It’s a double‑edged sword. On the one hand a careful restoration can bring back the shadows and highlights that the original print had – you finally see the chiaroscuro in *Citizen Kane* in all its depth instead of a flat, faded image. In color films, the right grading can even pull out the muted reds and blues of early French cinema that the old prints had lost. On the other hand, if the tech team mis‑judges the color balance, the restoration can shift the palette entirely, turning a deliberately desaturated scene into something too bright or too warm. Plus the cleaning process can remove a bit of that grainy texture that was part of the film’s aesthetic. So you get a clearer picture, but you risk changing the original artistic intent. It’s a trade‑off that every collector and restorationist debates endlessly.