Tonight's viewing was a film I saw at the cinema as a 9 year old; I thought at the time it was the worst film I had ever seen. It was the supporting feature to 'Jason and the Argonauts'; Jason is a very hard act to follow, but my main reason for not liking it was that I was expecting historical accuracy. This print is on Eastman stock, and so was the original 35mm print, so low fade copies may not exist. When this used to come up on TV, I could never watch it, but last year saw a copy for sale in the US, and was undecided. It was relisted for three months before I decided to have it. I have found that sometimes I see films or TV shows in a different way than I did originally. From a film that I didn't like, it's now one of my favourites. Being red, it wouldn't appeal to too many collectors, but I'm fine with that, and prefer to watch as I get them, and not experiment with filters.

The story concerns Edmund of Cornwall, played by Ronald Howard, son of Leslie. He plans to have King Arthur assassinated, marry his daughter Katherine, played by Janette Scott, dau of Thora Hird, and rule as king. He brings in mercenaries from Saxony to help him in his quest. A failed attempt on the king's life is blamed on Robert Marshall, a commoner, they meet when travelling through the forest. Edmund of Cornwall's followers in the disguise of Saxons, storm Edmund's Castle and kill King Arthur. Kate escapes with the help of Robert Marshall, played by Ronald Lewis. She has to change her disguise by changing from her royal dress to peasant clothes, and having her hair cut to resemble a boy. I always remember the wolf whistles in the cinema when Ronald Lewis tells Janette Scott to take her clothes off. Edmund's spies are everywhere, and when she is left in a monastery for safe keeping, she is kidnapped by Edmund's followers. Edmund asks her to marry him, which she refuses, and he says he will be king with or without her. She is rescued by Robert Marshall, and they go in search of Merlin, the three of them, and a band of supporters of the rightful Queen, arrive just as the Coronation of Edmund is to take place. Marshall introduces Katherine to the crowd, but they think she is an imposter, and Edmund of Cornwall denounces her. Her identity is proven, when it's found that only she can remove Excalibur from its scabbard.

A battle ensues between Edmund's supporters and those of Katherine. Edmund is killed by one of his own men, the price of failure, and the Saxon mercenaries return to Germany.
Katherine, now as Queen asks Robert Marshall to marry her, but he says it's not possible for a commoner to marry a royal, so she creates him Baron of Cornwall, and asks him again, and all ends happily. It's historical bunkum, with knights looking like they belong in the 14th century, the architecture is all over the place, with some real buildings being used that were from the 19th century. But for entertainment value, I rate it very high. Picture quality is very good, as can be seen, and the soundtrack is as clear as a bell. The dynamic music was composed by Laurie Johnson, who was also responsible for 'The Professionals'.

The seller I got this from had a habit of sending out films just wrapped in two pieces of cardboard, no original box or can. So I had to make my own; it's all part of the hobby, making or restoring boxes, and one that I enjoyed. I have some photos from the single sheet of cardboard to the finished job.

The fact that you are perfectly fine regarding fade Robert gives you an advantage of getting exactly what titles you like with your films. Some may not buy prints that are faded but it's just as well many will when they are otherwise in superb shape, like this one clearly is.
As I have said several times lately myself, condition of print regarding wear is always my own number one concern before buying any film these days.
It's equally part of our hobby to give them the TLC our precious prints deserve and with the time and effort you have clearly spent giving this film a respectful and polished place to live in, the love for the film is then always apparent.
Well done Robert, great job all around.

Each film is as important to me Andrew, and I feel I have a responsibility to look after it. Though what will happen after my time I don't know, but I'm doing my best to see they survive, and keep them in the condition I receive them in.

My number one priority ALWAYS when I pull a film out from its box before screening them nowadays, is that it enters back into it's box in exactly the same condition as it came out, or better if possible!
(More cleaning / Recorded again / Brand new box etc etc).

It's only these past few years I can be entirely confident with this essential priority and wish of mine, but as prints now are almost always really really difficult to replace in this era, it is more important than ever before to me.

I have actually heard that some collectors ( a few familiar ones included!), would rather scrap faded films than keep them in circulation, irrespective of all other condition parameters.
Personally I feel this attitude is ludicrous while ever there is even one collector left on our planet that would gain pleasure from owning and screening them!

That's how I feel about faded prints Andrew; some say they should be binned. I don't believe in destroying something that can't be replaced. Why do we buy films?; to entertain. If you can watch a film like I saw tonight, and at the end, think that you have had a damn good evening, then that film has served it's purpose. You get used to it and don't notice it much. Back in the early days some Super 8 titles were only available in the UK in B&W, and the films were originally made in colour. Mountain released a lot like that, and I have two from Powell Films that were B&W versions. we enjoyed them, we didn't worry about what we were missing.

I like to think that after my time is up, that they would end up with someone else who would appreciate them. I have often improved films by adding extra leader to the front and tail, to protect the original part of the film. Going back to my statement about feeling that I have a responsibility to look after these films, I do when a print can be 60 or 70 years old. It's lasted all that time, and now it's up to me to see that it survives my lifetime.

it would be nice to know the history of some of my older 16mm prints, i have some originals from the 30's and 40's. where did they begin there life, what hands did they go thru, the rental companys who hired them out, and how they have survived to this day, always amazes me.

I’m pruning faded prints from my collection, but I’m giving those prints to my collector friends who have a higher tolerance for fade than I do. After decades in the hobby, I’m now only focusing on collecting black and white prints.

My Brother would like that title. The historical films are among his favourites. Like you Robert, he will always be criticle of the historical facts and give a running commentry of qhat really happened. It can be annoying sometimes but always interesting. Even in Zulu he tells me every single time that the character Stanley Baker plays was from Plymouth. I xan almost lip sync what hes going ro say,(all in a nice way though). What i learned watching Cromwell was all very interesting. What other films do you have like this?

Not a lot Tom, after this, there is Attack of the Normans, previewed recently, and Alfred the Great (1969), that I got from David. I very much like that film (Alfred), but didn't originally when I saw it on TV. The strange thing, is that they had craftsmen make every prop, and it had to look authentic. They used a biography as a source for the film, then when they filmed it, accuracy went out of the window. I'll have to get around writing a more full description of the film. The soundtrack music is really beautiful, but even the composer didn't like it.

Clyde, if you go onto Google Books, and enter a title of one of your films, and then add 16mm, you might find who was renting it out, or what years it was still being printed for hire. It doesn't always work though, I have an old print from 1941 of a film made about 1935, but I couldn't find any reference to 16mm copies.