As the original Eastman color negative was faded, the lab used a fade process to restore the color as best as possible. The audio was restored from the original 4-track LCRS stereo magnetic tracks. Picture restoration by laboratory Cineric, Inc., NY; Audio restoration by Chace Productions, Burbank

For My Sister Eileen, Quine included the twenty-eight-year-old Bob Fosse in his team, and it was Fosse who created the original and highly entertaining choreography that marked his debut in the world of cinema. On watching this film again, what stands out most of all is the trouble that Quine took to avoid the quagmires that so many other comedy musicals have fallen into. Here, the shifts from song to dialogue and walking to dancing flow so smoothly, they are almost imperceptible and the way comedy musical conventions are introduced to a contemporary New York setting, distanced by the film’s humour, is done with an enviable grace. The ability with which Quine plays with the conflict between the panoramic CinemaScope screen and the small space in which the action takes place is also remarkable; the wet ground lit by only a passing subway train is a good example of this. An intimist musical if ever there was one, My Sister Eileen courageously renewed the genre at the very moment when it was beginning to die out. The film was also Quine’s first chance to officially direct Jack Lemmon, who we can enjoy here in one of his rare singing performances.
Jean-Pierre Berthomé, in “Positif”, 347, 1990