drunk staggering out of the “Wave Crest” pub, followed by a close-up of his in­ credulous look (IMG: 1:26:45-48). These brief shots interrupt the clear flow of the action (see LCIM1:
1:00:21 -28) in which the dinosaur knocks the top off a gaslight in an effects shot, and two live-ac­ tion shots follow the progress of the fallen fixture as it topples into a subway entrance and shatters on the stairway below. The animation shot of the Brontosaurus
thrashing around by the statuary is also slightly longer (by 12 frames at most), spiced with the long-missing shot in which a full-size mockup of the dinosaur’s foot plunges into the subway station below; An insert shot of the entrance to Tower Bridge
has been added, prior to the animation sequence by “The Blue Posts” building; The dinosaur’s activities alongside “The Blue
Post” building is extended, and now restores a shot which an impressionable, young Ray Harryhausen found so memorable—in which the Brontosaurus thrusts its head in through a win­ dow, interrupting a poker game (1:28:06-09). This amber-tinted insert features two shots: the full- size mock-up of the monster’s head thrust into a full shot of the room as the card-players scatter, and a closeup of one player ducking behind a chair. Also, in this version, there is a full shot added of the Brontosaurus snapping at the flee­ ing mother and child; it is clearly trying to crush them inten­ tionally, until they are rescued by a brave pedestrian armed w ith a p is to l. In LÜMI, the dinosaur’s demolition of the building is enhanced with a flash of orange tint­ ing, which IMG does not emulate. Still missing, and likely to remain so, is Chal­
lenger’s struggle with a machine-gun crew mounted at the entrance of Tower Bridge, as he tries to keep them from firing on his prize specimen.
The concluding Chapter 18 is missing two set­
up shots of the pair of gents who see the exchange between Roxton, Paula, and Malone at the end, and subsequently identify Roxton in the ironic final line of dialogue. The IMG does, however, more than make-up for this minor loss by re­ storing the long-missing sequence in which Malone meets up with his former amour Gladys, meeting her new hus­ band, a fop named Percy Potts (referred to as “Percy Bum- berry” in the screen­ play and MacQueen’s annotations). Malone subsequently turns to Paula and Roxton
fx * !
to wrap up the love triangle subplot (“She didn’t wait for me—she’s married!” ) and leave a desti­ tute, resigned Roxton standing alone. The foot­ age here, in which Roxton shakes hands with Malone, is in poor condition, and improves im­ mediately with the following close-up. Both IMG and GEH incorporate the amusing
final shot of the Brontosaurus swimming past a ship at sea, turning to roar before plung­ ing back into the water. This very fleet­ ing new effects shot (1 :3 3 :4 4 -4 9 ) was slightly enhanced for IMG to conclude the
motion of the dinosaur’s head dropping into the waves. IMG follows this shot with the familiar con­ cluding image of a disappointed Challenger sit­ ting on the bridge, providing a pragmatically incongruous (how can Challenger see the crea­ ture out to sea?), but emotionally gratifying, coda shot. GEH ended with the effects shot, as indi­ cated by the script, though I must say that this archivally-correct, if abrupt, surprise shot proved less satisfying, dramatically, than IMG’s revised approach.
nother aspect of both LÜMI and IMG to
assess is their extras, which nicely complement each other while falling short of being entirely satisfactory—much less definitive—in either showcase. LÜMI boasts a crisp transfer of its respective
(now eclipsed) restoration with a lush stereo mu­ sical score by R. J. Miller, “created completely in the digital domain” according to Miller. As
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