To celebrate the 65th anniversary of Ealing Studios’ flawless THE
LADYKILLERS, STUDIOCANAL will be releasing the first ever 4k restoration of
the 1955 black comedy from the original 3-strip Technicolor negative,
showcasing director Alexander Mackendrick’s vision in its full glory.
· ‘Those Glorious Ealing Films’ CD soundtrack (with music from The
Ladykillers, Passport to Pimlico, Kind Hearts & Coronets and more)
· NEW documentary ‘Investigating the Ladykillers’ featuring new and archive
interviews including Reece Shearsmith, The Guardian’s Catherine Shoard,
Stuart Maconie, Ronald Harwood, Allan Scott and Terence Davies
· NEW ‘Colour in The Ladykillers’: new interview with Professor Keith
· ‘Forever Ealing’ documentary narrated by Michael Balcon’s grandson Daniel
· Audio commentary with author and film scholar Philip Kemp
· Excerpt from BBC Omnibus ‘Made in Ealing’ (1986) featuring interviews
with Alexander Mackendrick and William Rose.
· Audio interview with Assistant Director Tom Pevsner
· Audio interview with Unit Production Manager David Peers
THE LADYKILLERS is released as part of the ‘
Vintage Classics collection
’ which showcases iconic British films, all fully restored and featuring
brand new extra content. The collection includes KIND HEARTS &
CORONETS, THE DAM BUSTERS, BILLY LIAR, DON’T LOOK NOW, DEATH ON THE NILE,
FAR FROM THE MADDING CROWD, THE WICKER MAN, THE MAN WHO FELL TO EARTH, THE
RAILWAY CHILDREN, IT ALWAYS RAINS ON SUNDAY, THE HOLLY AND THE IVY, THE
HALFWAY HOUSE, THE FAMILY WAY, THE WINSLOW BOY and many more.
As THE LADYKILLERS was the last Technicolor three-strip film shot in the
UK, it was crucially important that the original camera negative was used
for a restoration that will serve as the best version of the film since its
original release. The restoration began with the 4K pin-registered scanning
of the original 1950s Technicolor three-strip camera negative. The three
strips had to have their colour separations combined to produce the final
colour image. One of the biggest issues to overcome was aligning the colour
separations together, initially an automated process, but also requiring a
huge amount of manual tweaking.
Manual and automated digital restoration was carried out over the aligned
images. The film suffered from a few extreme issues such as blue marks in
the middle to right hand side of frame throughout the film that had to be
removed, there was significant density fluctuation (flicker) that has been
corrected as best as possible on a shot by shot basis. Many shots suffered
from instability and some sections also suffered from scratching, the worst
being a four-minute section including scratches throughout the sequence
with up to eight onscreen at a time. In total the film benefitted from over
a 1000 hours’ worth of 4K digital restoration.
A 35mm Technicolor print was used as a reference for the colour grade to
ensure the new HDR Dolby Vision master stayed true to the films original
1950s ‘Colour by Technicolor’ look.