UPDATE 2: Hello,
I saw both versions of this movie directed by Douglas Sirk at a little film fest where they ran concurrently until attendees said stop it please.
In filming, Director Douglas Sirk ran two cameras most of the time, with the CinemaScope Camera in the center and the flat camera to its right. Sometimes he just shot the scenes twice, such as the encounter between Attila and the savvy sister of the emperor. Often you can see more of the set, top and bottom, in the flat version.
Oh, big is that there is a sacred/profane dance of Ludmilla Tchirina, the famous ballerina. She is the emperor's sister. She provides the after-dinner entertainment... anyway, it's cut from the CinemaScope version we were watching.
Also, kind of big, the CinemaScope lens couldn't record the three strip technicolor, so the flat version is the version that is actually shot in Technicolor. The CinemaScope version is, what, Eastman color?
Anyway, the CinemaScope version was meant to be the premium version of the movie... perhaps it is. I liked the flat version.
UPDATE ONE: Hello. After all these years remembering a Castle Films condensed version, I suddenly saw a fairly complete 16mm (3600') IB technicolor print of this movie. This move is directed by Douglas Sirk and stars Jack Palance as Attila, the Hun who will listen to everyone. One might question whether the title of the movie (another "sign of" is the "Sign of the Cross...") indicates some degree of humor; however, as Mr. Palance exhibits his unique range of facial expressions, one can never question his sincerity.
The best that Douglas Sirk can offer Mr. Palance is to surround him in the full spectrum of color. There is a chemical three-strip color process used herein that makes every shot breathtaking. There is some question about whether Universal could provide Mr. Sirk with the budget needed for a Roman Empire battle movie
All Mr. Sirk needed was the technicolor film and a bonfire.
(ADDED NOTE: the end looks like a b-western shoot-out as the Huns have changed their mind about attacking the walled city of the Holy Roman Empire... so they get ambushed and slaughtered by the Romans while passing through a cardboard town. At least the studio provided a staircase for them to climb during the last scene.)
Other odd casting includes a ballerina dancing as part of the entertainment provided at the Byzantium dinner for the Huns. It's a pleasure to see her take over as Emperor (Ludmilla Tcherina). It is interesting to note the overall power of women in this movie. They perform all the necessary actions.
After appearing in this movie, Attila's trophy wife (former model Allison Hayes) can also be seen, larger than life, in Attack of the 50' Woman.
Here is my original review: There were no credits on the 200 foot role of silent 8mm black and white film. The box said, Attila the Barbarian, and the man featured surely looked like a young Jack Palance. IMDb has just provided the identity of the film. The cutest of the scenes features a pope-like figure arriving at the army camp the night before the attack. He is standing in a gondola floating across a still misty lake, warning us, "He who lives by the sword shall perish by the sword."
I saw both versions of this movie directed by Douglas Sirk at a little film fest where they ran concurrently until attendees said stop it please.
In filming, Director Douglas Sirk ran two cameras most of the time, with the CinemaScope Camera in the center and the flat camera to its right. Sometimes he just shot the scenes twice, such as the encounter between Attila and the savvy sister of the emperor. Often you can see more of the set, top and bottom, in the flat version.
Oh, big is that there is a sacred/profane dance of Ludmilla Tchirina, the famous ballerina. She is the emperor's sister. She provides the after-dinner entertainment... anyway, it's cut from the CinemaScope version we were watching.
Also, kind of big, the CinemaScope lens couldn't record the three strip technicolor, so the flat version is the version that is actually shot in Technicolor. The CinemaScope version is, what, Eastman color?
Anyway, the CinemaScope version was meant to be the premium version of the movie... perhaps it is. I liked the flat version.
UPDATE ONE: Hello. After all these years remembering a Castle Films condensed version, I suddenly saw a fairly complete 16mm (3600') IB technicolor print of this movie. This move is directed by Douglas Sirk and stars Jack Palance as Attila, the Hun who will listen to everyone. One might question whether the title of the movie (another "sign of" is the "Sign of the Cross...") indicates some degree of humor; however, as Mr. Palance exhibits his unique range of facial expressions, one can never question his sincerity.
The best that Douglas Sirk can offer Mr. Palance is to surround him in the full spectrum of color. There is a chemical three-strip color process used herein that makes every shot breathtaking. There is some question about whether Universal could provide Mr. Sirk with the budget needed for a Roman Empire battle movie
All Mr. Sirk needed was the technicolor film and a bonfire.
(ADDED NOTE: the end looks like a b-western shoot-out as the Huns have changed their mind about attacking the walled city of the Holy Roman Empire... so they get ambushed and slaughtered by the Romans while passing through a cardboard town. At least the studio provided a staircase for them to climb during the last scene.)
Other odd casting includes a ballerina dancing as part of the entertainment provided at the Byzantium dinner for the Huns. It's a pleasure to see her take over as Emperor (Ludmilla Tcherina). It is interesting to note the overall power of women in this movie. They perform all the necessary actions.
After appearing in this movie, Attila's trophy wife (former model Allison Hayes) can also be seen, larger than life, in Attack of the 50' Woman.
Here is my original review: There were no credits on the 200 foot role of silent 8mm black and white film. The box said, Attila the Barbarian, and the man featured surely looked like a young Jack Palance. IMDb has just provided the identity of the film. The cutest of the scenes features a pope-like figure arriving at the army camp the night before the attack. He is standing in a gondola floating across a still misty lake, warning us, "He who lives by the sword shall perish by the sword."