How a 1992 epic Western revived 70mm filmmaking with a massive, dangerous land rush

How a 1992 epic Western revived 70mm filmmaking with a massive, dangerous land rush
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In short: Directed by Ron Howard, Far and Away was a lavish 1992 romantic drama that attempted to capture the spirit of classic epics. While critics were divided on its script, the production was a technical milestone, becoming the first film in a decade to be shot in 70mm format.

Released by Universal Pictures in May 1992, Far and Away follows Irish immigrants Joseph Donnelly and Shannon Christie as they pursue land in the American West. The film’s centerpiece is the Land Run of 1893, a sequence filmed in Billings, Montana, on a 12,000-acre ranch. To capture the scale of this historical event, the production utilized 800 riders, 900 horses, and 200 wagons on a quarter-mile wide set. The technical ambition was immense, employing nine cameras and the Arriflex 765, which allowed for 100 frames per second to achieve slow-motion effects. Despite the American Humane Society confirming the production met all animal welfare guidelines, the filming of this sequence was hazardous, resulting in four broken bones among the crew and the death of one horse.

The film holds the distinction of being the first production shot in Panavision Super 70, marking a return to 70mm film for the first time since 1982. This visual grandeur was paired with a score by John Williams, blending traditional Irish instrumentation with orchestral arrangements and featuring performances by The Chieftains and Enya. Despite a $60 million budget and high production values, the film received mixed reviews. Critics like Roger Ebert praised the cinematography but found the narrative simplistic, while others, such as Tony Parsons, were far more critical. The film ultimately grossed $137.8 million worldwide, falling short of expectations in the United States and Canada.

The project was deeply personal for Ron Howard, whose own grandfather had participated in the actual 1893 Land Run. Beyond the theatrical release, the film has had an unusual afterlife. In 1995, ABC aired a version extended to 170 minutes by reinstating 35 minutes of deleted scenes, a cut that has never seen an official home media release. While the film remains a polarizing entry in Howard's filmography, its technical commitment to large-format cinematography and its sweeping, old-fashioned aesthetic continue to be points of discussion for film historians and enthusiasts of 1990s cinema.

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