Australian writer-producer Tammy Burnstock has been fascinated by the world.s first and only .Smell-o-Vision. feature ever since she interviewed its director/cinematographer Jack Cardiff in 1986.
Now Burnstock is part of the team that aims to screen a restored version of Scent of Mystery, retitled Holiday in Spain, to cinema audiences around the world including Australia.
Released in 1960, the film starred Denholm Elliott as a mystery novelist who discovers a plan to murder an American heiress (Beverly Bentley) while on vacation in Spain. He enlists the help of a local taxi driver (Peter Lorre) to try to thwart the crime. The cast included Leo McKern, Diana Dors and Paul Lukas.
Cardiff and producer Mike Todd Jr. updated a system invented by a Swiss man, Dr. Hans Laube, which piped artificial scents through a network of tubes to the back of each seat in a theatre.
Laube first demonstrated his .Scentovision...
Now Burnstock is part of the team that aims to screen a restored version of Scent of Mystery, retitled Holiday in Spain, to cinema audiences around the world including Australia.
Released in 1960, the film starred Denholm Elliott as a mystery novelist who discovers a plan to murder an American heiress (Beverly Bentley) while on vacation in Spain. He enlists the help of a local taxi driver (Peter Lorre) to try to thwart the crime. The cast included Leo McKern, Diana Dors and Paul Lukas.
Cardiff and producer Mike Todd Jr. updated a system invented by a Swiss man, Dr. Hans Laube, which piped artificial scents through a network of tubes to the back of each seat in a theatre.
Laube first demonstrated his .Scentovision...
- 9/28/2015
- by Don Groves
- IF.com.au
This week we'll be treated to a big advertising campaign for "Spy Kids: All the Time in the World in 4D." I have not seen the film, but I have experienced the process.
Yes, the Scratch-n-Sniff card is back, this time advertised as Aromascope. We have come a long way since Odorama and Smell-o-Vision. Well, maybe not that long a way.
It was May 1981 in Cannes. I had just left Le Petit Carlton, the legendary bistro on a back street behind the old Palais. Rainer Werner Fassbinder and his posse were gathered inside, looking as discontented as usual. I planned to walk down the Rue d'Antibes to the Hotel Splendid. After a block or two I found myself accosted by a press agent. He asked me if I was coming to the midnight screening of "Polyester."
"Polly who?" I asked. In France you never realize they're speaking English.
"The new John Waters film!
Yes, the Scratch-n-Sniff card is back, this time advertised as Aromascope. We have come a long way since Odorama and Smell-o-Vision. Well, maybe not that long a way.
It was May 1981 in Cannes. I had just left Le Petit Carlton, the legendary bistro on a back street behind the old Palais. Rainer Werner Fassbinder and his posse were gathered inside, looking as discontented as usual. I planned to walk down the Rue d'Antibes to the Hotel Splendid. After a block or two I found myself accosted by a press agent. He asked me if I was coming to the midnight screening of "Polyester."
"Polly who?" I asked. In France you never realize they're speaking English.
"The new John Waters film!
- 8/11/2011
- by Roger Ebert
- blogs.suntimes.com/ebert
Cinema huckster William Castle
I was at the 10th Motovun Film Festival, in Croatia two summers ago, mainly to see their ‘interactive cinema programme’. Motovun is renowned as a Woodstock of film festivals and often includes an interesting side programme. This year’s Motovun Film Festival began yesterday (26 July), with a side programme of Slovenian film, socially-committed topics tackling issues like human trafficking and rape, quirky “of people, cats and dogs”, and several homages to renowned directors.
When I attended the festival there were three screenings that handed over the director’s role to the audience; we were to decide the outcomes of these movies. The films screened were Czech ‘Kinoautomat’ “Man and His Home” (1966), Danish “Switching” (2003) and Canadian “Late Fragment” (2007).
Kinoautomat, the first interactive cinema and brain child of Czech director Radúz Činčera was invented in 1966. Alongside the movie projection, two moderators sitting at the stage were part of the spectacle.
I was at the 10th Motovun Film Festival, in Croatia two summers ago, mainly to see their ‘interactive cinema programme’. Motovun is renowned as a Woodstock of film festivals and often includes an interesting side programme. This year’s Motovun Film Festival began yesterday (26 July), with a side programme of Slovenian film, socially-committed topics tackling issues like human trafficking and rape, quirky “of people, cats and dogs”, and several homages to renowned directors.
When I attended the festival there were three screenings that handed over the director’s role to the audience; we were to decide the outcomes of these movies. The films screened were Czech ‘Kinoautomat’ “Man and His Home” (1966), Danish “Switching” (2003) and Canadian “Late Fragment” (2007).
Kinoautomat, the first interactive cinema and brain child of Czech director Radúz Činčera was invented in 1966. Alongside the movie projection, two moderators sitting at the stage were part of the spectacle.
- 7/28/2010
- by Mico Tatalovic
- The Moving Arts Journal
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