original 1.66:1 aspect ratio matted to a 2.2 in standard 70MM.) Similarly, the first film version of The Lion in Winter (1968), although a roadshow release filmed on location with gorgeous color and beautiful scenery, instead of being released in 70MM and 6-track stereo sound - even though it was shown in Technicolor, it was only from 35MM Panavision (anamorphic) film and mono sound. Only in Australia and in its 1973 London re-release was the picture shown in both 70MM and stereophonic sound. Nicholas and Alexandra (1971), another roadshow release, was also shown in 70mm 6-track only in Europe, while its U.S. release was in regular Panavision with monophonic sound. In addition to the above, The Diary of Anne Frank (1959), Judgment at Nuremberg (1961), The Longest Day (1962) and Is Paris Burning? (1966) were four epics that were made in black and white instead of color. Before then, roadshow epics alternated between getting released in black and white or color. Edited versions and restoration It was common practice for studios to cut some of these epics for general release in order for theaters to book more showings a day and present the film at reduced "popular prices", especially if the film ran longer than two hours. Sometimes this was done to a successful film, such as South Pacific, but more often to one that had been a significant flop, in an effort to make it a success on its second run. As a result, some of these films have not been seen in their entirety since their first release, as the original edited footage is either missing or no longer exists. With the work of film preservationists and restoration, such roadshow flops as A Midsummer Night's Dream (1935), Mourning Becomes Electra (1947), Joan of Arc (1948), A Star Is Born (1954) and Fantasia (1940), along with the films For Whom the Bell Tolls (1943), Spartacus (1960), Lawrence of Arabia (1962), Around the World in 80 Days (1956) and It's a Mad, Mad, Mad, Mad World (1963), all of which had significant footage missing, have been restored in recent years to match the filmmakers' original intent. However, several long films, such as Gone With the Wind and The Ten Commandments, have never been released in edited form, and were nearly always shown on a two performance-a-day basis.In Old Chicago, despite its roadshow presentation running only 110 minutes, was edited down