81-716: Brave Warrior is a 1952 Technicolor American Western film, directed by Spencer Gordon Bennet . It stars Jon Hall and Christine Larsen. The story is based on events during the War of 1812 and the Battle of Tippecanoe , but contains historical inaccuracies, mainly in that Tecumseh is depicted as siding with the Americans and not the British. In the Indiana Territory of the early 19th century, conflict arises between
162-524: A Radio Picture entitled The Runaround (1931). The new process not only improved the color but also removed specks (that looked like bugs) from the screen, which had previously blurred outlines and lowered visibility. This new improvement along with a reduction in cost (from 8.85 cents to 7 cents per foot) led to a new color revival. Warner Bros. took the lead once again by producing three features (out of an announced plan for six features): Manhattan Parade (1932), Doctor X (1932) and Mystery of
243-424: A beam splitter consisting of a partially reflecting surface inside a split-cube prism , color filters , and three separate rolls of black-and-white film (hence the "three-strip" designation). The beam splitter allowed one-third of the light coming through the camera lens to pass through the reflector and a green filter and form an image on one of the strips, which therefore recorded only the green-dominated third of
324-477: A mordant solution and then brought into contact with each of the three dye-loaded matrix films in turn, building up the complete color image. Each dye was absorbed, or imbibed, by the gelatin coating on the receiving strip rather than simply deposited onto its surface, hence the term "dye imbibition". Strictly speaking, this is a mechanical printing process most closely related to Woodburytype and very loosely comparable to offset printing or lithography , and not
405-405: A Millionaire (1953), were even bigger successes. Ray and Polly Cutler, a couple on a delayed honeymoon , arrive at Niagara Falls . Ray goes to call his boss, Mr. Kettering, whom he expected to find waiting for him. However, it appears that Mr. Kettering and his wife have not arrived yet. Meanwhile, Polly finds their reserved cabin occupied by another couple, George and Rose Loomis. When Mr. Qua,
486-404: A Technicolor cartoon sequence "Hot Choc-late Soldiers" produced by Walt Disney. On July 28 of that year, Warner Bros. released Service with a Smile , followed by Good Morning, Eve! on September 22, both being comedy short films starring Leon Errol and filmed in three-strip Technicolor. Pioneer Pictures , a movie company formed by Technicolor investors, produced the film usually credited as
567-546: A black-and-white picture again." Although Disney's first 60 or so Technicolor cartoons used the three-strip camera, an improved "successive exposure" ("SE") process was adopted c. 1937 . This variation of the three-strip process was designed primarily for cartoon work: the camera would contain one strip of black-and-white negative film, and each animation cel would be photographed three times, on three sequential frames, behind alternating red, green, and blue filters (the so-called "Technicolor Color Wheel", then an option of
648-450: A green filter and one behind a red filter. The difference was that the two-component negative was now used to produce a subtractive color print. Because the colors were physically present in the print, no special projection equipment was required and the correct registration of the two images did not depend on the skill of the projectionist. The frames exposed behind the green filter were printed on one strip of black-and-white film, and
729-453: A mystery story, with a real murder in it." Reisch said he came up with the story but wrote the script with Richard Breen and Brackett. Head of Fox Darryl F. Zanuck wanted to cast Monroe in the film. According to Reisch, "we thought that was a nice idea, until there came a second telephone call that he wanted her to be the villainess, not the girl... My God! Here was the prettiest girl in the whole United States of America! But he insisted it
810-445: A photographic one, as the actual printing does not involve a chemical change caused by exposure to light. During the early years of the process, the receiver film was preprinted with a 50% black-and-white image derived from the green strip, the so-called Key, or K, record. This procedure was used largely to cover up fine edges in the picture where colors would mix unrealistically (also known as fringing ). This additional black increased
891-601: A possible shot-in-the-arm for the ailing industry. In November 1933, Technicolor's Herbert Kalmus and RKO announced plans to produce three-strip Technicolor films in 1934, beginning with Ann Harding starring in a projected film The World Outside . Live-action use of three-strip Technicolor was first seen in a musical number of the Metro-Goldwyn-Mayer feature The Cat and the Fiddle , released February 16, 1934. On July 1, MGM released Hollywood Party with
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#1732800894182972-497: A reviewer at Variety wrote, " Niagara is a morbid, clichéd expedition into lust and murder. The atmosphere throughout is strained and taxes the nerves with a feeling of impending disaster. Focal point of all this is Marilyn Monroe, who's vacationing at the Falls with hubby Joseph Cotten.... The camera lingers on Monroe's sensuous lips, roves over her slip-clad figure and accurately etches the outlines of her derrière as she weaves down
1053-515: A street to a rendezvous with her lover. As a contrast to the beauty of the female form is another kind of nature's beauty—that of the Falls. The natural phenomena have been magnificently photographed on location." Later critics have also praised the film. In 2001, Robert Weston wrote, " Niagara is a good movie for noir fans who crave something a little different. Be warned, the film was shot in glorious Technicolor, not black and white, but still boasts an ample share of shadows and style.... Undoubtedly,
1134-750: A synchronized score and sound effects. Redskin (1929), with a synchronized score, and The Mysterious Island (1929), a part-talkie, were photographed almost entirely in this process also but included some sequences in black and white. The following talkies were made entirely – or almost entirely – in Technicolor Process 3: On with the Show! (1929) (the first all-talking color feature), Gold Diggers of Broadway (1929), The Show of Shows (1929), Sally (1929), The Vagabond King (1930), Follow Thru (1930), Golden Dawn (1930), Hold Everything (1930), The Rogue Song (1930), Song of
1215-640: A trash man unlocks the door, George flees the tower and heads for the Falls. The Cutlers go fishing with the Ketterings in a launch on a section of the Niagara River above the Falls. When the speedboat moors in Chippawa for gasoline and other supplies, George steals it to try and cross the Canada–United States border, but Polly returns to the boat before he can depart. Seeing George's hat on
1296-441: Is horrified. After the boatman reports the stolen boat, the police set out in pursuit. However, the boat runs out of gas and drifts towards the Falls. The police are unable to help as the boat is too close to the edge. As they near the edge, George scuttles the boat to try and ground it, to no avail. However, this slows it down enough for him to get Polly onto a large rock before he goes over the Falls to his death. A devastated Polly
1377-594: Is rescued from the rock by a U.S. Coast Guard helicopter. She and Ray are reunited and leave the Falls together. Walter Reisch said producer Charles Brackett wanted to make a film set around Niagara Falls and Reisch suggested it be a murder mystery . Reisch said, "Anybody hearing the name Niagara thinks of honeymoon couples and of some sentimental story of a girl walking out on her husband on their wedding night and their getting together again. It would be foolish to start up with Sonja Henie tricks here or Esther Williams -type swimming extravaganzas. I would like to make it
1458-530: Is that of sex and its destructiveness. Rose is a femme fatale , seductively dressed in tight clothes revealing her sensual figure. Her relationship (combining the sexual, hypocritical, and scornful) with George is contrasted with the more normal relationship of the Cutlers, which also has sexual elements hinted at by the film. Ray Cutler does not fail to notice Rose's sexual charms, but his and Polly's reactions to their interactions with George and Rose demonstrate
1539-466: Is younger and seductively attractive. He is jealous, depressed and irritable. While touring the Falls the following day, Polly sees Rose passionately kissing another man, her lover Ted Patrick. That evening, Rose joins an impromptu outdoor party and requests that a record of her favorite song, "Kiss", be played. George storms out of their cabin and breaks the record, suspecting the song has a secret meaning for Rose. Seeing that George has cut his hand with
1620-481: The Rainbow Tower Carillon play "Kiss." When she hears the song being played on the carillon bells, Rose assumes that George is dead. However, it is George who has killed Ted, thrown his body into the Falls, and collected Ted's shoes at the exit instead of his own. This leads the police to believe that George is the victim. The body is retrieved and the police bring Rose to identify George's body. When
1701-404: The spectrum . The other two-thirds was reflected sideways by the mirror and passed through a magenta filter, which absorbed green light and allowed only the red and blue thirds of the spectrum to pass. Behind this filter were the other two strips of film, their emulsions pressed into contact face to face. The front film was a red-blind orthochromatic type that recorded only the blue light. On
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#17328008941821782-518: The Acme, Producers Service and Photo-Sonics animation cameras). Three separate dye transfer printing matrices would be created from the red, green, and blue records in their respective complementary colors, cyan, magenta and yellow. Successive exposure was also employed in Disney's "True Life Adventure" live-action series, wherein the original 16mm low-contrast Kodachrome Commercial live action footage
1863-502: The Bell Tolls : Niagara (1953 film) Niagara is a 1953 American noir thriller film directed by Henry Hathaway , produced by Charles Brackett , and written by Brackett, Richard L. Breen and Walter Reisch. The film stars Marilyn Monroe , Joseph Cotten , Jean Peters , and Max Showalter (credited as Casey Adams). It was one of 20th Century Fox 's biggest box-office hits that year. Unlike other films noir of
1944-476: The British. Tecumseh, who grew up as a childhood playmate of Steve and of Laura McGregor, loves Steve as a brother and hopes to marry Laura. But Laura is in love with Steve. Laura's father, Shayne McGregor, secretly leads local support for the British against the Americans, even though it risks the life and love of his daughter. Everything comes to a head at the Battle of Tippecanoe. Agoura Ranch, Agoura, California
2025-859: The Eastmancolor negative (Process 5). Process 4 was the second major color process, after Britain's Kinemacolor (used between 1909 and 1915), and the most widely used color process in Hollywood during the Golden Age of Hollywood . Technicolor's three-color process became known and celebrated for its highly saturated color, and was initially most commonly used for filming musicals such as The Wizard of Oz (1939), Down Argentine Way (1940), and Meet Me in St. Louis (1944), costume pictures such as The Adventures of Robin Hood (1938) and Gone with
2106-421: The Falls, George finds Polly alone for a moment. Trying to escape, she slips, but he saves her from falling over the edge into the waterfall torrent. He explains to her that he killed Ted in self-defense and begs her to "let me stay dead." Polly leaves without answering. Later that day, she tells the police detective that she believes George is alive. George has the carillon play "Kiss" again to panic Rose, who flees
2187-759: The Flame (1930), Song of the West (1930), The Life of the Party (1930), Sweet Kitty Bellairs (1930), Bride of the Regiment (1930), Mamba (1930), Whoopee! (1930), King of Jazz (1930), Under a Texas Moon (1930), Bright Lights (1930), Viennese Nights (1930), Woman Hungry (1931), Kiss Me Again (1931) and Fifty Million Frenchmen (1931). In addition, many feature films were released with Technicolor sequences. Numerous short subjects were also photographed in Technicolor Process 3, including
2268-484: The Niagara Falls are bisected by the border . . . and we should have used Americans. And [director Henry] Hathaway, who didn't like the idea either, sided with him. So there are big holes in the story." Henry Hathaway said the film would have been better had his original choice James Mason played the lead male role. He says Mason was going to play the role but his daughter was sick of seeing him die in movies so
2349-593: The United States and Great Britain over territory and boundaries. Each side endeavors to gain the support of the Shawnee Indian tribes in the area. Governor William Henry Harrison enlists the aid of Steve Ruddell, whose friendship with the Shawnee chief Tecumseh goes back to childhood. Tecumseh's leadership of the Shawnee is contested by his brother Tenskwatawa , known as The Prophet, who sides with
2430-515: The Wasteland , was released in 1924. Process 2 was also used for color sequences in such major motion pictures as The Ten Commandments (1923), The Phantom of the Opera (1925), and Ben-Hur (1925). Douglas Fairbanks ' The Black Pirate (1926) was the third all-color Process 2 feature. Although successful commercially, Process 2 was plagued with technical problems. Because the images on
2511-487: The Wax Museum (1933). Radio Pictures followed by announcing plans to make four more features in the new process. Only one of these, Fanny Foley Herself (1931), was actually produced. Although Paramount Pictures announced plans to make eight features and Metro-Goldwyn-Mayer promised two color features, these never materialized. This may have been the result of the lukewarm reception to these new color pictures by
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2592-631: The Wind (1939), the film Blue Lagoon (1949), and animated films such as Snow White and the Seven Dwarfs (1937), Gulliver's Travels (1939), Pinocchio (1940), and Fantasia (1940). As the technology matured, it was also used for less spectacular dramas and comedies. Occasionally, even a film noir – such as Leave Her to Heaven (1945) or Niagara (1953) – was filmed in Technicolor. The "Tech" in
2673-401: The actor turned the role down. "Cotten's a good actor but doesn't have the smouldering edge that Mason has; he's a little flat," said Hathaway. "Kiss" was composed by Lionel Newman , with lyrics by Haven Gillespie —both of whom are uncredited—and performed by Monroe. Upon the film's release, A. W. of The New York Times praised the film, if not the acting, writing, "Obviously ignoring
2754-544: The additive Kinemacolor and Chronochrome processes, Technicolor prints did not require any special projection equipment. Unlike the additive Dufaycolor process, the projected image was not dimmed by a light-absorbing and obtrusive mosaic color filter layer. Very importantly, compared to competing subtractive systems, Technicolor offered the best balance between high image quality and speed of printing. The Technicolor Process 4 camera, manufactured to Technicolor's detailed specifications by Mitchell Camera Corporation, contained
2835-460: The areas corresponding to the clearest, least-exposed areas of the negative. To make each final color print, the matrix films were soaked in dye baths of colors nominally complementary to those of the camera filters: the strip made from red-filtered frames was dyed cyan-green and the strip made from green-filtered frames was dyed orange-red. The thicker the gelatin in each area of a frame, the more dye it absorbed. Subtle scene-to-scene colour control
2916-498: The best reason to see Niagara is just as trailer promised: for the scenery. There's some terrific location work that showcases the breathtaking aspects of the Falls before the city evolved into a tawdry Canadian answer to Atlantic City ; and of course, there's a gal named Marilyn Monroe, burgeoning at her humble beginnings." On the review aggregator website Rotten Tomatoes , the film holds an approval rating of 78% based on 23 reviews, with an average rating of 6.6/10. A major theme
2997-485: The cabin owner, asks Rose to check out, Rose tells them that George is asleep and had been recently been discharged from an Army mental hospital after his service in the Korean War and that she doesn't want to wake him, as he is not quite himself. The Cutlers politely accept another cabin without a view of the Falls, and the two couples become acquainted. George and Rose have a troubled and volatile marriage. She
3078-407: The cameras appeared to be concerned with this. They have caught every possible curve both in the intimacy of the boudoir and in equally revealing tight dresses. And they have illustrated pretty concretely that she can be seductive—even when she walks. As has been noted, Niagara may not be the place to visit under these circumstances but the falls and Miss Monroe are something to see." Also in 1953,
3159-645: The company's name was inspired by the Massachusetts Institute of Technology , where Herbert Kalmus and Daniel Frost Comstock received their undergraduate degrees in 1904 and were later instructors. The term "Technicolor" has been used historically for at least five concepts: Both Kalmus and Comstock went to Switzerland to earn PhD degrees; Kalmus at University of Zurich , and Comstock at Basel in 1906. In 1912, Kalmus, Comstock, and mechanic W. Burton Wescott formed Kalmus, Comstock, and Wescott, an industrial research and development firm. Most of
3240-459: The company, and Technicolor Inc. was chartered in Delaware. Technicolor originally existed in a two-color (red and green) system . In Process 1 (1916), a prism beam-splitter behind the camera lens exposed two consecutive frames of a single strip of black-and-white negative film simultaneously, one behind a red filter, the other behind a green filter. Because two frames were being exposed at
3321-535: The contrast of the final print and concealed any fringing. However, overall colorfulness was compromised as a result. In 1944, Technicolor had improved the process to make up for these shortcomings and the K record was eliminated. Kalmus convinced Walt Disney to shoot one of his Silly Symphony cartoons, Flowers and Trees (1932), in Process 4, the new "three-strip" process. Seeing the potential in full-color Technicolor, Disney negotiated an exclusive contract for
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3402-472: The cover is lifted from the face and she recognizes the dead man, she collapses before saying anything and is admitted to the hospital. Mr. Qua moves the Cutlers' belongings to the Loomises' cabin. George comes to the cabin seeking revenge on Rose but finds Polly sleeping there instead. She wakes and sees him before he runs away. She tells the police, who launch a dragnet . During the Cutlers' second visit to
3483-413: The cupped ones could be shipped to their Boston laboratory for flattening, after which they could be put back into service, at least for a while. The presence of image layers on both surfaces made the prints especially vulnerable to scratching, and because the scratches were vividly colored they were very noticeable. Splicing a Process 2 print without special attention to its unusual laminated construction
3564-560: The early patents were taken out by Comstock and Wescott, while Kalmus served primarily as the company's president and chief executive officer. When the firm was hired to analyze an inventor's flicker-free motion picture system, they became intrigued with the art and science of filmmaking, particularly color motion picture processes, leading to the founding of Technicolor in Boston in 1914 and incorporation in Maine in 1915. In 1921, Wescott left
3645-495: The feature film industry would soon be turning out color films exclusively. By 1931, however, the Great Depression had taken its toll on the film industry, which began to cut back on expenses. The production of color films had decreased dramatically by 1932, when Burton Wescott and Joseph A. Ball completed work on a new three-color movie camera. Technicolor could now promise studios a full range of colors, as opposed to
3726-464: The film had an extremely slow speed of ASA 5. That, and the bulk of the cameras and a lack of experience with three-color cinematography made for skepticism in the studio boardrooms. An October 1934 article in Fortune magazine stressed that Technicolor, as a corporation, was rather remarkable in that it kept its investors quite happy despite the fact that it had only been in profit twice in all of
3807-423: The final film. "After he'd seen it, Zanuck simply couldn't accept the fact that the police at Niagara Falls were of Canadian extraction. We had British actors playing Canadian police commissioners and detectives and various cops, and he just abhorred it. He wouldn't let us go back to the stages to finish it or to repair it—no, he just took it out! The American audience, he said, does not know, does not understand, that
3888-412: The first color sound cartoons by producers such as Ub Iwerks and Walter Lantz . Song of the Flame became the first color movie to use a widescreen process (using a system known as Vitascope , which used 65mm film). In 1931, an improvement of Technicolor Process 3 was developed that removed grain from the Technicolor film, resulting in more vivid and vibrant colors. This process was first used on
3969-406: The first live-action short film shot in the three-strip process, La Cucaracha released August 31, 1934. La Cucaracha is a two-reel musical comedy that cost $ 65,000, approximately four times what an equivalent black-and-white two-reeler would cost. Released by RKO , the short was a success in introducing the new Technicolor as a viable medium for live-action films. The three-strip process also
4050-422: The frames exposed behind the red filter were printed on another strip. After development, each print was toned to a color nearly complementary to that of the filter: orange-red for the green-filtered images, cyan-green for the red-filtered ones. Unlike tinting, which adds a uniform veil of color to the entire image, toning chemically replaces the black-and-white silver image with transparent coloring matter, so that
4131-442: The gate, it cooled and the bulge subsided, but not quite completely. It was found that the cemented prints were not only very prone to cupping, but that the direction of cupping would suddenly and randomly change from back to front or vice versa, so that even the most attentive projectionist could not prevent the image from temporarily popping out of focus whenever the cupping direction changed. Technicolor had to supply new prints so
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#17328008941824212-523: The highlights remain clear (or nearly so), dark areas are strongly colored, and intermediate tones are colored proportionally. The two prints, made on film stock half the thickness of regular film, were then cemented together back to back to create a projection print. The Toll of the Sea , which debuted on November 26, 1922, used Process 2 and was the first general-release film in Technicolor. The second all-color feature in Process 2 Technicolor, Wanderer of
4293-434: The hospital, intending to cross the border back to the United States. Finding George waiting at the border for her, she flees and tries to hide in the carillon bell tower. In a fit of anger, George catches her and strangles her beneath the silent bells. He tries to flee but realizes that he is locked in the building. Realizing what he has done, he sits down next to Rose's body and remorsefully tells her that he loved her. After
4374-518: The idea that there are Seven Wonders of the World , Twentieth Century-Fox has discovered two more and enhanced them with Technicolor in Niagara ... For the producers are making full use of both the grandeur of the Falls and its adjacent areas as well as the grandeur that is Marilyn Monroe... Perhaps Miss Monroe is not the perfect actress at this point. But neither the director nor the gentlemen who handled
4455-447: The introduction of color did not increase the number of moviegoers to the point where it was economical. This and the Great Depression severely strained the finances of the movie studios and spelled the end of Technicolor's first financial successes. Technicolor envisioned a full-color process as early as 1924, and was actively developing such a process by 1929. Hollywood made so much use of Technicolor in 1929 and 1930 that many believed
4536-418: The limited red–green spectrum of previous films. The new camera simultaneously exposed three strips of black-and-white film, each of which recorded a different color of the spectrum. The new process would last until the last Technicolor feature film was produced in 1955. Technicolor's advantage over most early natural-color processes was that it was a subtractive synthesis rather than an additive one: unlike
4617-629: The materials. Original Technicolor prints that survived into the 1950s were often used to make black-and-white prints for television and simply discarded thereafter. This explains why so many early color films exist today solely in black and white. Warner Bros., which had vaulted from a minor exhibitor to a major studio with its introduction of the talkies , incorporated Technicolor's printing to enhance its films. Other producers followed Warner Bros.' example by making features in color, with either Technicolor, or one of its competitors, such as Brewster Color and Multicolor (later Cinecolor ). Consequently,
4698-464: The only movie made in Process 1, The Gulf Between , which had a limited tour of Eastern cities, beginning with Boston and New York on September 13, 1917, primarily to interest motion picture producers and exhibitors in color. The near-constant need for a technician to adjust the projection alignment doomed this additive color process. Only a few frames of The Gulf Between , showing star Grace Darmond , are known to exist today. Convinced that there
4779-432: The projection print made of double-cemented prints in favor of a print created by dye imbibition . The Technicolor camera for Process 3 was identical to that for Process 2, simultaneously photographing two consecutive frames of a black-and-white film behind red and green filters. In the lab, skip-frame printing was used to sort the alternating color-record frames on the camera negative into two series of contiguous frames,
4860-510: The public. Two independently produced features were also made with this improved Technicolor process: Legong: Dance of the Virgins (1934) and Kliou the Tiger (1935). Very few of the original camera negatives of movies made in Technicolor Process 2 or 3 survive. In the late 1940s, most were discarded from storage at Technicolor in a space-clearing move, after the studios declined to reclaim
4941-404: The record, Polly visits his room to apply mercurochrome and bandages. George confides that he was a sheep rancher whose luck turned for the worse after he married Rose, whom he met when she was a barmaid . The next day, Rose lures George into following her to the dark tourist tunnel underneath the Falls, where Ted is waiting to kill him. To let Rose know that George is dead, Ted will request
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#17328008941825022-441: The red-filtered frames being printed onto one strip of specially prepared "matrix" film and the green-filtered frames onto another. After processing, the gelatin of the matrix film's emulsion was left proportionally hardened, being hardest and least soluble where it had been most strongly exposed to light. The unhardened fraction was then washed away. The result was two strips of relief images consisting of hardened gelatin, thickest in
5103-573: The same time, the film had to be photographed and projected at twice the normal speed. Exhibition required a special projector with two apertures (one with a red filter and the other with a green filter), two lenses, and an adjustable prism that aligned the two images on the screen. The results were first demonstrated to members of the American Institute of Mining Engineers in New York on February 21, 1917. Technicolor itself produced
5184-480: The surface of its emulsion was a red-orange coating that prevented blue light from continuing on to the red-sensitive panchromatic emulsion of the film behind it, which therefore recorded only the red-dominated third of the spectrum. Each of the three resulting negatives was printed onto a special matrix film. After processing, each matrix was a nearly invisible representation of the series of film frames as gelatin reliefs, thickest (and most absorbent) where each image
5265-410: The table, Polly realizes he is on board. She tries to stop him from leaving, but he shoves her away, and she falls to the ground. Before George can remove Polly from the boat, the boatman sees him on board, so George has no choice but to depart with Polly on board. Polly tells him to give himself up to the police as he killed Ted in self-defense, but he tells her he cannot because he has killed Rose. Polly
5346-494: The three-strip process. One Silly Symphony , Three Little Pigs (1933), engendered such a positive audience response that it overshadowed the feature films with which it was shown. Hollywood was buzzing about color film again. According to Fortune magazine, " Merian C. Cooper , producer for RKO Radio Pictures and director of King Kong (1933), saw one of the Silly Symphonies and said he never wanted to make
5427-459: The time, which were typically black-and-white , Niagara was filmed in "three-strip" Technicolor ( one of the last films to be made at Fox in that format, as a few months later Fox began converting to CinemaScope , which had compatibility problems with three-strip but not with Eastmancolor ). Monroe was given top billing in Niagara , which elevated her to star status. Her next two films, Gentlemen Prefer Blondes (1953) and How to Marry
5508-475: The two sides of the print were not in the same plane, both could not be perfectly in focus at the same time. The significance of this depended on the depth of focus of the projection optics. Much more serious was a problem with cupping. Films in general tended to become somewhat cupped after repeated use: every time a film was projected, each frame in turn was heated by the intense light in the projection gate, causing it to bulge slightly; after it had passed through
5589-608: The use of the process in animated films that extended to September 1935. Other animation producers, such as the Fleischer Studios and the Ub Iwerks studio, were shut out – they had to settle for either the two-color Technicolor systems or use a competing process such as Cinecolor . Flowers and Trees was a success with audiences and critics alike, and won the first Academy Award for Best Animated Short Film . All subsequent Silly Symphonies from 1933 on were shot with
5670-405: The years of its existence, during the early boom at the turn of the decade. A well-managed company, half of whose stock was controlled by a clique loyal to Kalmus, Technicolor never had to cede any control to its bankers or unfriendly stockholders. In the mid-'30s, all the major studios except MGM were in the financial doldrums, and a color process that truly reproduced the visual spectrum was seen as
5751-456: Was a great idea, so we finally did it. We didn't know whether she would like it, but she had no objection, whatsoever—on the contrary." Peters replaced Anne Baxter in the role of Polly. Shooting of Niagara took place from early June to mid-July 1952. Peters' character was initially the leading role, but the film eventually became a vehicle for Monroe, who was by that time more successful. Reisch says there are "major sequences missing" from
5832-412: Was apt to result in a weak splice that would fail as it passed through the projector. Even before these problems became apparent, Technicolor regarded this cemented print approach as a stopgap and was already at work developing an improved process. Based on the same dye-transfer technique first applied to motion pictures in 1916 by Max Handschiegl, Technicolor Process 3 (1928) was developed to eliminate
5913-412: Was darkest and thinnest where it was lightest. Each matrix was soaked in a dye complementary to the color of light recorded by the negative printed on it: cyan for red, magenta for green, and yellow for blue (see also: CMYK color model for a technical discussion of color printing). A single clear strip of black-and-white film with the soundtrack and frame lines printed in advance was first treated with
5994-641: Was first duplicated onto a 35mm fine-grain SE negative element in one pass of the 16mm element, thereby reducing wear of the 16mm original, and also eliminating registration errors between colors. The live-action SE negative thereafter entered other Technicolor processes and were incorporated with SE animation and three-strip studio live-action, as required, thereby producing the combined result. The studios were willing to adopt three-color Technicolor for live-action feature production, if it could be proved viable. Shooting three-strip Technicolor required very bright lighting, as
6075-517: Was introduced in 1916, and improved versions followed over several decades. Definitive Technicolor movies using three black-and-white films running through a special camera (3-strip Technicolor or Process 4) started in the early 1930s and continued through to the mid-1950s, when the 3-strip camera was replaced by a standard camera loaded with single-strip "monopack" color negative film. Technicolor Laboratories were still able to produce Technicolor prints by creating three black-and-white matrices from
6156-399: Was managed by partial wash-back of the dyes from each matrix. Each matrix in turn was pressed into contact with a plain gelatin-coated strip of film known as the "blank" and the gelatin "imbibed" the dye from the matrix. A mordant made from deacetylated chitin was applied to the blank before printing, to prevent the dyes from migrating or "bleeding" after they were absorbed. Dye imbibition
6237-433: Was no future in additive color processes, Comstock, Wescott, and Kalmus focused their attention on subtractive color processes. This culminated in what would eventually be known as Process 2 (1922) (often referred to today by the misnomer "two-strip Technicolor"). As before, the special Technicolor camera used a beam-splitter that simultaneously exposed two consecutive frames of a single strip of black-and-white film, one behind
6318-423: Was not suitable for printing optical soundtracks, which required very high resolution, so when making prints for sound-on-film systems the "blank" film was a conventional black-and-white film stock on which the soundtrack, as well as frame lines, had been printed in the ordinary way prior to the dye transfer operation. The first feature made entirely in the Technicolor Process 3 was The Viking (1928), which had
6399-530: Was only used indoors. In 1936, The Trail of the Lonesome Pine became the first color production to have outdoor sequences, with impressive results. The spectacular success of Snow White and the Seven Dwarfs (1937), which was released in December 1937 and became the top-grossing film of 1938, attracted the attention of the studios. Film critic Manny Farber on the 1943 Technicolor film For Whom
6480-687: Was used as the MacGregor ranch. Burro Flats, Simi Hills was used to shoot the Indian charge. Corriganville Movie Ranch was also used. Archival footage of the dugout set attacked by Indians and the fort set in When the Redskins Rode (1951). Brave Warrior was released on DVD on August 6, 2013, by Sony Pictures Home Entertainment . Technicolor Technicolor is a family of color motion picture processes. The first version, Process 1,
6561-432: Was used in some short sequences filmed for several movies made during 1934, including the final sequences of The House of Rothschild ( Twentieth Century Pictures / United Artists ) with George Arliss and Kid Millions ( Samuel Goldwyn Studios ) with Eddie Cantor . Pioneer/RKO's Becky Sharp (1935) became the first feature film photographed entirely in three-strip Technicolor. Initially, three-strip Technicolor
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