CRITERION UK:
Con salida el 4 de septiembre de 2017, el gran clásico de la comedia IT'S MAD, MAD, MAD, MAD WORLD (1963, EL MUNDO ESTÁ LOCO, LOCO, LOCO, LOCO) de Stanley Kramer.
Rodada en el formato más grande de la historia del cine: 65mm Ultra Panavision 70 2.76:1:
https://www.amazon.co.uk/Its-World-Criterion-Collection-Blu-ray/dp/B073X66LGC/ref=sr_1_4?s=dvd&ie=UTF8&qid=1501317412&sr=1-4&keywords=CRITERION+UK
SPECIAL EDITION FEATURES
Restored 4K digital film transfer of the general release version of the film, with 5.1 surround master audio soundtrack
New high-definition digital transfer of a 197 minutes extended version of the film, reconstructed and restored by Robert A. Harris using visual and audio material from the longer original road-show version - including some scenes that have been returned to the film here for the first time
New audio commentary featuring It’s a Mad, Mad, Mad, Mad World aficionados Mark Evanier, Michael Schlesinger and Paul Scrabo
New documentary on the film’s visual and sound effects, featuring rare behind-the-scenes footage of the crew at work and interviews with visual-effects specialist Craig Barron and sound designer Ben Burtt
Talk show from 1974 hosted by director Stanley Kramer and featuring Mad World actors Sid Caesar, Buddy Hackett, and Jonathan Winters
Press interview from 1963 featuring Kramer and members of the film’s cast
Interviews recorded for the 2000 AFI program 100 Years . . . 100 Laughs, featuring comedians and actors discussing the influence of the film
Two-part 1963 episode of the CBC television program Telescope that follows the film’s press junket and premiere
The Last 70mm Film Festival, a program from 2012 featuring cast and crew members from Mad World at the Academy of Motion Picture Arts and Sciences, hosted by Billy Crystal
Selection of humourist and voice-over artist Stan Freberg’s original TV and radio advertisements for the film, with a new introduction by Freberg
Original and re-release trailers, and re-release radio spots
PLUS: A booklet featuring an essay by film critic Lou Lumenick
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