was Othello (1965), which was essentially a filmed visual record of the Laurence Olivier 1964 London stage production, shot in a movie studio, but on enlarged stage settings. The nearly three-hour color film, made in Panavision and shown in 35MM and mono sound in many areas, was shown in 70MM and six-track stereophonic sound in exactly one engagement - in London in 1966, Being a film that lay somewhere between a photographed play and a true motion picture, the film did not make sufficient use of the spectacular vistas that 1960s widescreen epics usually boasted. In addition, while it had no overture, entr'acte music, or exit music, it was still shown on a two-performance-a-day basis with an intermission, as nearly all roadshow releases were. However, it was shown in U.S. cinemas for an extremely limited release: only two days, in contrast to the customary and lengthy months-long engagements enjoyed by most roadshow films. The same was true of the Richard Burton Hamlet, which was presented in the same type of extremely limited engagement as Othello. Filmed over two days in a black-and-white process called Electronovision, which resembled a 1960s videotaped broadcast, this three hours plus production featured none of the epic features that were a standard of roadshow theatrical release – no impressive scenery, no gorgeous color, no beautiful costumes, or stereophonic sound, only an intermission halfway through the performance. It was not even, strictly speaking, a full-scale film version of the play, but merely a visual recording of a performance of it at the Lunt-Fontanne Theatre, with a live audience. At three hours and eleven minutes, it was then the longest film version of Hamlet. Another exception was Franco Zeffirelli's version of Romeo and Juliet (1968), which, although photographed in beautiful settings and certainly having the look of an epic, was shown in most areas in monaural sound (although its three soundtrack albums were all made in stereo) and was projected at a screen aspect ratio of 1.66:1; that is, roughly the dimensions of today's average movie screen or HDTV screen, not the very wide screens required for films made in Ultra Panavision, CinemaScope, Todd-AO or any of the other widescreen processes invented in the 1950s meant that the film lacked many of the customary roadshow elements of the period. However The Mexican release of the picture, did feature a six-track stereo surround mix and was shown with its