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Dear Manderly,
I don't know if we're boring anybody, but since we've caught the attention and participation of the estimable Rozsaphile, we must be doing something right.
Reading your comments about KATE's cropping, I'm sorry all over again that our paths have never crossed in person. Obviously, you have much to share with those of us always thirsty for more knowledge of cinema. In fact, as you say, I never noticed anything amiss with the KATE image. I'd like to hide behind the fact that I was so bowled over by the 3-D aspects that I wasn't attentive to other concerns, or the fact that I'm not overly familiar with the way the film should be framed normally, but I can't honestly say if, under optimum conditions, all things being equal, my perecptions would have been any more aware of the problems you cited. And I certainly appreciated learning all the details behind that MGMonkeying around with framing ratios in the early widescreen days. Thanks!
Apropos of Rozsa's relationship with his boss, I looked for last night but did not find a quote from Comden and Green which I thought might have been in the book about the Freed unit but is apparently in some other source I've read over the years. Sorry, then, that I can only paraphrase from rough memory, but I vividly recall a scene at the studio encountered by Comden and Green. They were still remarking on the incongruity years later, apparently. Seems that at some point Green reorganized his department and, much to C & G's shock, JG insisted on having Dr. Rozsa and every other staff composer sit on embarrassingly small schoolroom deskchairs and take notes while JG lectured them all on new paperwork procedures... Couldn't have been a charming memory for MR, I'm thinking.
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Broughton's "Feast of Lupercal" fanfare is even more thrilling than Rozsa's original, comparable to BEN-HUR's Decca recording of "Fanfare to Prelude." It's one of those cues that demands a repeat listen.
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