British Colour Cinematography

Home , A Man on the Beach, Christopher Challis, Douglas Slocombe, Guy Green (filmmaker), Mister Moses, Oswald Morris

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CONTENTS

ACKNOWLEDGMENTS VII PERMISSIONS VIII ABOUT THE EDITORS IX INTRODUCTION 1

PART I – COLOUR AND THE CAMERA: CINEMATOGRAPHERS INTRODUCTION 7 INTERVIEW: Christopher Challis 10 INTERVIEW: Pat Jackson 32 DOCUMENT: Jack Cardiff, ‘Shooting “Western Approaches”’, Cine-Technician, November–December 1944 48 INTERVIEW: Oswald Morris 54 INTERVIEW: Guy Green 84 INTERVIEW: Erwin Hillier 88 INTERVIEW: Douglas Slocombe 90 INTERVIEW: Paul Beeson 94 INTERVIEW: Stan Sayer 98 DOCUMENT: Ronald Neame, ‘A Talk on Technicolor’, Cine-Technician, May–June 1944 104

PART II – POST-PRODUCTION INTRODUCTION 111 INTERVIEW: Syd Wilson 114 INTERVIEW: Dave Davis 124 INTERVIEW: Bernard Happé 132 INTERVIEW: Frank Littlejohn 140 INTERVIEW: Les Ostinelli 148

PART III – RESTORATION/PRESERVATION INTRODUCTION 153 INTERVIEW: Paul de Burgh 158 DOCUMENT: ‘Preservation of Films’, Kinematograph Weekly, 13 March 1952 172 INTERVIEW: João S. de Oliveira 174 INTERVIEW: Kieron Webb 186 INTERVIEW: Sonia Genaitay 200 DOCUMENT: Robert M. Fanstone, ‘Experiences with Dufaycolor Film’, British Journal of Photography, 7 June 1935 208 DOCUMENT: ‘Gasparcolour Explained to the R.P.S.’, Kinematograph Weekly, 31 January 1935 210 INTERVIEW: Paolo Cherchi Usai 214 INTERVIEW: Ulrich Rüdel and Daniela Currò 220 INTERVIEW: Giovanna Fossati 228

PART IV – ASSESSING COLOUR’S IMPACT: CONTEMPORARY THEORIES INTRODUCTION 239 DOCUMENT: Adrian Cornwell-Clyne, ‘The Future of the Colour Film’, in Colour Cinematography 1951 242 DOCUMENT: E. S. Tompkins, ‘In Defence of “Glorious” Colour’, British Journal of Photography, 3 March 1944 248 DOCUMENT: Paul Nash, ‘The Colour Film’, in Charles Davy (ed.), Footnotes to the Film, 1938 250

INDEX 260

INTRODUCTION

It is significant that a book on the theory and practice of colour should be completed in the year that the winner of the Academy Award for Best Picture, The Artist (2011), was black and white, only the second such film to win since The Apartment (1960), the other being Schindler’s List (1993). When reviewing the 2012 ceremony film critic Mark Kermode noted that ‘It’s amazing how quickly everyone got used to, and then bored with, the idea that a black and white, near silent 4 x 3 film … was about to win the Oscar for best picture’.1 In his view, despite the hype that made the awarding of the Oscar to The Artist unsurprising, it was precisely the fact that the film was in black and white which made the win remarkable. Colour in contemporary cinema is so taken for granted that it only becomes a topic of discussion when attention is drawn to it. This, Tom Gunning argues, is part of the processes of modernity, in which the ‘new’ becomes familiar and the wonder which first greeted a new technology, such as colour, ‘becomes subsumed in action, then in habitual action, and ultimately in the diametric opposite of wonder, automatism’.2 However, Gunning argues that wonder does not dis- appear but ‘crouches there beneath a rational cover, ready to spring out again … through aesthetic defamiliarization’.3 In the same way we take an ordinary household object like a television set for granted until it breaks down and we are forced to reassess its significance in our lives, The Artist, at least temporarily, disrupted contemporary complacency with the use of colour in cinema (along with sound) before that same complacency reasserted itself through the predictability of the awards season. What should not be forgotten is that black and white are themselves colours. While the contemporary concept of a film being in black and white connotes the absence or antithesis of colour, black-and-white films are, nevertheless, colour films. They just happen to use only two colours that do not approximate the world as we normally see it. This is noteworthy because colour in contemporary mainstream cinema is, for the most part, perceived to be used not for artistic purposes but purely to approximate the colour of the real world. Thus a blue sky represents what a blue sky looks like, and a red Transformer, even though computer-generated, nevertheless looks like a red Transformer would look like in the imagination of the director. While colour manipulation is now

I n t r o d u c t i o n 1

relatively commonplace in post-production, especially for example in CGI blockbusters such as Transformers (2007) and Avatar (2009) where a large proportion of what is on screen does not actually exist outside an imagined virtual space, nevertheless there is a tacit understanding that the purpose of colour is to replicate the colours of the real (‘reel’ in the case of CGI) world and so part of the ‘disruption’ is the use of colour in ways that are not merely representative, such as the use of black and white in The Artist. But the fact that colour on film is seen to be replicating reality also hides the fact that colour on film is the result of a series of significant creative and technological decisions on the part of filmmakers, technicians and, in the case of restorations, archivists. Decisions about costume and lighting, about grading and the mixing of colour dyes, about photochem- ical or digital restorations of old negatives, all have impact on the colour which we see on the screen. The focus of this book is the creative decision-making which goes into the life cycle of a colour film, from production to post-production, preservation and restoration, con- centrating in particular upon the British contribution to colour. While Technicolor and Eastmancolor were American processes, British artists, craftsmen and technicians have over the years played a substantial role in the ‘look’ of colour, particularly Technicolor, in terms of how it was filmed, printed and, more recently, restored. A case in point is Michael Powell and Emeric Pressburger’s two acclaimed post-war Technicolor masterpieces, Black Narcissus (1947) and The Red Shoes (1948). The vibrant colours on display in recent restored prints and DVD releases were filtered through the eyes of British craftsmen such as cinematographer Jack Cardiff, through lab technicians such as Syd Wilson and Jack Houshold, and through restoration experts like Paul de Burgh. This book aims to illuminate the wealth of work, thought and attention to detail which hides behind the seem- ingly known concept of colour. Colour in film is created, not re-created; interpreted, not represented. This book ‘disrupts’ assumptions about the process of putting colour on the screen, and encourages the reader to wonder anew. To fulfil this aim the book presents case studies in three key areas of production, post- production and archiving/restoration. Rather than academic analysis, these chapters are comprised of interviews with key personnel in these areas, some of which are new interviews conducted by the authors, while others were undertaken as part of the BECTU History Project organised by the trade union which represents those working in film and other entertainment industries. These interviews are contextualised by introductions and by documents contemporary to the production and restoration of each film. Part I highlights the contributions of cinematographers, many of them credited with filming some of the most significant colour films ever made. Their accounts of working with various processes, and of witnessing the arrival of colour in commercial cinema, reveal their pioneering achievements in rising to the demanding challenge of creating colour in the camera. While colour innovation is often credited solely to cinematographers, the interviews and documents show that they were part of a highly collaborative system devis- ing ingenious methods to overcome exacting technical problems. Whether they were grap- pling with the structures imposed by the Technicolor Color Advisory Service, with bulky cameras or demanding directors, these technicians highlight the significant contribution of British labour to the story of colour film, as well as their mutual respect for each other

2 B R I T I S H C O L O U R C I N E M A

as professionals engaged in technical discovery during a key period in the history of cinema and technology. Part II focuses upon the post-production process, with a series of interviews which illuminate the work of the Technicolor Film Laboratories at Denham. The labs were opened in 1937, just as Technicolor was becoming the industry standard, specifically for the purpose of undertaking the complicated post-production process required to produce Technicolor prints. The labs were subsequently forced to adapt in the 1950s, when the advent of Eastmancolor signalled a shift in colour film production and post-production. The interviews included in this chapter highlight not only the complexity of the post- production process, but also the input of these highly skilled technicians to the final product. Part III draws together interviews with film archivists, curators and laboratory personnel specialising in restoration to offer an overview of some of the challenges encountered in archival work. Restoration projects tend to be international as well as national and so per- spectives from the BFI National Film Archive and PresTech Film Laboratory (London), the EYE Film Institute and Haghefilm Conservation B.V. Amsterdam are offered.4 The assembled interviews and documents from British and international archives indicate the significance of the provenance of the film materials for histories and theories of film. Together these chapters demonstrate that colour is a technical, mechanical and inter- pretive process involving creative decisions at all levels of its development. It is precisely the creativity involved in the production of colour that allows it to be considered not just as professional practice but also through the intellectual rigour of theory. The theory of cinematic colour was discussed as it emerged, particularly with the rise to prominence of colour in the 1930s through to the 1950s. Part IV reprints some key contemporary documents that reveal the range of opinion surrounding colour films in the 1930s to early 1950s. These documents serve to establish a broader context for thinking about film, and for imagining what it must have been like to encounter colour films for the first time. Their appearance was a puzzle to many industry professionals, as well as to artists, technicians and audiences. What is striking is how so many attitudes towards colour persisted over the decades, and how to a certain extent these are influenced by consistent, fundamental and verisimilar questions regarding the way we expect the world to be depicted on screen.

NOTES

1. Mark Kermode, ‘Oscars Over’, Kermode Uncut Blog, , accessed May 2012. 2. Tom Gunning, ‘Renewing Old Technologies: Astonishment, Second Nature, and the Uncanny in Technology from the Previous Turn-of-the-Century’, in David Thorburn and Henry Jenkins (eds), Rethinking Media Change (Cambridge, MA: MIT Press, 2003), p. 42. 3. Gunning, ‘Renewing Old Technologies’, p. 46. 4. Clyde Jeavons, ‘The Archive and around the World’, BFI News no. 49, 1981, p. 4.

I n t r o d u c t i o n 3

PART I

COLOUR AND THE CAMERA: CINEMATOGRAPHERS

INTRODUCTION

One cannot over-estimate the tremendous task of creating a satisfactory colour film system.1 (John Huntley, 1949)

I marveled as the first Technicolor camera emerged from its packing case with an air of proud, sleek beauty. It was painted bright blue and its shining chrome fittings reminded me of a brand new Rolls Royce.2 (Jack Cardiff, 1996)

When writer and film historian John Huntley wrote these words colour films were not the norm. After half a century of experimentation, three-strip Technicolor had however emerged as the most commercial process and Huntley’s book was a celebration of how British filmmakers had responded to the challenge of creating colour in the camera. With perhaps the exception of Jack Cardiff, who wrote a foreword to the book, most British cinematographers were trained to work with cameras that filmed in black and white. Mastering the exacting technical specifications of three-strip cameras, and acquiring detailed knowledge about how best to deploy colour in short and feature films, were problems technicians grappled with for many years. Yet most found working with colour highly rewarding and British cinematographers made ingenious and creative contributions to some of the most celebrated films. Through select interviews and documents this chapter recounts some of the trials and tribulations experienced by a number of key technicians who share their varied histories of and encounters with colour. Details of their careers and key films are included before each interview, and documents have been reproduced to sup- port and illustrate some of the issues, films and points raised in the interviews. The chapter begins with an interview with Chris Challis undertaken in 2008, supported by insertions from an earlier interview conducted as part of the BECTU History Project in 1988. Challis recalls the early years of Technicolor and of working with the Color Advisory Service established by the company in order to regulate use of its technology and its application. As in many of the other interviews, Natalie Kalmus, head of

PA RT I : I n t r o d u c t i o n 7

Technicolor’s Color Advisory Service, features as a figure who, in the opinion of Challis and many other technicians, imposed restrictions on the creative deployment of colour. The interview contains a considerable amount of technical detail about cameras, lighting and printing, and Challis tells of the challenges of working in locations across the world. He shot a great number of films over the years, and worked with filmmakers associated with colour, most notably with Powell and Pressburger on The Tales of Hoffmann (1951). Since many of the cinematographers interviewed grew up with Technicolor, they subsequently witnessed the ascendancy of Eastmancolor from about the mid-1950s. While films continued to be processed with Technicolor, the single-strip Eastmancolor stock meant that the Rolls Royce camera so admired by Jack Cardiff and other technicians was no longer needed. The interview with Pat Jackson, conducted as part of the BECTU History Project in 1991, affords a case study of the logistical and other difficulties of filming Western Approaches (1944). Although Jackson directed the film, information on Jack Cardiff’s colour cinematography and experiments with monopack, are recounted in detail. The interview is supported by Cardiff’s first-hand account of this film, published in 1944. Jack Cardiff is mentioned many times by the interviewees. We were not able to interview him for this project because of his ill health towards the end of his life, but readers are referred to his autobiography, Magic Hour (1996), as well as to Justin Bowyer’s book of interviews with Jack Cardiff which cover the production circumstances of the many films he shot, including those in Technicolor.3 Ossie Morris, the third interviewee in this chapter, furnishes an extensive account of a long career as a cinematographer. It ranges from early experiences, learning his craft, working with celebrated directors and, in particular, the details of his distinguished experiments with colour on Moulin Rouge (1952) and Moby Dick (1956). At the end he discusses a question we asked several interviewees as to whether a ‘British School of Technicolor’ existed, and he comments on the impact of the different qualities of light in California and Britain. Yet again there is a fairly dismissive reaction to Natalie Kalmus, whereas her British counterpart Joan Bridge is generally admired. The interview extracts in the last part of the chapter come from interviews conducted by Duncan Petrie in the 1990s which he kindly allowed us to reproduce. They are particularly interesting because they include lesser-known figures who were nevertheless impor- tant in the history of British colour cinematography. Finally, some documents provide additional contemporary contexts for the chapter.

NOTES

1. John Huntley, British Technicolor Films (London: Skelton Robinson, 1949), p. 15. 2. Jack Cardiff, Magic Hour (London: Faber and Faber, 1996), p. 46. 3. Justin Bowyer, Conversations with Jack Cardiff (London: Batsford, 2003).

8 B R I T I S H C O L O U R C I N E M A

INTERVIEW CHRISTOPHER CHALLIS, BSC, FRPS

INDEX

Note: Page numbers in bold indicate detailed analysis, interviews or extended extracts from works; those in italic refer to illustrations; n = endnote.

The £5 Man (1937) 57 Angels One Five (1952) 13, BFI (British Film Institute), XIV Olympiad: The Glory of 15 National Archive 3, Sport (1948) 101, 159, Annabella 101, 168, 254 155n3, 204 165–6 Annakin, Ken 11 The Big Noise (1936) 57 24 Hours of a Woman’s Life The Apartment (1960) 1 Bits and Pieces project (1952) 13 Arabesque (1966) 11, 12 (1990–) 230, 234n1 49th Parallel (1941) 45 Arabian Bazaar (1938) 22 Black Narcissus (1947) 2, 90o South (1933) 155 archives 3, 154, 229–34 11, 13, 24, 30n17, 89, theoretical debates on 100, 101, 102, 115–16, Abdul the Damned (1935) 231–2 159 57 The Artist (2011) 1, 2 The Black Pirate (1926) Academy Awards see Oscars Asbury, Eric 49, 51 160, 165–6, 170n14 Accident (1967) 187, Ash, Kay 40, 52 The Black Rose (1950) 95–6 189–92, 190, 194–5 Atkin, Laurie 116 The Black Tulip (1937) 57 Adam and Evelyne (1949) Attenborough, Richard 162 Blackmail (1929) 189, 85 Avatar (2009) 2 198n5 The Adventurers (1950) The Aviator (2004) 170n13 Blake, William 257 56–7 Blanche Fury (1948) 55, The Adventures of Quentin Baker, Stanley 195 57, 60–2, 81n1, 85, 86, Durward (1955) 12 Balcon, Michael 161 102, 159 The Adventures of Tom The Band Concert (1935) Blind Date (1959) 12 Sawyer (1938) 29 257 Blind Man’s Bluff (1936) After Dark (1932) 57 Banner, Bob 38–9 57 Against the Tide (1937) The Battle of the River Plate Blithe Spirit (1945) 159, 57 (1956) 11, 12, 25, 35 167, 195 Alice in Wonderland (1903) The Battle of the Villa Fiorita Blood and Sand (1941) 249 182 (1965) 56 Blossom Time: A Romance to All at Sea (1935) 57 Beat the Devil (1953) 56 the Music of Franz Allégret, Marc 60–2 Beau Brummell (1954) 56 Schubert (1934) 57 The Americanization of Becky Sharp (1935) 239, 254 Blue Smoke (1935) 57 Emily (1964) 12 Beery, Wallace 38 Bogarde, Dirk 190, 195 Anderson, Bill (pub Beeson, Paul 95–6 Bologna Film Festival (Il landlord) 37–8 The Beggar’s Opera (1953) Cinema Ritrovato) Anderson, Michael 89 85 229–30

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Bolton, Peter 37–8 Casablanca (1942) 233 colour photography/film Boothby, Geoffrey 17 Castleton-Knight, Leonard cont. Born Lucky (1932) 57 14, 29n1 (problems of) adjustment Borradaile, Osmond 17, Catch as Catch Can (1937) to 89, 91 30n10 57 see also Dufaycolor; Bowyer, Justin 8 Catch Me a Spy (1971) 12 Eastmancolor; The Boy Who Turned Yellow Cave, George 99 Technicolor (1972) 11 The Ceremony (1963) 56 colour separation 106 Brando, Marlon 145 Challis, Christopher 7–8, Come Fly with Me (1962) 56 Bridge, Joan 8, 16–17, 25, 11–29, 15, 60, 96, 99, Concerning Mr Martin 30n7, 62–3, 93, 136–7, 111 (1937) 57 241, 249 comments on colleagues contrast, problems of 16, Brinton, Ralph 255–6 16–17, 21–2, 23–4, 106, 253–4 Brown, Harold 154, 162, 26–7 Coop, Denys 99 163, 173, 177, 179, comments on film Cornelius, Henry 28 185n3 techniques/technology Cornwell-Clyne, Adrian Brown, Stu 99 17–20, 22–3, 28–9 (formerly Adrian Klein) Brownlow, Kevin 177, filmography 11–13 154, 198, 211–12, 249, 185n4 Champagne (1928) 188, 255 Bryan, John 27, 62, 81n8 198n5 Colour Cinematography Bryant, Gerard 44 Chaplin, Charlie 232, 256 240–1, 243–6, 251, Bush, Frank 24 Cherchi Usai, Paolo 155, 252, 259n2 Bush, George (technician) 155n1, 215–17, 232 The Coronation Procession of 86 The Death of Cinema George VI (1937) Butler, Larry 161 216, 217 230–1 Chitty Chitty Bang Bang Coward, Noel 249 Caesar and Cleopatra (1968) 11, 12 Crooked Billet (pub) 36–7 (1946) 81n8, 159 Christopher Columbus Cross, Eric 166, 170n16 Cafe Mascot (1936) 57 (1949) 159 La Cucaracha (1934) 239 Cairo Road (1950) 56 Cinecolor 255 Currò, Daniela 155, 221–5 Calhoun, John 82n13 cinematographers, role of Calling All Ma’s (1937) 57 2–3, 7–8 Dalrymple, Ian 33–5, 37 A Canterbury Tale (1944) Circle of Danger (1950) 57 The Dam Busters (1955) 89 89 Clayton, Jack 91 A Dandy in Aspic (1968) 12 Captain Boycott (1947) 57 Cleveland, David 166, Danger Point! (1971) 159 Captain Horatio 170n17 The Dark Avenger (1955) Hornblower R.N. Close-Up (periodical) 240 85 (1950) 85, 86 close-ups, filming techniques The Dark Crystal (1982) 55 The Captain’s Table (1958) 78 Davis, Dave 111, 112, 12 Cohen, Elsie 254 125–30 The Card (1952) 56 Colour Box (1935) 258–9 Davis, John 25, 28, 30n19 Cardiff, Jack 2, 7, 8, 11, 24, colour photography/film Davy (1958) 91 64, 65, 81n11, 86, 93, British role in Day, W. Percy ‘Poppa’ 102 95–6, 99, 101, 111, 167 development 2 ‘day for night’ photography colleagues’ comments on costs 243, 246n1 22 21, 39–40, 80, 100 critical/theoretical de Burgh, Joy 161 Magic Hour responses 239–41, de Burgh, Paul 2, 153, (autobiography) 8 243–6, 251–9 159–69, 195, 217n2, and Western Approaches differences in UK/US 226n5 39–40, 43, 49–53 lighting 28–9, 80–1 filmography 159–60 Carnival (1946) 85 predictions regarding de Oliveira, João S. 154, Carrick, Edward 38 243–6 155n1, 175–85, 185n3

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Decameron Nights (1952) 85 Eastmancolor Fédération International des The Deep (1977) 11 benefits/drawbacks Archives du Film (FIAF) Delpeut, Peter 229–30 64–6, 67–8, 93, 96, 153–4, 162 Densham, Denny 42 101, 119, 163, 194, Fellows, Arthur 27 The Departed (2006) 223 The Feminine Touch (1956) 170n13 costs 119 95 Design for Spring see Making durability 163–4, 195 Ferrer, José 74, 76 Fashion impact on film Fiddler on the Roof (1971) deterioration (of film stock) production 3, 8, 64, 55, 56, 72–3 86–7, 153, 163–4, 165, 86, 101, 112 firelight 107–8 169–70n8, 204–5, impact on Technicolor Fisher, Gerry 194–5 221–2 organisation/ Five Golden Hours (1961) differences by technology 121–2, 12 maunfacturer 178–80 134, 135–6, 145, 150 Flame and the Flesh (1954) Dietrich, Marlene 254 restoration 217n2, 12 digitisation 26, 193–4, 222, 222–3 Flame in the Streets (1961) 223 use in conjunction with 12 drawbacks 183–4, 205 Technicolor 25, 71, Flon, Suzanne 73–4 impact on soundtrack 82n13 Floods of Fear (1958) 12 205 Easy Virtue (1927) 198n5 Flowers and Trees (1932) need for well-preserved effect lighting 107–8 256 prints 232–3 Elizabeth II, coronation of fog, sequences shot in 11, theoretical debates 232 (1952) 121 74–5, 76–7, 145 Director of Photography, The Elusive Pimpernel Follow the Lady (1933) 57 role of 13–14, 18, 58 (1950) 11, 13 Follow Me! (1972) 11 Disney, Walt 240, 241, Elvey, Maurice 166 Fonda, Henry 168 256–8 The Empire Blend (1977) Fools Rush In (1949) 57 dissolves 55 Footsteps in the Fog (1955) design 73 The End of the River (1947) 11, 12, 25 restoration 161 13 For Better, for Worse (1954) The Divorce of Lady X The End of the Road (1936) 85 (1938) 99, 239 57 Forbidden Quest (1993) Donald Duck 257 English Harvest (1938) 230 Donen, Stanley 11, 24 198, 207n4 Force 10 from Navarone Donoghue, Steve 252 The Entertainer (1960) 56 (1978) 11 Downhill (1927) 198n5 Equus (1977) 55 Ford, John 89 Dr No (1962) 129–30 The Eternal Fire (1937) 21 Fossati, Giovanna 155, Dracula (1973) 55 An Evening with the Royal 229–34 The Drum (1938) 11, 13, Ballet (1963) 12 From Grain to Pixel 193 17–18, 142, 162, 166, Evil under the Sun (1981) The Four Feathers (1939) 167 11 101, 116, 128, 129, Dufay, Louis 255 EYE Film Institute 3, 155, 142, 159 Dufaycolor 63–4, 81n10, 231, 232, 234–5 Fox Hunting in the Roman 154, 166, 170n15, nn10–11 Campagna (1938) 21 185n6, 209, 249, 255 Fragment of Fear (1970) 56 preservation/restoration Fanstone, Robert 154 Francis, David 154, 162 178–81, 193, 197, 198, A Farewell to Arms (1957) Francis, Freddie 75 205 56 Francke, Bunny 108 dye-transfer process Farewell Topsails (1937) Friese-Greene, Claude 167, 116–19, 121–2, 127, 193, 207n4 170n19, 204, 207n2 130, 133–8, 166, The Farmer’s Wife (1927) Friese-Greene, William 226n8 198n5 170n19, 187, 207n2

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Gable, Clark 254 Gunn, George 28, 69–70 I Met a Murderer (1939) Gabor, Zsa Zsa 76 Gunning, Tom 1 57 The Garden of Allah (1936) The Guns of Navarone Ibbetson, Arthur 29 254 (1961) 56 Ill Met by Moonlight (1957) Gaspar, Bela 258 12 Gasparcolor 178–9, 181, Haffenden, Elizabeth 63, Image Performance Institute 211–12, 258 81n9 198n4 Gaumont British News 14 Haghefilm Conservation Images for the Future project Genaitay, Sonia 201–7 (Amsterdam) 3, 155, (2007–12) 232–3, Genevieve (1953) 11, 12, 233 234–5nn10–11 28 Haig, Douglas (technician) Imus, Henry 17, 30n11, 99 George V, Jubilee 102 In This House of Brede celebrations (1935) Hanau, John 21, 22 (1975) 11 142 Happé, Bernard 81n3, 112, In Which We Serve (1942) George VI, coronation of 133–8, 141–6 85 (1937) 142, 230–1 Harris, Robert 222 The Incredible Sarah (1976) The Girls They Left Behind Harrison, Kay 21, 108 11 (1943) 106 Havelock-Allan, Anthony 85 Isabel de España (1971) 56 Goethe, Johann Wolfgang Heaven Can Wait (1943) Iwerks, Ub 257 von 239 249 Golden Salamander (1950) Heaven Knows, Mr Allison J. Paul Getty Jr 55, 56, 80 (1957) 56 Conservation Centre Gone to Earth (1950) 11, Heckroth, Hein 23, 102 207n1 13, 26–7, 159, 169n2 Heller, Otto 87 Jackson, Jocelyn 44–5, 46 Gone with the Wind (1939) Hello, Frisco, Hello (1943) Jackson, Pat 8, 33–47, 34, 249 249 49, 51, 52 Goodbye, Mr Chips (1969) Henry V (1944) 40, 47, Jaffa, Henri 249 56 112, 159, 166 Jassy (1947) 159 Gough-Yates, Kevin 19 Highland Fling (1936) 57 Jeavons, Clyde 154 Gould, Charles 51 The Hill (1965) 55, 56 Jennings, Humphrey 187, Gould, John, The Crisis of Hill, Ron 145 193, 205, 206, 207n4, the Film 217 Hillier, Erwin 89 253 Gowrie, Lord 162, 169n4 His Majesty and Co. (1934) Jewison, Norman 72–3 Granger, Stewart 60 57 John Huston (1988) 55 The Grass Is Greener (1960) Hitchcock, Alfred 95, 187, Jones, Jennifer 26 12, 25 189, 192 Josser on the Farm (1934) Great Catherine (1968) 56 HMS Defiant (1962) 12 57 Great Expectations (1946) Hobson, Valerie 60 The Jungle Book (1942) 159 81nn1, 8, 85 Hopkins, Miriam 254 Just Tell Me What You Want The Great Mr Handel The Hour of 13 (1952) 85 (1980) 55 (1942) 159, 167, 249 Houshold, Jack 2, 154 The Great Muppet Caper Howard, Tom 161 Kaleidoscope (1966) 12 (1981) 55 Howe, James Wong 16, 29, Kalmus, Herbert T. 62, 69, The Great White Silence 30n5, 86 96, 136–7, 245 (1924) 155, 192 Hubert, René 256 Kalmus, Natalie 30n4, 96, Green, Guy 58–60, 59, Huntley, John 7 226n6, 255 81n1, 85–7, 102 Huston, John 62, 68–70, dress sense 16, 30n6, 63 filmography 85 79, 145 relations with colleagues Green for Danger (1946) 57 7–8, 16–17, 29, 62–3, Greenbaum, Mutz 85 I Am a Camera (1955) 85 93, 112, 136–7 Grune, Karl 55 I Know Where I’m Going! sympathetic assessments Guinness, Alec 60 (1946) 23, 89 240–1, 241n6, 249

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Kanturek, Otto 55 The Lodger (1926) 176–7, A Matter of Life and Death Kay, George 14, 18 179, 180, 184, 185n3, (1946) 13, 18, 23–4, Keller, Count von 21–2 198n5 159 Kelly, Skeets (Graham) 60 Lolita (1962) 56 McAllister, Stewart 46 Kermode, Mark 1 The London Story (1986) McCormack, John 253 Kerr, Deborah 24 159 Metropolis (1927) 216, The Key (1958) 56 London Town (1946) 89, 217n2 A Kid for Two Farthings 164, 167 Meuller, Richard 249 (1957) 166 Londonderry Air (1938) 57 Meyer, Mark-Paul 234n1 Kind Hearts and Coronets The Long Ships (1963) 12 Mickey Mouse 257, 258 (1949) 161 Look Back in Anger (1959) Mickey’s Garden (1935) Kino, the Girl of Colour 56 258 (1926) 167 Losey, Joseph 11, 24, 91, Mickey’s Polo Team (1936) Klein, Adrian see Cornwell- 194–5 258 Clyne, Adrian The Lost World of Friese- The Mikado (1939) 159 Kline, Herbert 91 Greene (TV, 2006) Mills, John 107, 107 Knight without Armor 207n2 Miracle in Soho (1957) 12 (1937) 162 The Lost World of Mitchell & The Mirror Crack’d (1980) Korda, Alexander 29, 46–7, Kenyon (TV, 2005) 11 111, 142, 166, 239 207n3 Mister Moses (1965) 56 Krampf, Gunter 85 Lumière Project 154–5 Mister Quilp (1975) 11 Kray, Robert 82n14 Lye, Len 240, 258–9 Mitchell & Kenyon 204, Kubrick, Stanley 73 Lyrical Nitrate (1990) 230 207n3 Moby Dick (1956) 8, 55, Lady Caroline Lamb (1972) MacBain, Janet 166 56, 63, 64, 68–73, 145 55 The Mackintosh Man (1973) (limited) use of Lang, Fritz 185n2 55 storyboards 72–3 Langlois, Henri 231, 234n7 MacQueen, Scott 223 location shooting 71–2, Late Extra (1935) 57 Madeleine (1950) 85 78–9 The Laughing Lady (1946) The Magic Box (1951) 56 Monck, John 37 167 Making Fashion (1938) Money for Speed (1933) 57 Lawrence of Arabia (1962) 193, 207n4 Monsieur Ripois (1954) 56 145–6 Malaga (1954) 12 Montagu, Ivor 192, 199n9 Leacock, Richard 47 Mamoulian, Rouben 26–7 Moroder, Giorgio 217n2 Lean, David 58–60, 59, A Man on the Beach (1955) Morris, Ossie 8, 19, 29, 73, 85, 108, 167, 189, 195 55–81, 59 205 The Man with the Golden cinematic style(s) 79–80 Lease of Life (1954) 93 Gun (1974) 55 cinematic techniques The Leopard (1963) 216, The Man Who Never Was 67–8, 70–1, 73–9, 217n2 (1955) 56, 68 82n13 The Life and Death of The Man Who Would Be comments on colleagues Colonel Blimp (1943) King (1975) 55 58–60, 62–3, 79 112, 166, 170n15, 249 Mankiewicz, Joseph L. 58 comments on film Life at the Top (1965) 56 The Manxman (1928) technology 60–2, Light in the Piazza (1962) 198n5 63–8 87 Marchand, Colette 73–4 filmography 55–7 Lindgren, Ernest 154, 163, Marshall, Peter 192 freelance work 80 173, 231, 234n7 Mary Queen of Scots (1971) Huston, We Have a liquid printing 135–6 12 Problem The Little Prince (1974) 11 Matheson, Muir 45 (autobiography) 55 Littlejohn, Frank 81n3, matrix printing 117–19, and Moby Dick 63, 64, 112, 141–6 126 68–71, 78–9

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Morris, Ossie cont. The Nightingale (1981) 11 Powell, Michael cont. and Moulin Rouge 69, Noble, Sir Percy, Admiral colleagues’ comments on 73–8, 93, 101–2, 145 33, 37, 40–1, 43 23–4, 27 Moulin Rouge (1952) 8, Nosferatu (1922) 232 preservation (of film) 55, 56, 69, 73–8, 93, as basis of digitisation 101–2 The Odessa File (1974) 55 232–3 dance sequences 75–6 Of Human Bondage (1964) methods/conditions lighting 73–5, 77–8, 56 173, 187–8, 201 145 Oh … Rosalinda! (1955) record-keeping 215–16 location shooting 75 11, 12, 26 repeat versions 215–16 Mr Cinders (1934) 57 Old Roses (1935) 57 selection of material Mrs Miniver (1942) 249 Oliver! (1968) 56 204–5 Murder in the Family (1938) Oliver Twist (1948) 57, 85 theoretical debates 57 The Open Road (1926) 167, 231–2 Murnau, F. W. 185n2 170n19, 194, 202, 204, Pressburger, Emeric 2, 8, 207n2 11, 23–7, 85, 89, 116, Nanook of the North (1922) Oscars, awards/nominations 216 43 47, 55, 116, 146 colleagues’ comments on Napoléon (1927) 177, (allegedly) deserved 91, 23–4 185n4, 192 93 PresTech Film Laboratory Nash, Paul 240, 241, Ostinelli, Les 67, 68, 3, 154, 175 251–9 81–2n12, 112, 149–50 Pritchard, Brian 192 National Film and Television Our Man in Havana (1960) The Private Life of Sherlock Archive (NFTVA) 154, 56 Holmes (1970) 12 155n3, 226n5 Oxbury, John 162 The Pumpkin Eater (1964) National Film Archive 55, 56 (NFA) 3, 153, 154–5, Padelford, Morgan 249 Pygmalion (1938) 81n8 155n3, 162 Paletz, Gabriel 175 National Film Library 154, Palmer, Ernest 249 RAF Film Production Unit 155n3, 207n1 Pandora and the Flying 11 National Memorial Heritage Dutchman (1951) 95 Rainbow Dance (1936) Fund (NMHF) 153, Parker, Clifton 45 259 164–5 Parsons, Ian 133 Raising a Riot (1955) 12 naturalism, Passio (2007) 216–17 Ramona (1936) 251, 252, criticisms/objections to The Passionate Friends 253, 254–5 251–3 (1948) 57, 85 Rank Organisation 27–8 Neame, Ronald 55, 80, Pearl & Dean 115 Read, Phil 163, 198–9n6 85, 105, 105–8, 108, Peeping Tom (1960) 27 The Red Shoes (1949) 2, 11, 167 perforations 122 13, 115–16, 159 negative control 141–6 Périnal, Georges 29, 30n10, restoration(s) 184, 216, Neilson, Peter 162 249 217n2, 222 Netherlands Filmmuseum Petra (1937) 21–2 titles 116 229–31 Petrie, Duncan 8, 81n3 Reed, Carol 73, 85 Never Let Go (1968) 12 The Pleasure Garden (1926) Reflections in a Golden Eye Newton, George 141 189, 198–9nn5–6 (1967) 56, 145 Niagara Falls, film shot at Polanski, Roman 91 Rembrandt van Rijn 102 225 Pollyanna (1960) 223 Rennahan, Ray 60, 81n2, Die Nibelungen (1924) positive control 133–8 256 176, 177, 185n2 Powell, Dilys 47 restoration(s) 160–9, Nieter, Hans 22 Powell, Michael 2, 8, 11, 175–85 Night without Stars (1951) 23–7, 35, 45, 85, 89, advantages over 85 161, 165–6, 216 digitisation 183–4

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restoration(s) cont. Saturday Island (1952) 56 South of Algiers (1952) 56 ‘archaeological approach’ Sayer, Stan 99–102 The Spanish Gardener 175–6 Schindler’s List (1993) 1 (1956) 12, 27 archiving 215–17 Schoonmaker, Thelma 26, The Spy Who Came in from Bologna festival 229–30 163, 170n13 the Cold (1965) 55, 56, colour grading 221–5 Schwartz, Gary 160 58 cooperative programmes Scorsese, Martin 163, Squires, Charles 44 154–5 170n12, 216 Staircase (1969) 12 costs 154, 199n7 Scott of the Antarctic (1948) star performers, impact of individuality of projects 95, 159 colour on 253, 254 197, 205, 223, 233 Screenonline (website) 201 Stazione Termini (1953) objectives 161, 184–5 Scrooge (1970) 56 56 physical dangers 182–3 Seaholme, Jeff 95 Steaming (1984) 11 problems 181–2 seasickness, problems caused Steward, Ernest 60–1 repeat 184, 215–17, 222 by 39, 51–2 Stewart, Heather 154 screenings 176–81 Secombe, Harry 91 Stewart, James 222 selection of material 187 Second Thoughts (1938) 57 Stop the World I Want to Get of sound 198, 205 Secrets: First Love (TV, Off (1966) 56 source material 216 1983) 11 Storm over the Nile (1955) techniques 160–1, Selznick, David O. 26–7 116 164–5, 176–83, 192–4, set design, relationship with The Story of Gilbert and 195–7 lighting 71 Sullivan (1953) 12 Return from the Ashes The Seven Per Cent Solution The Story of Robin Hood and (1966) 12 (1976) 55 His Merrie Men (1952) Richard III (1955) 70 Sexton Blake and the 85 Richards, Pennington 38 Mademoiselle (1935) 57 storyboards 72–3 The Riddle of the Sands Shamroy, Leon 249 Stradling, Harry 29, 99 (1978) 11 A Shot in the Dark (1964) Strange Experiment (1937) The Ring (1927) 198n5 12 57 Ritt, Martin 58 Sidser, Stu 99 Stravinsky, Igor 36 Rob Roy the Highland Rogue Sink the Bismarck! (1960) subtitling 127–9 (1953) 85 12 Surprise Package (1960) 12 Rolling in Money (1934) 57 Sixty Glorious Years (1938) Swann, Dennis 45 Rome Symphony (1938) 21 167 Sympathy for the Devil Romeo and Juliet (1954) Skall, William V. 99 (1968) 159 121 Sleuth (1972) 55 Rooney (1958) 12 Slocombe, Douglas 29, Take My Life (1947) 85 The Roots of Heaven (1958) 91–3, 92, 95 The Tales of Hoffmann 56 The Small Back Room (1951) 8, 11, 13, 22–3, Rope (1948) 102n1 (1949) 13, 26 25, 127, 159, 169n2 Rüdel, Ulrich 155, 221–5, Smith, Douglas 46 The Taming of the Shrew 233 Smith’s Wives (1935) 57 (1966) 56 Ruggles, Wesley 89 So Little Time (1952) 56 Target for Tonight (1941) Russell, Ken 91 Sons of the Sea (1939) 166, 33 Rutherford, Margaret 167 170nn15–16, 249 Technicolor 2–3 Rutter, Owen 33 The Sorcerer’s Apprentice availability of equipment (1955) 12 in UK 40, 60, 81n3, Saadia (1953) 12 SOS Titanic (1979) 11 99, 101 Saraband for Dead Lovers Souls in Conflict (1954) 85 camera report sheets 18 (1948) 91, 93, 95, 159 sound cataloguing system Satan Never Sleeps (1962) deterioration 205 126–7 56 restoration 198 cleaning procedures 120

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Technicolor cont. temperature, impact on film Wanderers of the Desert Color Advisory Service stock 17, 41–2, 162, (1938) 22 2, 7–8, 16, 136–7, 201 The Way Ahead (1944) 85 226n6, 240–1, 249 Term of Trial (1962) 56 Webb, Kieron 154, 185n3, colour registers 19, 50–1, Thatcher, Margaret 169n4 187–98 133, 195–7, 226n8 Theirs Is the Glory (1946) 13 Wedding Group (1936) 57 compared with other The Thief of Bagdad (1940) West of Zanzibar (1955) 95 systems 25–6, 29, 99, 142, 143, 159 Western Approaches (1944) 63–6, 102, 163–4, 166 restoration 161, 167, 8, 33–47, 49, 50, 167 computerisation of 169, 169n2 advance screenings 45–7 records 129–30 The Third Clue (1934) 57 casting 37–9, 47 costs of using 64 The Thirties in Colour (TV, cinema release 47 critical commentaries 2008) 20–1 difficulties 39–42, 50–3 239–41, 244–5, 249, This Happy Breed (1944) duration of shoot 40–1, 253–5 40, 85, 107, 107, 108, 42–3 defect control 133–4 159, 195–7, 196, editing 44–5, 46 departmental structure 205–7, 249 filming 39–43, 49–53 120–1 Thompson, J. Lee 11 funding 37 deterioration 86–7, 153, Those Magnificent Men in genesis 33–7 161, 163–4, 165 Their Flying Machines music 45 differences in UK/US (1965) 11, 12 Oscar nomination 47 lighting 16, 28–9, The Titfield Thunderbolt unit crew 43–4 80–1 (1953) 91 Where No Vultures Fly dubbing process 125 Tompkins, E. S. 240–1, 249 (1951) 95, 159 filming techniques Top Secret! (1984) 11 White Lilac (1935) 57 17–19, 99–102, 105–8 Toulouse-Lautrec, Henri White Rock (1976) 11 liaison procedures 76, 82n15 Who Goes Next? (1938) 57 149–50 Transformers (2007) 2 Wilder, Billy 11 opening of UK operation Troubled Waters (1936) 57 Will Any Gentleman? 14–16, 28, 111, 117, Tupper, Harry 43–4 (1953) 89 144 Twice upon a Time (1953) Williams, Billy 167 problems posed by 16, 12 Wilson, Syd 2, 112, 17, 29, 106–7, 108 Two for the Road (1966) 12 115–22, 127–9, 146 production system Two Wives for Henry (1933) Windom’s Way (1957) 12 125–30 57 Wings of the Morning (1937) relations between labs 14–16, 20, 21, 60, 101, and filmmakers 7–8, Under Capricorn (1949) 160, 168 16–17, 24, 93, 96, 95, 102n1, 159 critical commentary 112, 136–7 Unsworth, Geoffrey 29 240, 251, 252–6, restoration 217n2, 222 Urban-Smith, Charles 167, 259n3 subtitling process 127–9 170n19 restoration 169 Technical Development The Winter’s Tale (1968) 56 Committee 115, 121 Variety Hour (1937) 57 The Wiz (1978) 55 technical processes Vaughan Williams, Ralph 45 World Windows (1937-40) 19–20, 95–6, 105, Vertès, Marcel 76 11, 13, 21, 22, 30n14, 112, 116–22, 133–8, Vertigo (1958) 222 64, 81n11, 99 141–6, 163–4, 226n8 The Victors (1963) 12 Wyler, William 249 US–UK division of Villain (1971) 12 operations 120, 125, Visconti, Luchino 216 Young, Freddie 29, 150 144 Young, Loretta 254 US–UK relations 99, Waley, H. D. 173 112, 134, 136 Walsh, Kay 107, 107 Zinnemann, Fred 91

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LIST OF ILLUSTRATIONS

While considerable effort has been made to correctly identify the copyright holders, this has not been possible in all cases. We apologise for any apparent negligence and any omissions or corrections brought to our attention will be remedied in any future editions.

Angels One Five, Templar Productions/Associated British Pathé; Oliver Twist, © Independent Producers; Wings of the Morning, Twentieth Century-Fox Film Corporation/New World Pictures; The Lodger, Gainsborough Pictures; Champagne, British International Pictures; Accident, © Royal Avenue Chelsea Productions Limited; This Happy Breed, Cineguild; The Open Road, © BFI; The Four Feathers, London Film Productions; The Thief of Bagdad, © Alexander Korda Film Productions.