My most recent film arrival: "Shiokari Pass". On a very full 2000' reel. A movie about one man's faith in 1899 Japan. Releases like this is one of the reasons I enjoy 16 mm so much.

I've also recently picked up several aviation related short subjects in 16 mm. Most are 400' in length and the footage has origins in the 1960's.

Interesting films there Doug, no doubt they'll put an hour or two in.

I noticed Shiokari Pass somewhere lately. ebay, was it? I thought it looked interesting and thought about buying it for a second, but you know; can't buy them all :-) Hope you enjoy it!

Managed to get a print of "The Amazing Mr Blunden", a companion piece I suppose to "The Railway Children", both from Lionel Jeffries,
both have Edwardian settings, "Blunden" is a somewhat darker film, a ghost story with the title part played by Laurence Naismith, a young
Lynne Frederick with a host of British actors, including Diana Dors at her sadistic best. A quiet nice print originally from America, but obtained recently on ebay, a few splices, but they don't detract from a lovely little film.

Received in the post a couple of 16 mm titles today. First off a 30 minute digest (edited for the school systems here) of Disney's "Treasure Island." Next is the Castle Films 400' digest of "Incredible Jewel Robbery" starring the Marx Brothers. In the 8 mm zone I received the Castle Films "Up Front" digest in Standard 8mm, 200' reel. Last but not least Columbia Films "Bridge on The River Kwai" in Super-8 B & W /Silent on a 200' reel. I used to own the 400' color/sound version of this one but the narration was too much to bear. Hence it lasted a very short time in my collection.

Why do so many 16mm films seem to contain so many extra splices??

Whatever films I look at for sale, always seem to say the same thing?

In the case of feature films,many were prints used at TV stations here in the States.The splices are usually where commercials were but then edited out,hence the cuts.

I remember in school, when time ran out, they just cut it and respliced it to get it out of the machine (a reason I love the Elmo 16-CL slot load)

That is terrible Vidar, how crass, I think we were more fortunate in that there was a clique of cine men that were our teachers,
when we had film shows, which we all loved in Geography, Mr Fearon loaded up the B&H, usually before the lesson, there were
never any hairs in the gate either, he did love his films, but I speak of the '60s. As for extra splices in films, as Doug says, a lot of
features are ex TV, what are the excuses for the S/8 brigade? There was a seller in Germany selling a 4x400 of a Bruce Lee film, he foolishly put up pics of the spools, complete with concertina of film, no leaders, except on one, about six inches, film starting mid action no doubt, and he is not alone, one guy tried to sell me a 400' that was in such poor state I did not attempt to try to show what was on the spool, about 250'. Damage on 16mm is not as common as S/8. Apart from the fact that 16mm is a working gauge, where as
super 8 was for home use, the hire libraries could tell nightmare tales of damage to films returned from only a couple of outings.

That's just it Hugh, aside from when i see films that have been mounted to different spooling permutations than the original, for example a 3x 400ft original mounted to 2x 600ft etc etc, and aside from tails and leaders being removed to mount on larger spools, I can honestly say from the films I buy, i don't see many at all on Super 8mm.

I really wouldn't be happy if most of my features had an ad break in them every 20 minutes or so, especially then if there were even more splices on top then for where each reel ended originally!

Some of my Super 8mm features don't have any at all.

I can understand spooling up films, I've done it myself, but I wouldn't construe it as damaging a print Andrew, I try to keep front leads and tail outs intact, damage to the super 8 gauge was a very common thing, down to some very poorly made projectors and of course
careless operators of them. At the same time in the '70s when both 8mm gauges were in operation as library prints, the std 8mm films
were in far better condition than their super 8 counterparts, simultaneously the 16mm libraries never reported any damage at all,
indeed Edwyn Gilmour, who was a pro 16mm showman who was a well known journalist in "Movie Maker" magazine, never reported any bad prints, except for when titles change from 'scope to letterbox then flat, he mentioned lack of cue marks or sometimes in the wrong
place, but I have yet to read him reporting damage to film prints, and this was before Estar, only acetate. Splices where there has been an ad break doesn't cause concern, indeed some collectors were so fussy about lab splices on the S/8 features, Derek Simmonds told them they would have to live with it. Splices are not a worry, its the torn sprockets or horrible green marks I consider as damage, thankfully, not too many are on 16mm.

Yes, as I don't tend to buy too many of the older super 8mm releases, maybe I have been quite fortunate overall in avoiding these prints that were used on film shredders for the most part that contain sprocket damage and the likes.

I think the majority of the later Super 8mm were all more or less purchased to place on a quality projector by and large, albeit some with worn guides and very bad table manners, it does have to be said.
Not too many with sprocket damage but plenty with green lines!

Hugh, I am very familiar with "The Amazing Mr. Blunden" (1972) as it was broadcast on cable back in the 80's many times on one of the movie channels. We actually 'taped' it! That one has evaded DVD release in the U.S. You're a lucky fellow to have that one! I remember the end titles as each of the main players looks into the camera and says a cheerful goodbye to the viewing audience.

Hugh I remember Edwyn Gilmour's articles well. I still re-read them now and again
in my back issues collection of Movie Maker magazines.
In fact he was writing his memoirs in some issues of The Mercia Film Society magazines.
Talking of splices I recall that a lot of them were very well made "cement " ones.
Have you ever noticed how the later tape ones have a tendency to stretch and become
bendy over time ?

Very true David, they also have a tendency to ooze over time. The cement splices tend to last decades if done correctly, and some
of these prints in 35mm & 16mm are "survivals", probably from Film Libraries in 16mm's case, so will have done a bit of service.
It is of course possible to splice Ester or Poly stock with Superglue, eliminating tape altogether.

Just picked this one up and it should be in next week: "Paper Tiger" feature starring David Niven. (On two 1600' reels.)

I like David Niven. Not seen this. Myself, I wait for Peggy Sue Got Married from Mr. Guest. One of my favorites, warm, funny and a bit sad. Excellent photo too

Douglas you'll enjoy Paper Tiger, a nice gentle story.

Trailer

Since the Telex acquisition exactly one week ago today, I've been a busy lad acquiring reels in the 16mm gauge. I've bought a Little Rascals short titled "Three Smart Boys", an extract titled "Runt of the Littler" (from the 1973 "Charlotte's Web" feature) and an Abbott & Costello cartoon titled "Lumbering Lummoxes". The screenshots below are from the ones posted in the eBay listings.

Sorry about the tiny pictures guys. I don't know why they turned out like that!

;-) Thumbnails showing thumbnails

Oh well, when I get the films I'll post my own screenshots!

The Look At Life film about Paper Tiger.

Look At Life Royal Premier

Cool! Nothin like the first run on your first 16mm. Still remember the feeling of Heroes from Telemork running on my Elmo :-)