Dear Gary, Read your review of the Criterion HEAVEN CAN WAIT; don't have my copy yet, but there are so many variants as to why a Technicolor print may have problems that it's impossibel to list them all. And all these problems can show up when the film is transferred to DVD. Here are a few: 1) There are no three-strip processing plants left anywhere in the world (the one in China - which was the only one left on the planet by the 1990s - has long since closed), and so most of the three-strip negatives have to be processed in a one-bath process. This can literally get muddy, because the colors can "run". (In the three-strip process, each strip is processed separately, so that the greens are in one processing bath, the magentas are in one processing bath, etc. and then placed one on top of the other and then reprocessed.) It was a tedious process, and there's no way to do it now, so you get a situation where (say) the reds will run onto the other colors, and so the skies will have a brown tinge. (This happened with the "restored" 35mm Scope prints of Godard's CONTEMPT.) 2) The negatives can shrink, show damage, etc. individually. What happens is that there will be (for a reel or so) what looks like "ghosting" because one of the three negatives has shrunk. This happened when Turner did an early restoration on NATIONAL VELVET; more recently, this happened when MCA restored Jacques Tourneur's color Western, CANYON PASSAGE. The alignment just becomes impossible, so that part of the image will always appear "off". The blue section (for example) will suddenly seem misaligned. 3) One of the three negatives sustains damage which cannot be eradicated, and makes the processing difficult. This can make the image seem to be too dark or too light, because the shadings and contrasts are unbalanced. One thing i should say is that 20th Century Fox has had a very problematic relationship to the idea of restoring their films. It's especially a problem because 20th Century Fox has a repository of films (pre-1935) from the various studios which combined to make one studio: Fox, 20th Century Films, Zanuck Productions. And those are (of course) among the most interesting in the entire 20th Century Fox holdings. You have Murnau (SUNRISE, CITY GIRL, FOUR DEVILS), Frank Borzage (SEVENTH HEAVEN, STREET ANGEL, THE RIVER, LUCKY STAR, e tc.), early John Ford (THE IRON HORSE, FOUR SONS, DOCTOR BULL, PILGRIMAGE, etc.), silent Howard Hawks, and so on. It's an incredible archive (you've even got the only Erich von stroheim talkie, WALKING DOWN BROADWAY, though severely cut), but 20th also had a very large investment in its Technicolor movies (1940s on) and then 20th developed alternative color processes (Deluxe was their patented process) in orde to cut costs when they developed Cinemascope. But for decades, it was impossible to get 20th Century Fox to take preservation seriously. And now, it may be too late to save a lot of the movies. The absolute gem-like vibrancy of 20th's Technicolor movies may be lost forever (the colors were such that they would literally pop out on the screen, because they pushed the idea of the three-strip processing to the extreme) and the black-and-white (some of the most vibrant and shimmering of all studio productions, as you can imagine with Murnau as one of the primary directors of the late silent-ealry talkie period) may be forever lost to the dulled acetate prints (as opposed to the vibrancy of the nitarte prints). But i would have no doubt that there must be problems with the 20th Century Fox prints of HEAVEN CAN WAIT.