Tom London
19 Films
Tom London
19 Included Films
From Wikipedia, the free encyclopedia Tom London (August 24, 1889 – December 5, 1963) was an American veteran actor who played frequently in B-Westerns. According to The Guinness Book of Movie Records, London is credited with appearing in the most films in the history of Hollywood, this according to the 2001 book Film Facts, where it states that the performer who played in the most films was "Tom London, who made his first of over 2000 appearances in The Great Train Robbery, 1903. Born Leonard Clapham in Louisville, Kentucky, he got his start in movies as a props man in Chicago, Illinois. His debut was in 1915 in the Western Lone Larry, performing under his own name. In 1925, after having appeared in many silent films, he changed his name to Tom London, and used that name for the rest of his career. The first film in which he was billed under his new name was Winds of Chance, a World War I film, in which he played "Sgt. Rock". London was a trick rider and roper, and used his trick skills in scores of Westerns. In the silent film era he often played villainous roles, while in later years he often appeared as the sidekick to Western stars like Sunset Carson in several films. One of the busiest character actors, he appeared in over 600 films. London made many guest appearances in television shows through the 1950s, such as The Range Rider, with Jock Mahoney and Dick Jones. He also played Sam, the attendant of Helen Ramirez (Katy Jurado) in High Noon. His last movie was Underworld U.S.A. in 1961, and his final roles on TV were in Lawman and The Dakotas. London died at his home in North Hollywood at age 81 and was interred in the Forest Lawn Memorial Park Cemetery in Glendale, California.
Directors: John G. Blystone & Buster Keaton
2019 Kino Lorber Blu-ray
2019 Kino Lorber > MoC/Cohen > 2011 Kino Lorber
Directors: John G. Blystone & Buster Keaton
2019 Kino Lorber Blu-ray
2019 Kino Lorber > MoC/Cohen > 2011 Kino Lorber
Director: William Wyler
Director: William Wyler
Directors: Albert H. Kelley & Robert Ober & Paul Bern
Directors: Albert H. Kelley & Robert Ober & Paul Bern
Director: Frank Capra
Sony Frank Capra Boxset 4K Blu-ray
Sony Frank Capra Boxset 4K Blu-ray
Director: Frank Capra
Sony Frank Capra Boxset 4K Blu-ray
Sony Frank Capra Boxset 4K Blu-ray
Director: George W. Hill
Director: George W. Hill
Director: Rowland Brown
Director: Rowland Brown
Warner Archive Blu-ray, 4k scan
Warner Archive Blu-ray, 4k scan
Warner Archive Blu-ray, 4k scan
Warner Archive Blu-ray, 4k scan
Director: Albert Ray
Director: Albert Ray
Director: Wesley Ruggles
Indicator Blu-ray minimally better than Kino Lorber Blu-ray http://www.dvdbeaver.com/film10/blu-ray_review_158/mae_west_in_hollywood_1932-1943_blu-ray.htm
Director: Wesley Ruggles
Indicator Blu-ray minimally better than Kino Lorber Blu-ray http://www.dvdbeaver.com/film10/blu-ray_review_158/mae_west_in_hollywood_1932-1943_blu-ray.htm
Director: Frank Capra
Director: Frank Capra
Director: George Stevens
Director: George Stevens
Director: Jack Conway
Director: Jack Conway
Director: King Vidor
Director: King Vidor
Director: Fred Zinnemann
MoC 4K Blu-ray, both Kino Lorber and Germany Filmjuwelen 4K Blu-ray have poor encode.
See nicolas review on Eureka Blu-ray. It seems the 4K restoration on that disc and the Olive Films Signature US release served as the basis for the HDR master Kino Lorber commissioned. There are the same traces of grain management in the opticals and the small number of shots from a lower quality source that were spliced in between the OCN footage. The SDR grayscale looks great though and after having compared everything, I would’ve preferred a 4K SDR release. The Eureka Blu-ray release wasn’t encoded by FiM and it shows. For those with the Blu-ray and an appreciation for optimal encoding, consider an upgrade.
Kino Lorber 4K Blu-ray: It seems that Kino Lorber commissioned the HDR/DV grade and some additional cosmetic work on the master. They used to mention "… brand new master by studio X" on their back covers when they were supplied with ready-made materials. This isn’t the case here but maybe someone’s in the know and things are different. The HDR grade is darker than the SDR one and flattened the grayscale quite significantly. I mentioned this in the Sabrina and Sunset Boulevard thread as well but I’m not really a fan of these grades and doubt that they’re enhancing the grayscales to make them appear more film-like. I’ve seen worse and it’s not the end of the world when the film is viewed in a dark environment but don’t expect anything as luminous and sparkly as The Big Heat. Kino Lorber’s encoding can be seen here via ko8ebryant’s caps.
Eureka 4K Blu-ray (BD-100): Same 4K master and same HDR grade as on the Kino Lorber 4K but now expertly encoded. Thanks to no compression anomalies standing in the way, we can now scrutinize the master much better. In comparison with the SDR master, I noticed that there are opticals that got hit with further noise reduction and sometimes egregiously so, such as in the scene with Grace Kelly at the train station at roughly 18 minutes into the film. Parts of that scene were sourced from a lower-quality source. In the HDR master, grain was practically erased altogether whereas in the 4K SDR master on the Eureka Blu-ray, grain is visible in the same shot despite the iffy encoding.
I’d still recommend the Eureka 4K Blu-ray as the OCN shots and scenes are frequently gorgeous, beautifully detailed and at most only minimally tampered with. The imperfect HDR grade bugs me but I’ll still use Eureka’s 4K Blu-ray for my future viewings due to the FiM encode.
Eureka 4K UHD image is frequently stunning and far better than the Kino UHD using the same master. (no surprise) However there is frozen grain throughout baked into the Paramount master, some shots are soft due to management (some are inherently soft) and the HDR is questionable in areas. In some areas the old Eureka BD using the same scan in SDR is preferable. As usual, the issues are Paramount's doing and the only way to escape them would be starting from scratch.
1992 Republic LaserDisc
Kino and Eureka UHDs have a mix of new and legacy extras. To have every supplement you will need both UHDs and the original Criterion Laserdisc for the exclusive commentary.
Director: Fred Zinnemann
MoC 4K Blu-ray, both Kino Lorber and Germany Filmjuwelen 4K Blu-ray have poor encode.
See nicolas review on Eureka Blu-ray. It seems the 4K restoration on that disc and the Olive Films Signature US release served as the basis for the HDR master Kino Lorber commissioned. There are the same traces of grain management in the opticals and the small number of shots from a lower quality source that were spliced in between the OCN footage. The SDR grayscale looks great though and after having compared everything, I would’ve preferred a 4K SDR release. The Eureka Blu-ray release wasn’t encoded by FiM and it shows. For those with the Blu-ray and an appreciation for optimal encoding, consider an upgrade.
Kino Lorber 4K Blu-ray: It seems that Kino Lorber commissioned the HDR/DV grade and some additional cosmetic work on the master. They used to mention "… brand new master by studio X" on their back covers when they were supplied with ready-made materials. This isn’t the case here but maybe someone’s in the know and things are different. The HDR grade is darker than the SDR one and flattened the grayscale quite significantly. I mentioned this in the Sabrina and Sunset Boulevard thread as well but I’m not really a fan of these grades and doubt that they’re enhancing the grayscales to make them appear more film-like. I’ve seen worse and it’s not the end of the world when the film is viewed in a dark environment but don’t expect anything as luminous and sparkly as The Big Heat. Kino Lorber’s encoding can be seen here via ko8ebryant’s caps.
Eureka 4K Blu-ray (BD-100): Same 4K master and same HDR grade as on the Kino Lorber 4K but now expertly encoded. Thanks to no compression anomalies standing in the way, we can now scrutinize the master much better. In comparison with the SDR master, I noticed that there are opticals that got hit with further noise reduction and sometimes egregiously so, such as in the scene with Grace Kelly at the train station at roughly 18 minutes into the film. Parts of that scene were sourced from a lower-quality source. In the HDR master, grain was practically erased altogether whereas in the 4K SDR master on the Eureka Blu-ray, grain is visible in the same shot despite the iffy encoding.
I’d still recommend the Eureka 4K Blu-ray as the OCN shots and scenes are frequently gorgeous, beautifully detailed and at most only minimally tampered with. The imperfect HDR grade bugs me but I’ll still use Eureka’s 4K Blu-ray for my future viewings due to the FiM encode.
Eureka 4K UHD image is frequently stunning and far better than the Kino UHD using the same master. (no surprise) However there is frozen grain throughout baked into the Paramount master, some shots are soft due to management (some are inherently soft) and the HDR is questionable in areas. In some areas the old Eureka BD using the same scan in SDR is preferable. As usual, the issues are Paramount's doing and the only way to escape them would be starting from scratch.
1992 Republic LaserDisc
Kino and Eureka UHDs have a mix of new and legacy extras. To have every supplement you will need both UHDs and the original Criterion Laserdisc for the exclusive commentary.
Director: Fritz Lang
Director: Fritz Lang
Director: William Wyler
Director: William Wyler
19 films