The Voyage Home_, Spock, Kirk,
> and Taylor cannot be
> >shown in the same shot in the front of the truck in
> pan and scan.  In
> >_Dark City_, The table cannot be seen extending in
> pan and scan.  In
> >_Heart and Souls_ the four spirits cannot be seen
> in the same shot near
> >the beginning, flying toward Thomas.  In _Star
> Trek: The Motion Picture_,
> >Wise's immensity compositions are destroyed because
> there is not a human
> >in every shot, as in the widescreen version.  These
> arer examples I can
> >think of odd the top of my head.  I know a number
> of scenes in _Dune_
> >don't make any sense in pan and scan, and there is
> a scene in Jun Fukuda's
> >_The War in Space_ (1977), that has a conversation
> shot from under a glass
> >table.  In pan and scan (the only way it is
> available in the U.S., where
> >it was released directly to television), all we can
> see are the noses of
> >Ryo Ikebe and Kensaky Morita, as they have their
> conversation.  I once
> >gave a speech on letterboxing and used this shot as
> an example of just
> >how
> >damaging pan and scan can be.
> ----
> Screen-L is sponsored by the Telecommunication &
> Film Dept., the
> University of Alabama:

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