Some of the other technology that Kodak has applied only to T-grain
films, however, doesn't depend on the grain form -- the sensitizing or
restraining dyes that alter the color response and make T-Max films
separate clouds from sky without a filter (something Tri-X doesn't do
well and Verichrome Pan did rather poorly), for instance.  Applying
those techniques to a modern cubical grain film will give it some of the
 characteristics of T-Max (color response, no shoulder, etc.), but
trade off slightly higher silver content against less costly production
(ripening processes that were well established and fairly well
understood 80 years ago instead of 1980s technology for guiding grain
formation).  The silver price crisis that prompted T-grain films
originally no longer exists as such, and the cost of silver in film is a
tiny fraction of the final price in any case.

Mind you, this is hearsay on my part; I've never even handled Lucky
film.  But next time I have money to buy film, I plan to order ten or
more rolls of the Pro 100 from J&C, along with a similar quantity of
their Classic 400 -- considering I can shoot a roll of Pro 100 *and* one
of Classic 400 for less than the cost of a fresh roll of either TMY or
400TX (at least in 120), I'd be an idiot not to order enough to get a
discount.

I should check if they can still special order 320TXP in 9x12 cm via
Fotoimpex, and at what minimum quantity, while I'm at it; what I have on
hand will probably last me a year, but who knows how much longer I'll be
able to get it, if it's even still available.  Just think -- develop
that stuff in Diafine and you have EI 800-1000 in a 1920s vintage plate
camera, which makes hand holding in the "press photog" style a lot more
practical (direct sun exposure f/32 @ 1/200, nicely within the range of
my Tessar and Compur).  Just remember, unexposed holders in the left
pocket, exposed in the right.  :)