The Extras - Warner Archive October Part 2 Announcement: 4 Classic Films Including a 3D Horror PLUS a 4K

Episode Date: September 24, 2026

Send us Fan MailIn Part 2, George Feltenstein announces 4 more classic films releasing in October from the Warner Archive. We discuss why these upgrades matter, from new 4K scans and rebuilt Technicolor to commentaries, radio programs, shorts, and cartoons that restore the full “movie night” context. We also preview a major November 4K UHD release and dig into the extras, audio options, and surprising archival finds that make these releases feel special. Pre-orders are not yet available. Moviezyng Affiliate LinkThe Extras Facebook pageThe Extras TV YouTube ChannelThe Extras Twitter Warner Archive & Warner Bros Catalog GroupJoin our new public Facebook Group for Warner Archive Animation Fans and get the latest update on all the releases.As an Amazon and Moviezyng Affiliate, The Extras may receive a commission for purchases through our purchase links.  There is no additional cost to you, and every little bit helps us in the production of the podcast.  Thanks in advance.Otaku Media produces podcasts, behind-the-scenes extras, and media that connect creatives with their fans and businesses with their consumers.  Contact us today to see how we can work together to achieve your goals.  [e-mail]

Hi, I'm film historian and author John Fricky. I've written books about Judy Garland and The Wizard of Oz movie, and you're listening to The Extras. Hello and welcome to The Extras. I'm Tim Malar, your host. And joining me is George Feldstein of the Warner Archive to announce four classic films and a 3D horror film releasing in October, plus a highly requested film on 4K releasing in November. Hi, George. Hello, Tim.

Well, when it comes to October, George, fans always want to know if you have any horror releases, highly anticipated, of course, and you do. So let's start there today. What can you tell us about the highly anticipated 3D film, Phantom of the Rue Morg from 1954? Just for people who don't understand, this is true 3D, I think most of the people who listen, to us speak on the extras are familiar with, you know, the 1950s, what I call the golden age of 3D, of true 3D shot with two cameras and not the various, you know, reiterations or revivals. So here at Warner Brothers, the first major studio, big budget film to use the 3D technology,

which was designed to bring people out of their living rooms and into theaters to see something they couldn't see at home. That was, of course, House of Wax with Vincent Price, which we, Warner, as a company released in 3D on 3D Blu-ray when 3D Blu-ray was a big thing. And we have, I think, between 14 or 15 feature films that were shot in true 3D, during that period of time, the three best and most successful of them, House of Wax, Kiss Me, Kate, and Hitchcock's Dialin for Murder, we released during that 3D renaissance, if you will. Since then, there have been a lot of people who've wanted us to dig deeper into our 3D classic library and the financials, because it's really the cost of doing two movies, they just didn't really work.

And in subsequent years, people with 3D plasma televisions, like myself, suddenly found their 3D plasma TVs didn't work anymore. They stopped making the televisions as 4K came about. And people with projection systems are unaffected, but it's been difficult for people who love 3D. And I consider myself one of them to be able to see 3D because the displays aren't being made anymore. But there is such a passion for 3D

that we know there are still enough people around the globe that we could make this work. And it was the film foundation that came to our team and proposed that we dip our toe in the water with some of the 3D films in our library. So at the Bologna Film Festival this year, there were two of those films shown, and the first of them that we're going to release as a 3D disc, which I know will make people very happy, I hope it will, is Phantom of the Rue Morg,

which came out in the, I'm thinking February or March, of 1954, when the 3D fad was starting to cool down pretty heavily, even to the point where shortly thereafter there were films shot in 3D that were released only 2D. That had actually started to happen even before then. And this film in particular is noteworthy because you have Carl Mulden as the star in a new retelling and glorious Warner Color of Edgar Allen Post Murder in the Rue Morg shot with a very, I'd say, a good sense of humor and horror because it's not a funny film, but you can tell that the people making the movie were having a good time making it.

Right. and it was directed by Roy Del Ruth. Carl Mulden had won a supporting actor Oscar for a streetcar named Desire at the 1952 awards for 1951 films. And he apparently had a lot of fun playing the lead in this movie. Claude Dofan is in this movie along with Patricia Medina and a very young Steve Forrest. And it was directed by Roy Del Ruth, who was kind of a veteran director. who had worked at Warner Brothers as well as other studios. It's just a great deal of fun.

It's, I would say, 90 minutes of cinematic horror. And for many, many years on VHS, Warner Home Video had distributed in 2D. It really wasn't until 3D Blu-ray came along that there was a good way of replicable. the stereoscopic 3D format in the home. The good part about it is, is that for people who don't have 3D equipment,

this is still a restoration that was created from the original negatives, and it looks terrific. So we have a separate 2D disc for people who don't have the 3D equipment. It is required that you either have a projection system, or a monitor that can play 3D and a Blu-ray player that can play 3D. And I think almost all the Blu-ray players have the capability,

even newer ones that have been made since they stopped making 3D displays. There is another anaglyph format, which uses red and blue to kind of create a 3D effect. Our people weren't even going to allow that. They wanted this to be Polaroid 3D, like you would see in the theaters in the 50s. And they worked very, very hard. And I was astounded when I saw how great this film looked. But I would say of almost equal excitement and to certain people, maybe even more excitement, is that we have a special feature on here.

And that is the one and only Popeye cartoon ever made. made in stereoscopic 3D. And it's called Popeye the Ace of Space. And that has been remastered from the two negatives the same way the featured has been. And it was all part of this initiative that was a byproduct of our longstanding partnership with the Film Foundation. So the Popeye cartoon is on the disc. And it's a two-disc set, but there's no extra.

charge for the fact that there's two discs. So the two disc has the feature and the cartoon in 3D on disc one, in 2D on disc two. So just to clarify, people who only have the 2D will be able to see that pop by in 2D. Oh, absolutely. Yes. Okay. Yeah. And I noticed that too with the price point. I'm like, well, it's the same price as a one disc, a Blu-ray release. So that's a terrific price. That was very intentional. Yeah. You know, we wanted to make this reasonably priced. I personally would love to see TV manufacturers resume making that a feature of their TVs. One thing doesn't have to cancel out the other.

When they started making 4K TVs, they didn't have to remove the ability for 3D. I would like to see that happen because, you know, I do have a lot of discs. of both modern films from, you know, a few years ago, as well as, you know, like my house of wax and Kissby K and Dial M for Murder. I want to be able to watch those. And I know I'm not alone with that. There are a lot of people that bemoan the fact that the manufacturers stopped including that format. But there's certainly enough people in the globe to support this kind of a release,

and I hope that they will support the release. and more important that they will enjoy the movie because it's a great deal of horror fun the way House of Wax is. Right. Well, next we have the Mary Widow from 1934. What can you tell us about this film? This has been long coming.

This is something we had put out on DVD. It didn't look that bad, but it really needed a ground-up restoration. And this is one where the original negative survived. didn't get caught in the fire. So we had the original camera negative, the nitrate camera negative of this 92-year-old movie to work with, and the results are magnificent.

And what makes it magnificent is to coin a phrase that is well used among film historians, the Lubitsch touch. This is directed by Ernst Lubitsch, one of the great directors of all time. And it's a perfect joining, of material, the Viennese operetta on which this film is based, the story, and Lubitsch's direction, and the casting of Maurice Chavezh and Jeanette MacDonald, who had worked under

Lubbich at Paramount for some very landmark classic early talkies. And it was Irving Thalberg. His name, of course, is not on the movie because he never allowed his name on the film. he produced, but this was very much a personal Fallberg production. And he brought Chevalier to MGM. The idea was for him to do two pictures, but he only ended up doing the one. Here's a little bit of unknown information, at least unknown to me, until I started researching the film

when we were planning this release, that at some point early in the contemplation of the production, it was going to be Maurice Chavillier and Joan Crawford in the Mary Widow. And when Chivalier signed his contract in terms of billing, they have in the file, Maurice Chavallier, Joan Crawford, in the Mary Widow. Very, very early on before a frame of film was, shot. There is no documentation as to why. Miss Crawford was not in the film, but I would assume that the

vocal abilities of Miss Crawford, which were limited, although she did enjoy singing, and there are some private operatic recordings of Joan Crawford made at MGM that she kind of got the studio to pay. They pay for her. She took singing lessons. She really wanted to be recognized. She didn't sing off key, but she was not Jeanette McDonald. And so Thalberg thought it was wise to bring Jeanette McDonald to MGM, where she remained under contract for many years, soon to be teamed with Nelson Eddy. We know what happened thereafter. But I understand that Chevalier and Ms. McDonald didn't particularly get along off camera. That may be true.

May not be true. I don't know that as fact. But on camera, I think they had a really great chemistry. And this film is just charming. And of course, the original source material was not in English. So to create English words for the 1934 film, MGM enlisted the services of contracted lyricist Lorenz Hart of the Rogers and Heart Partnership to write the English lyrics.

And there are not that many musical sequences in the film. It relies heavily on witty storytelling, which it does beautifully. And there are some really terrific supporting performances in the film. And there's just something magical about it, in my opinion, that makes it a great deal of fun. Now, as I have pummeled through the files over the years, it became of note to me that even though this had kind of fallen out of fashion by 1934, because Maurice Chavillet was obviously from France and spoke French, and Miss McDonald was fluent in French, Thalberg decided to spend the extra money and film a French language version of the movie with a completely different cast, but Lubitsch directing, and basically it's the same storytelling and the shots look the same and so forth and so on. The title is La Vue Joyeuse.

Now, I looked in our inventory, and we had nothing. MGM did. nothing to preserve the French version. I don't know why they didn't properly protect it, but I thought we had no material at all. And we found a print in Europe that is not phenomenal quality, to say the least, but it was the best thing that we could locate. And I'm sure probably like the week after our disc comes out, someone will come as a, oh, I have the negative or something equal to that. But the French version is presented

as best as we could get it from the source that we had. It is in high definition. And it's there, hopefully to entertain, there are English subtitles. But it's something people really, really wanted to see. Now, when sound first came in, it was almost requisite that when a big film was being made,

the studios would shoot two or three or four different language versions because they had yet to perfect dubbing. This was no longer the case by 1934. MGM did preserve some of the foreign language versions from the early talkie era, but it seems like there was no effort, made to preserve la vuve joieus. So in my usual fashion, I've talked about this before, how I'm always digging in the inventory. And there was a print in Europe that had really no providence. We couldn't tell quite where it came from. And we had it pulled in and they sent me

the email of the picture of the title frame, LaVuve Joyeus. And I was like, finally. wow you know and it's there more for historic reference because it's not a frame by frame pristine restoration but it's certainly watchable and enjoyable and it's there really for historic you know reference purposes and hopefully to be entertaining and i do think that it will be interesting for me because i still have not seen this yet all the folks have been working on it You know, I'm due to get to see it any day. But I would imagine Chavillet singing in his native language has even more, Jouad de Ville, shall we say, singing in French.

But I'm very grateful that we can present both versions, because if we had released just the English version, I know that there would be, you know, there's always people out there to complain. They love to do it. And they were like, well, I didn't choose. include the French version. And it's like, because we don't have it. And that is what I thought was the case up until very recently.

So this was actually ready for release a couple of months ago. And we held the release back because we thought maybe this print we found might be the French version. And it turned out to be that. So we now can release it with its companion version in a historical cinematic, revelatory moment. And I hope that people enjoy having both. You don't have to pay for two different movies. It's a bonus. And the length of the film, both versions are exactly the same length.

So this allows us to get to a nice, healthy Warner Archive bit rate without having to go on to two discs. Both discs are on there. So that's the special feature, along, of course, with the American version original trailer. We didn't put any shorts or anything else because I didn't want to take away the room on the disc that would have diminished the picture quality of either feature. Yeah, and so far the comment, the fact that you have that French version on theirs, has people very thrilled to know because... Who's seen it?

You know? Well, like they say in Galaxy Quest, never give up and never surrender. So I was so incredibly excited when I got that email and they sent me the frame of the main title. And I was like, it's it. Yeah. So it may not be perfect, but it's the best we could do. And again, I haven't seen it yet. So I'm really excited.

I would assume I'll be seeing it before. the end of the week. By the end of October, thousands of people will have it on their shelves, both versions. Exactly. So we could call the French version the Marrier Widow, because in French everything is merrier. That's true. That's true. In any event, very excited about the release. Well, next do we have another fun film. This is Love Crazy from 1941. What can you tell us about this film. I have to only say two names. William Powell, Mernaloy. You put the two of them together in a movie. It doesn't have to be a thin man movie to be terrific. And William Powell is irresistible and charming as always. Mernaloy is just gorgeous and fun. The fact that the studio saw that their

their chemistry together was so magical. I think if my count is correct, I think they made five or six films for MGM that weren't thin men movies together. They did one film together, not at MGM, so we don't have it. But all the films they made together, and one of them was a drama, Manhattan Miladrama,

which we released earlier. Right. And there's another one we haven't put out yet on Blu-ray Evelyn Prentice, which I hope at some point might come to be, but that's not on the radar at the moment. But there is another Powell-Loy film that is on the horizon that will be following soon thereafter. But Love Crazy is a marital comedy. It's under the very spirited direction of Jack Hanway. they just have a lot of misunderstandings as a married couple, and there's Florence Bates as a pushy mother-in-law,

and there's the usual complications that happen. The central plot gist is that they think that William Powell's character, Steve, is in need of mental health care, that he's gone baddy. But it's all for the purpose of comedy, and it's so well done. Gail Patrick is in the film, along with Jack Carson, it's Sydney Blackmer.

It's slapstick fun. It pokes fun at High Society. It's just one of those MGM films that is pure entertainment, and I highly recommend it. We were able to find two radio show versions to put on this. We've got the Lux Radio Theater, and replacing Myrna Loia on the Lux Radio Theater is the beautiful Hetty Lamar.

And that was done shortly after the film came out. And then many years later, toward the end of the 40s, I think we're on 1949, William Powell was on Screen Director's Playhouse, where they did a half-hour version of the film. And on Screen Director's Playhouse, the gist was that

the director of the film appeared on the radio show with the star or stars of the film version and would direct the radio version. And Jack Conway, the director of the film Love Crazy, was ill, so he was not able to participate in the scheduled broadcast, but a director that William Powell had worked with many, many years earlier, Mal S. Clair filled in the role as a substitute. By that time, Mr. Sinclair's directorial career was not very notable, but they were old friends and it worked out great. And it's great to hear these two different radio shows,

and we also always love putting them together. I did once again search the newspapers to see what opened with this feature film when it opened in Los Angeles. And you have an MGM cartoon from 1941, The Rookie Bear, which is one of the charming little kid-friendly cartoons MGM made in the early 1940s. And then we have a short subject

that's part of the Romance of Celluloid series of shorts. Each one was kind of a deep dive inside the filmmaking process at the studio. That would serve to teach you a little bit about filmmaking and then tell you what MGM films are coming. And this is one of those films. So it has a focus on cinematography at the beginning and then little highlights of forthcoming MGM movies.

This is exactly what the audiences saw on opening night in L.A. And Love Crazy Open. And we have the trailer. So it's a great fun disc, great fun movie. And any time we can bring more William Powell and Mernaloy, It's always a joy. I mean, this is a month with two William Powell movies. I mean, that's double the fun right there.

And they're both great movies. So very excited about Love Crazy. Yeah, it's such a great pairing. One of the favorites for the fans, we all, I think, enjoy when those two are together. So it's great to see them now in HD. Absolutely. Well, next we have a film from 1955. What can you tell us about Blackboard Jungle?

This is a very historically important movie, and I will talk about that in a minute. But more importantly, it's a very well-made film, a very brave film. It was directed by Richard Brooks, who was a take-no prisoner's director when he was given the opportunity. And he made many, many important films dealing with socialized. issues. And he wasn't afraid to take on dark subjects. And I think ahead, 12 years after Blackboard Jungle, he directed in Cold Blood, which to this day, I think of it. And it just, it's one of the most deeply disturbing movies ever. It's brilliant. But Richard Brooks was a very committed, very serious filmmaker. He was under contract to MGM and did some really exceptional work at the

studio. This is based on the novel by Evan Hunter, the same author who wrote the book that last summer was based on. So Blackboard Jungle was dealing with inner city high school juvenile delinquency, violence, racism, and how difficult it was for teachers to try to help students in these circumstances learn and raise their level in life. And Glenn Ford is the main character in the film. He plays a teacher who comes in with high hopes of instilling better values in the students and then has to deal with the reality of the difficulties in this school and with the students, but the progress he is able to make as a teacher, you know, being the protagonist of the telling the story. Glenn Ford is terrific. And again, I've spoken about this before,

but a terribly underrated actor because he was really, really good, especially if he was given good material. And here he's given exceptional material. So it's very believable, very realistic. about as antithetical to the MGM style of previous decades. This is reflecting filmmaking, starting to shift after movies like on the waterfront, just more realistic, influenced by neorealism in European cinema, starting to have an effect in American filmmaking. And the film holds up tremendously well. We have an archival commentary on here, two of the actors who were in the film,

one of whom happily is still with us, Jamie Farr from MASH. He had a small part in the film. He was a, I think he had a contract at MGM because he was in other MGM films in small parts at that time. And then the famous film director, Paul Mazzorski, the late Paul Mazzorski, he and Jamie Farr participated in this commentary along with, with Glenn Ford's son Peter, who wrote a very great biography about his father.

His mother happened to be Eleanor Powell, just for people who don't know. And then Joel Freeman, who was the assistant director on the movie. So the four of them have this commentary that really gives you background on what they were up against making this film and how realistic it was. And the film opens with a song under the main title

that was quite revolutionary. And it was just starting to become the hit record that it became, it's Bill Haley and the Comets Rock Around the Clock. Not unlike American graffiti. It opens up with Rock Around the Clock under the Main Titles. Very different circumstances. Yeah. As I understand it, it was Glenn Ford's son Peter,

who I would assume was about 20, 12 years old maybe at the time, maybe 13, not much older than that, who's suggested to his father, you need to put this song in your movie. If I understand the story correct. If I'm wrong about this, you can let us know that I made a mistake here, but I believe that Peter Ford takes the position that he influenced his dad to get that music in the movie. So the cast in the film, they're all terrific, but probably the most impact. change in terms of introducing new talent to the filmmaking process was the casting of Sidney Poitier, very young Sidney Poitier, as one of the students. Five years before,

he was in a pretty important supporting role in a Fox film, No Way Out. But I think this is the film that really made people stand up and take notice of him. And he's great. as one of the kids in the classroom. Of course, you know, all these high school kids, all the actors are in their mid-20s. But I think that was pretty much the norm until the era of John Hughes, you know. They always cast older.

But he's terrific in the film, and it really is one of the kind of benchmarks in the progression of his screen career. Because by the end of the 50s, He had established himself with movies like the Defiant Ones and Edge of the City as a major actor to contend with. And of course, one of the great actors of all time, in my opinion. So I love his performance in this movie. And I love the film.

I just think it's wonderful that it was made when it was made. And I think it probably did help make some changes and bring. bring some awareness to the problems that kids were having during that era. This really was an early screen attempt to address these kind of urban education issues. And it continued to be a theme in other films. A film I hope someday we could release on Blu-ray Up the Down Staircase with Sandy Dennis, 967 film. That was taking it into.

yet, you know, like what was going on in the late 60s. Sydney Poitier himself did a very important film that was set in London to serve with love that dealt with, you know, that juvenile delinquency issue and the education issue in England. And then there are even films that we've released like Stand and Deliver and Lean on Me, which, you know, deal with the late 80s. And what dedicated educators, the difference they can. can make in teenagers' lives.

It's certainly seen a progression in how the classroom is dealt with on screen. But this is a very important film, and I'm very grateful we're releasing it on Blu-ray, looking so great. And you already mentioned the commentary, which sounds terrific, but you also have a droopy cartoon? Because we did that with the DVD as well, since the droopy cartoon Blackboard Jumble was a play on, you know, a lot of cartoons spoof feature film titles. So we just thought it would be fun to put it on the DVD and we wanted to repeat that here. So it doesn't really have a connection to the movie.

It isn't even from the same year. But it just works together. Well, we have the trailer as well. Yeah, yeah. So it's a terrific. But the commentary is really terrific. I think people really enjoy listening. Yeah, looking forward to that one.

Well, next we have the film. Tom Thumb, and that's from 1958. What can you tell us about this release? Well, this is a George Powell production. He directed this film, and George Powell has a, I would say, very strong, multi-generational following because he contributed so much to fantasy filmmaking. Just about four years ago, we released the Wonderful World of the Brothers Grimm. That was George Powell.

Cinerama, and one of the stars of that movie was Russ Tamblin. Well, four years before that, Russ Tamblin starred in Tom Thumb. And Tom Thumb is an adaptation of stories by the Grim Brothers. So there's a direct connection there. This was filmed in England, and it is a charming family film that holds up really, really well. And Russ Tamblin is appropriately charming and adorable as Little Tom Thumb. And there are two henchmen for comic support played by none other than Peter Sellers and Terry Thomas. I guess you could say it's a musical. There are only like five songs in the film. And it isn't a musical where the songs advance the plot, but there are musical sequences in the film that are charming. One of the songs in the film was written by Peggy Lee,

Tom Thum's tune. And once you get that in your head, it becomes like an earworm. You can't, you can't get rid of the melody. And for those who don't know, Peggy Lee wrote all the songs for Walt Disney's Lady in the Tramp. She was a very, very talented songwriter in addition to being one of the great singers of the 20th century. But Tom Thome's tune is a kind of irresistible little melody. And when I think about this movie, I just smile. One of the things that doesn't make me smile about this movie is how bad the DVD

looked and how until our new restoration remaster, how bad this movie looked. I never knew this movie could be beautiful. It always looked like really bad Eastman color, like drained of its Eastman color, slightly faded, lots of flicker, not to mention dirt, all these other problems. We went back to the original negative

and used the separations to come with glowing. People will be shocked how much better this film looks. And it sounds terrific as well. This was, I believe, shot at the MGM British studios. This was not made in Culver City. But MGM got behind the movie in the major way. It was a big Christmas attraction in 1958. Alan Young from Mr. Ed is also in the movie.

Alan Young would also be in a film George Powell would make a few years later at MGM, which is a favorite of mine, the Time Machine with Rod Taylor and Yvette Mimia. So George Powell did a lot of work at MGM. And of course, just a few months ago, we brought out Seven Faces of Dr. Lau, which is another one of his film. So I'm very fond of his work. The Puppetunes, which were the stars of short subjects he made in the 1940s, they are here in this film, in Tom Thumb as well. So there are a lot of wonderful, meticulous special effects. This is something you can really share with your kids and your grandkids and your neighbors, kids. It's a family film that all audiences can enjoy.

It will be charming to adults, be charming to children and entertaining to them. And even though the movie is 68 years old, I think a modern child of today watching this movie would be as enchanted by it as kids. kids were when it came out in 1958. So I put on some 1958 MGM cartoons, but I also added a Warner Brothers cartoon called Tom Thumb and Trouble because it just seemed like a natural ad. Yeah. Yeah. So why not? Exactly. And all the cartoons are in HD. This new master looks fantastic. So it's going to be a fun disc. Yeah. Yeah, that's terrific. Well, we're going to finish up our discussion today, George, with a highly anticipated film releasing on 4K and Blu-ray, your combo release. And that's the 1975 classic, The Man Who Would Be King.

Tell us about this one and why you're releasing it on 4K. Well, this is coming from one of the great filmmakers of all time, Mr. John Houston. And this is based on a novella written by one of the, of the great writers of all time, Rudyard Kipling. We all know Rudyard Kipling from the Jungle Book. We know Rudyard Kipling from Gunga Din, Captain's Courageous. I mean, so much wonderful, wonderful writing the man did. And John Houston wanted to make this movie for 20 years. There were press stories that he was going to make the movie for Allied artists. And then there were stories. He was going to make the movie for Universal. And then there was in the 60s, he was going to make it for Paramount.

And then later in the 60s, it was going to be a Warner Brothers Seven Arts production. And every time he would get close, something would happen where the film just would fall apart and it would be not happening. I know. know that in later years, Houston said his initial casting in his head for the film was Humphrey Bogart and Clark Gable. Can you imagine the two of them in a movie together? But by 1974, he had gotten the financing together between allied artists and Columbia Pictures to move ahead with the very expensive production. Fortunately, his casting turned out to be phenomenal, putting Michael Kane and Sean Connery together was genius. The film was just so well received. I have never read a bad review of this movie.

It did very, very well at the box office. And it's been a bestseller for us on home video for decades. It always finds a new audience. So to now go back to the camera negative, to scan it 4K and to have a 4K HDR disc with Dolby Vision, It is a combo, so there's a beautiful remastered Blu-ray inside as well. And we have a featurette that was made at the time by a different film crew filming the making of the film.

And it's called Call It Magic, the Making of the Man Who Would Be King. So that's been remastered to be included on here along with the trailer. It's a superb adventure, action, comedy, with a great musical score by Maurice Jarre. And I think people are going to eat this up, given that it's now scheduled for a November 10th street date. We had to move the street day up a few weeks to get everything done in time and allow for, you know, there have been a lot of log jams and replication. I want to make sure we don't have that. problem here. I want people that be able to have this in time for the holidays, ready for

gift giving, especially if you're going to give it as a gift to yourself. Yes. Did you want to maybe clarify also the audio specs on this? Yeah, the film was completed in mono, which was in the pre-Star Wars era until Star Wars popularized that Dolby Stereo could be in neighbor. theater's without it costing an arm and a leg. Basically, people were having to blow movies up to 70 millimeter to get a six-track stereophonic sound audio experience. It was Dolby Stereo that changed all that. And unfortunately, the use of Dolby Stereo wouldn't be commonplace until after the Manda

Woodby King was made. However, because of the way it was made and the way it was made, and the way it was recorded, we were able to create a 5.1 audio track with appropriate mixing that sounds of the era because we had all the separate music and the dialogue and effect stem. So the mixers were able to come up with a wonderful 5-1 and the original monotheatical track because that is now Warner Studio Policy, whether it's Warner Archive or Warner Bros. Home Entertainment, if there is a newer track created, the original theatrical track must be included as well. The magnificent David McKenzie and Fidelity in Motion is handling the encode and he brings his artistry to every 4K

disc that we do as John Houston brought his artistry behind the camera or to the page as a screenwriter. David is an artist and the work that he does in creating, a beautiful in code, the compression and authoring talents of the man need to be in the Louvre, as far as I'm concerned. He's already developed the following. People know that when it's a fidelity in motion code, it's going to be gorgeous to look at and to listen to. And we're so proud to be working with him. Yeah. Yeah. Another fantastic 4K Blu-ray combo pack here. So that's a key point to always remind people if you have it upgraded to 4K, the Blu-Rays in there with all of the restoration remastering and the extras there.

So October's loaded. October's loaded. This is going to be the new normal folks. So the days of four to six a month are being changed for the better. And a good reason for that is we are more prosperous and successful. year after year because of the fans, the consumers who are supporting our efforts. They've stood up. They've supported our work. People have noticed what we're doing and the profits that increase year over year are very much looked upon with favor.

And we intend to just continue to strive to always excel. and do better and put as much care into our work as humanly possible. Emphasis on human. There's no artificial anything involved here. It's all very, very dedicated human beings in all forms of the process to bring you something spectacular to put on your shelf. Yeah. Well, as always, George, thanks for coming on and giving us the background about the

restorations remasters and all the extras that are included in these upcoming releases. Cool stuff and I love talking about it, especially with you, Tim. Well, that wraps up all of the October releases and then we talked about this 4K coming out in early November. So a lot of great stuff coming out in this time frame. It's a great time of year leading up to the holidays, but it's just been an abundance of releases from the Warner Archive. So I'm sure you can find one or two or three or 20 that you want to purchase from that group. As always, it's great, and we thank George for coming on and telling us about them.

I know he's just been working morning tonight to get these out to all of us, so we thank you. And if you haven't yet listened to our previous release, October releases, you'll want to be sure and check those out. There were a lot of fantastic titles in that one. Until next time, you've been listening to Tim Malar. Stay slightly obsessed about physical media. Hi, this is Tim Malar, host of the extras podcast,

and I wanted to let you know that we have a new private Facebook group for fans of the Warner Archive and Warner Brothers Catalog Physical Media releases. So if that interests you, you can find the link on our Facebook page or look for the link in the podcast show notes.