As a complement to the post below, an interview with Olive’s Frank Tarzi reveals that in most instances regarding their Blu-rays the company created its own masters from film elements. Not relying on whatever HD masters might be available from licensors greatly expands the number of titles that can be released. This is certainly true for the Republic library. Its crown jewel, John Ford’s visually exquisite The Quiet Man (1952), a film that has never had its Technicolor look correctly rendered on home video, is now confirmed as a forthcoming Olive Blu-ray. A 4K scan of the original negative has already been done and work proceeds on the actual mastering. As it turns out, Olive has licensed over a hundred Republic titles. The list includes many important films that cry for proper transfers, such as Sam Wood’s The Devil and Miss Jones (1941), George Stevens’ Penny Serenade (1941), Leo McCarey’s The Bells of St. Mary’s (1945) and Good Sam (1948), Jean Renoir’s Diary of a Chambermaid (1946), Fritz Lang’s Cloak and Dagger (1946), Andre De Toth’s Ramrod (1947), Martin Gabel’s The Lost Moment (1947), Edward Ludwig’s Wake of the Red Witch (1948), Max Ophuls’ Caught (1949), Mark Robson’s Champion (1949) and Home of the Brave (1949), Lewis Milestone’s The Red Pony (1949), Allan Dwan’s Sands of Iwo Jima (1949), Gordon Douglas’ Kiss Tomorrow Goodbye (1950) and Young at Heart (1954), Cy Endfield’s The Sound of Fury (1950), Fred Zinnemann’s The Men (1950), Raoul Walsh’s Distant Drums (1951), Budd Boetticher’s The Bullfighter and the Lady (1951), Joseph Losey’s Stranger on the Prowl (1952), John Ford’s The Sun Shines Bright (1953), John H. Auer’s City That Never Sleeps (1953), Otto Preminger’s The Court-Martial of Billy Mitchell (1955), Samuel Fuller’s China Gate (1957), Hubert Cornfield’s Plunder Road (1957), Sidney Lumet’s Long Day’s Journey Into Night (1962), and a quintet of Cary Grant vehicles: Indiscreet (1958), Operation Petticoat (1959), The Grass Is Greener (1960), That Touch of Mink (1962) and Father Goose (1964).