Dance Craze

[MichaelB]

Full specs announced:

DANCE CRAZE
A film by Joe Massot

Blu-ray/DVD release on 27 March 2023 with remastered soundtrack LP/CD released by Chrysalis Records on 24 March

See a clip here

The DANCE CRAZE film, shot throughout 1980 and released in cinemas in 1981, brilliantly captures the cultural phenomenon that was the 2Tone movement and represents an important social document of the times. Directed by Joe Massot (The Song Remains the Same) and filmed by Bafta award-winning cinematographer Joe Dunton, it showcases the very best of the British Ska phenomenon, with exclusive live performances from The Specials, Madness, The Selecter, The Beat, Bad Manners and The Bodysnatchers.

Newly remastered in 4K from original film materials, DANCE CRAZE is presented here by the BFI and Chrysalis Records on Blu-ray and DVD (Dual Format Edition) for the first time, more than 40 years on from its theatrical release.

Special features include a rare episode of the BBC series Arena exploring the rise of 2Tone and a selection of rare clips from the film, many previously unseen. Alongside the Blu-ray/DVD release, Chrysalis Records are releasing the soundtrack in a remastered audio 3LP and 3CD set on 24 March.

DANCE CRAZE premieres at the Glasgow Film Festival on Thursday 9 March and will be screened at BFI IMAX, the biggest screen in Britain – 65 foot high with a 12-channel sound system – on Wednesday 22 March. The already sold out BFI IMAX screening will be introduced by members of the bands featured. 30 x Picturehouse cinemas are holding a special one-off screening on 23 March.

Special features
• Newly remastered from original 70mm materials and approved by cinematographer Joe Dunton
• Rudies Come Back (1980, 34 mins): in this episode of the long-running BBC series Arena, music journalist Adrian Thrills explores the rise of 2Tone. Featuring interviews with The Specials and The Selecter
• Outtakes (1980, 17 mins): a selection of rare clips, many previously unseen, featuring the bands from the film
• Restoration demo (2022, 2 mins): a before-and-after look at the restoration of Dance Craze
• Original stereo and surround sound mixes by Clive Langer and Alan Winstanley remastered for this release, plus a new Dolby Atmos surround sound mix approved by Jerry Dammers
• ***First pressing only*** illustrated booklet with a new essay by Johnny Mains, the original 1981 press release and original 1981 band biographies, credits and notes on the special features

Product details
RRP: £19.99 / Cat. no. BFIB1471 / 12
UK / 1981 / colour / 88 minutes / English language, with optional subtitles for the Deaf and partial hearing / original aspect ratio 1.66:1 // BD50: 1080p, 24fps, Dolby Atmos, 5.1 DTS-HD Master Audio, PCM 2.0 stereo audio / DVD9: PAL, 25fps, DTS 5.1 surround audio (48kHz/16-bit), Dolby Digital 2.0 stereo audio

[hearthesilence]

Great news - I rarely hear people mention this film in the U.S. but it's a great snapshot of that era. The Specials and especially the Beat are two of my favorites. (I like Madness as well, but they're not on the same level as those other two.)

[hearthesilence]

• Newly remastered from original 70mm materials and approved by cinematographer Joe Dunton

This must be a mistake, but was it shot in 16 or 35?

[GaryC]

• Newly remastered from original 70mm materials and approved by cinematographer Joe Dunton

This must be a mistake, but was it shot in 16 or 35?

It was shot in Super 35, one of the first films to use that process, if not the very first. As per the booklet, the BFI's release has been "scanned and remastered at 4K resolution using the only surviving 70mm print, held in the personal collection of Joe Dunton".

Odd that the certificate is now a 12 ("infrequent strong language, moderate sex references") as it was a U on its cinema release, though there's now no way of telling on the BBFC website if that version was cut or not.

[MichaelB]

It was blown up to 70mm because at the time that was the best way of achieving true multichannel sound in a widely compatible format, as opposed to the comparative fudge of Dolby Stereo.

And no, it's not a mistake - "original 70mm materials" were indeed used as the basis of the restoration. Presumably Joe Dunton felt that his personal copy was the best-quality source for a film that's had a rather chequered release history (and was famously/notoriously unavailable legally anywhere for decades).

[Farley Flavors]

As per the booklet, the BFI's release has been "scanned and remastered at 4K resolution using the only surviving 70mm print, held in the personal collection of Joe Dunton".

Not just "only surviving". According to Joe Dunton only one 70mm print was ever produced.

[hearthesilence]

Wow, I stand corrected, and thank you for explaining why they would print it in 70mm.

[beamish14]

I can’t imagine that a 70mm print struck in 1980 has much color left (it was probably struck in a Rank lab and made with Fuji film or something of the like that goes maude/purple quickly), but retaining it for the sound design is fantastic

[hearthesilence]

If the OCN was still around and in excellent shape, would it make sense to transfer both and pair the soundtrack on the 70mm print with the OCN's transfer?

[MichaelB]

If the OCN was still around and in excellent shape, would it make sense to transfer both and pair the soundtrack on the 70mm print with the OCN's transfer?

It would, but it’s pretty safe bet that this wasn’t an option.

[Farley Flavors]

I can’t imagine that a 70mm print struck in 1980 has much color left (it was probably struck in a Rank lab and made with Fuji film or something of the like that goes maude/purple quickly), but retaining it for the sound design is fantastic

I saw the print about ten years ago and it still had plenty of color with just a hint of pinkness. It could well have deteriorated further in the meantime of course.

[GaryC]

If the OCN was still around and in excellent shape, would it make sense to transfer both and pair the soundtrack on the 70mm print with the OCN's transfer?

I've just received a review checkdisc, and the restoration featurette says that the OCN no longer exists. There are surviving 35mm prints but in much worse shape than Dunton's 70mm print (which the featurette refers to as "rare" rather than "only").

[tenia]

This makes me wonder this general question : how would fare a 70mm blowup of a 35mm OCN as an element for a restoration vs the 35mm OCN itself ? Using a 35mm intermediate element from a 35mm OCN yields a slightly thicker visual aspect, but I wonder if the fact this is blownup to 70mm would offset using what remains a copy.

[Farley Flavors]

I've just received a review checkdisc, and the restoration featurette says that the OCN no longer exists. There are surviving 35mm prints but in much worse shape than Dunton's 70mm print (which the featurette refers to as "rare" rather than "only").

My bad, I was misremembering what Dunton actually said at the screening I attended in Bradford back in 2011.

Here's a transcript of the interview, which features some interesting technical details.

[MichaelB]

New trailer.

[hearthesilence]

New trailer.

Holy shit that looks awesome. I only wish it was playing in a theater here in the U.S.

[MichaelB]

I think this has real potential to be a substantial hit for the BFI, which of course is great news regarding their ability to tackle riskier projects.

[hearthesilence]

Looks like the BFI IMAX + Q&A screening sold out. FWIW The Beat (or Dave Wakeling’s current touring group) is touring now and playing in NYC on the 31st.

[ryannichols7]

I think this has real potential to be a substantial hit for the BFI, which of course is great news regarding their ability to tackle riskier projects.

Ben would seem to agree...

**Dance Craze Update** Due to big demand, we've increased the initial run of this release to 7,000 units. This will all come with a booklet and slipcase and it seriously isn't going to last very long. Later pressings will include a booklet but only the first run will have a slipcase.

gonna have to snag a copy for sure

[MichaelB]

The BFI's Doug Weir on the film's restoration.

One detail of which I wasn't previously aware is that although the original Super 35 negative is gone, the original audio master audiotapes had been preserved by Chrysalis Records, hence the viability of a new Dolby Atmos mix.