The Brontosaurus crashes a poker game in this restored shot, which future animator Ray Harryhausen cites as a personal favorite.
There is a new introductory closeup of Major
Hibbard, and a new animation shot of the Bron­ tosaurus struggling in the tarn. The sequence concludes with a fresh bit of
dialogue from Hibbard (“ If we once could get our raft as far as the Amazon, you could charter a steamer from there!” ) prior to the concluding fade- out of the forlorn dinosaur.
S e g m e n t S ix begins with the title card, “Later—in London” and continues to the end title. This finale runs 5m 12s in the overly-familiar GT version, 8m 21s in LÜMI (followed by lm 9s of closing credits), and a slightly expanded 9m 32s in IMG (plus lm 4s of closing credits), incorpo­ rating the resolution of Malone’s obligations to the fickle Gladys Hungerford. The entire sequence seems much sharper in quality from the first ex­ terior shot of the London Pavilion. The additions to IMG include: Almost lm has been added to Challenger’s
presentation in the museum auditorium, prior to the Brontosaurus’ escape, including dialogue (“To­ night you will not jeer—for I have brought back a living proof of my statements!” and more), insert
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shots of Austin and Zambo and a proud Mrs. Chal­ lenger in the au­ dience, inserts of Challenger’s aca­ demic rivals sit­ ting and smirking,
and new intro shots of Roxton and Paula sitting together. The Brontosaurus’ climactic rampage now runs
almost lm longer. Additions to this seminal mon­ ster movie sequence are: New insert shots of the panicking crowds pep­
per the action through­ out; a full shot of the Brontosaurus roaring, and a slight extension of its first closeup as it curls its lip in anger; The shots of the full-
size construct tail and the crowd differ, ending with a lone victim col­ lapsing alongside the appendage, unconscious or dying (gone, however, is the prior shot of the tail swiping and tripping hapless pedestrians); and a
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