Directed by: Joseph W. Sarno
Stars: Judy Young, W.B. Parker, Audrey Campbell
Language: English + Commentaries (3tracks)
(Commentary by Director Joeseph W. Sarno and Wife Peggy Sarno, Michael Vraney, and Frank Henenlotter)
(Commentary by Film Critic Tim Lucas)
Country: Usa | Imdb Info | Ar: 16:9 | Brrip
Also known as: Shame in the Suburbs, Love in the Suburbs
Description: After discovering that her mother is involved in an adulterous affair, a pretty high school student seeks help from a neighbor. While their trusting bond grows into a deep relationship, a secret sex club for the area’s pleasure-seeking women is started. Soon, Mom discovers that her daughter is a member
Preview
3.94GB | 90:58mins | 1920×1080 | mkv
https://tezfiles.com/file/aa1c59e259ce8/Sin.in.the.Suburbs.1964.mkv
Thank you!
Thanks for the upgrade.
Thanks for the commentaries, especially Tim Lucas.
This is a welcome upgrade for a film better than its surface. I haven’t yet listened to the commentary tracks, so they might talk about the issue I’m having with it: To me it’s a bit of a shame, that when enthusiasts re-issue classics like this, they don’t seem to mind cropping the image. The imagery of the film is cropped to near death in this BD-release. See comparison to available low quality version: https://www.imagebam.com/view/MEJQN9Y
The cropped version is usually the definitive version for theatrical releases – for the following reason.
After some form of widescreen became compulsory in mainstream cinemas in the 1950s most films were still shot with the same spherical (non-anamorphic) lenses but framed with the knowledge that they would be cropped top and bottom in cinema projection.
Until fairly recently however most TV broadcasts were in 4:3 and most stations wouldn’t accept black borders at the top and bottom of screen.
How filmmakers dealt with this problem varied. Many didn’t want their films to be panned and scanned for TV so they shot their films “open gate”, accepting that there would be excess image when shown on TV. Obviously all the important information was kept within the cinema widescreen area and filmmakers varied as to how much they cared about what appeared in the extra TV area.
Fast forward to now, when widescreen TVs are the norm…
Given that we don’t always know what the filmmakers originally intended, I think it’s safe to say that the vast majority of filmmakers would have preferred the cinema version to be the default – that’s what they primarily focused on, that’s what camera operators framed for.
Fairly rare exceptions would be those where a film was primarily made for TV but also ended up having some form of cinema release or non-theatrical films e.g. 16mm art films or instructional films shown in non-mainstream cinema settings.
It’s good to hear from someone who knows what they’re talking about. That’s all too rare on the internet.
In this case, looking at the thumbnails leads me to think that either the director & DP wanted lots of heads extending off the top of the screen or they expected it to be shown in 4:3.
“Can’t possibly have a non-widescreen picture” syndrome strikes again, sigh.
upgraded