BoxRec

Chuck1052 wrote:I have disliked the colorization of black-and-white films since it started to be done on a large scale during the 1980s. The black-and-white films generally are fine as is.

- Chuck Johnston

I have always felt the same but now my resolve is cracking; I think I am going pro-computer, either colorization or just for enhancement of the image. The computerization of old images is like putting plaster-of-Paris place-holders in the incomplete dinosaur skeletons at the museum, it works better.

Chuck1052 wrote:I have disliked the colorization of black-and-white films since it started to be done on a large scale during the 1980s. The black-and-white films generally are fine as is.

- Chuck Johnston

yeah,its called "cinematography"
btw what was the last film you went to at the cinema where you said to yourself "wow" this is great cinematography.
In my case I think it was Stanely Kubrick's EYES WIDE SHUT.

Lovely to see this footage of Dempsey in colour !

If I had one wish it would be that all the old timers were in colour.

Life is in colour not black and white.

nobleart1978 wrote:Lovely to see this footage of Dempsey in colour !

If I had one wish it would be that all the old timers were in colour.

Life is in colour not black and white.

unless you happen to be a dog of course.

I've watched the old,grainy black and white images of the Dempsey knockdown but I've never seen the left hook land so clearly as it appeared to do on the colour version.
The effect from those smaller less well made gloves must have severely stunned Tunney. He did well to survive.
Great to be able to see the colour version over here in the ' mother country '.

- More like the long count enhanced with modern technology with color one of many components.

I dispute the OP assertion Jack only landed one good punch. All landed flush save for a grazing left mid flurry that froze Tunney on the ropes. The clubbing right yielding the KD is flush with a different angle to knock Tunney free of the ropes sideways.

Dempsey started his legend with a combo from hell on Willard and finished with the same against Tunney that he gets little credit for here. I'll take Dempsey any day over the dubious field of vision too often displayed on this forum.

BroughtonRulesRefuge wrote:- More like the long count enhanced with modern technology with color one of many components.

I dispute the OP assertion Jack only landed one good punch. All landed flush save for a grazing left mid flurry that froze Tunney on the ropes. The clubbing right yielding the KD is flush with a different angle to knock Tunney free of the ropes sideways.

Dempsey started his legend with a combo from hell on Willard and finished with the same against Tunney that he gets little credit for here. I'll take Dempsey any day over the dubious field of vision too often displayed on this forum.

There is a scene in the TV mini-series Dempsey 1983 (with Treat Williams) where his older brother (who also fought under the name 'Jack Dempsey') shows him a (that famous fight opening) combination and tells the young Dempsey to start every fight with it. - Wonder where the writers came up with that anecdote, from research or imagination?

I am the OP here and I have never had anyone tell me I don't give Dempsey enough credit (I love it.); I know I suffer from the opposite bias, have my whole life, since I first saw the Bellows' painting at age 10, I have been obsessed with the fighter, (I even named my daughter Dempsey,) so ironically your critique is a good one from my perspective; maybe I am finally shaking off some of my pro-Dempsey bias, because . . . I don't think Dempsey was able to get that right hand in fully; yes it is a clean shot, but his positioning (footing) didn't allow for enough follow through to put Tunney's lights out completely . . . . just my two-cents.

One more note: I tried to find out if it was the same combination that took out Fred Fulton in 23 seconds - the newspaper accounts are scarce, but if there is any truth to the TV anecdote (start every fight the same) then Fulton may have fell victim to that same fierce combination.

Definitely agree - much more than 'colorization' going on here it is enhanced somehow - it is going to be interesting to see what they will eventually (be able to) do with early film.

I'm just wondering what the source of the Tunney/Dempsey film was that they got before they colourized it.
Was it from the Kodak Eastman House in Rochester New York ?
Did they then "digitally restore" it ?