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NEWSAND TECHNICOLOR VIEWS 5» fU» 1 \ f ) ) ^ 3 7

President’sMessage

By DR. HERBERT T. KALMUS

The motion picture industry continues

its evolution to wide-angle and three- dimensional presentations.

Development of new procedures is not

new to TECHNICOLOR, I might say it is one of the most distinctive features of our history. When we began, nearly four decades ago, the problem was to bring a sufficiently good quality of color to the

screen. Today our work is to accommo- date our procedures to serve an increas- ing number of screen techniques, all of

which are still in more or less formative stages. Dr. Herbert T. Kalmus, President and General Manager of Technicolor Motion Picture Corporation, shown with We have always taken pride in our Bing Crosby on the Paramount lot at a VistaVision demonstration. Crosby stars in “White Christmas," the research and development department. first feature picture made by the VistaVision process. Large sums have been — and are being

-—-expended on it, and we have always TECHNICOLOR to meet the new increased found that the results far more than justi- Plans for French area screen requirements was in fied the expenditure. aimed three directions: (1) increased area of Plant Completed In this connection I may say in passing negative at the time of photography; (2) that the prints for “Cinerama" were resulting in the drafting improvement in the matrix stock and its Negotiations manufactured by TECHNICOLOR, the first of final documents for signature for the processing; and (3) improvement in the picture, “The Robe," CinemaScope was establishment of a French TECHNICOLOR character of raw positive print stock and in Color by TECHNICOLOR, and the first plant in Paris have been completed, ac- its processing. VistaVision feature, “White Christmas," cording to Dr. Herbert T. Kalmus, Presi- is also in Color by TECHNICOLOR. In The VistaVision demonstration which dent and General Manager of TECHNI- 1953 there were 24 three-dimensional showed improved characteristics of COLOR MOTION PICTURE CORPORA- TECHNICOLOR productions. smoothness, freedom from grain, visi- TION.

it bility and color rendition only So may be seen how deeply TECH- embodied The negotiations have been between NICOLOR service and procedure are in- one of the three phases of improve- TECHNICOLOR MOTION PICTURE COR- volved in the current evolution. It has ment upon which TECHNICOLOR is work- PORATION and important French motion been necessary to modify procedures, ing. It embodied the increased negative picture and financial interests, Dr. Kal- to devise new procedures, to in- and area, but not the improved matrix stock mus said. The name of the new company stall new equipment to supply the new nor the improved positive print raw is to be SOCIETE TECHNICOLOR with a demands of the industry. stock. The improved matrix and print capital of 1,000,000,000 (one billion) For over twenty years TECHNICOLOR raw stock should further improve the francs. This step is a continuation of the has been the mainstay of the industry clarity, smoothness, visibility and free- policy of TECHNICOLOR to expand its in its evolution from black and white to dom from grain of TECHNICOLOR prints laboratories over the world. color. During those years TECHNICOLOR manufactured from both large area and TECHNICOLOR'S British plant, TECHNI- developed many methods of manufact- normal size area negatives. COLOR LIMITED, at London, has been in uring color motion picture release prints These researches and this develop- existence since 1936. which have gone through many stages ment work which TECHNICOLOR is now of improvement all tailored for best undertaking has been in process for effect in the theatres with screens up to something like a year. TECHNICOLOR something like 35 feet in width. hopes and expects to complete this work TECHNICOLOR TECHNICOLOR early recognized that some time during this year as a means of NEWS & VIEWS it must serve the industry with the best continuing to be of greatest possible and least expensive prints in color which service to the motion picture industry. Vol. XVI September, 1 954 No. 1 would satisfy these large screen re- new Published from time to time by quirements. Consequently it immediately Technicolor Motion Picture Corp. embarked upon research and develop- THE COVER HERBERT T. KALMUS, President ment projects to that end. 6311 Romaine Street Upper—Technicolor Motion Picture Corporation, Hollywood 38, California At the outset, about two years ago, Hollywood Margaret Ettinger, Editor in the very early conferences among Lower—Technicolor Limited, London TECHNICOLOR technicians the attack of

— TWO — HALL OF FAME Hi; TECHNICOLOR'S

No. 1 0 of a series of color portraits of distinguished stars who

appear in Color by TECHNICOLOR productions.

EXHIBITORS, ATTENTION! This full-page color portrait of beautiful RHONDA FLEMING is the tenth in a series of such portraits suitable for framing for your theatre lobby, of motion picture stars who have added luster to films in Color by TECHNICOLOR, and so have won a place in the TECHNI- COLOR HALL OF FAME. Miss Fleming is currently appearing in "Yankee Pasha," a Universal-International production in color by TECHNICOLOR. 8-PERFORATION AREA RED IMAGE BLUE IMAGE GREEN IMAGE (VISTAVISION) The Technicolor Three-Color Camera uses three strips of negative film and incorporates a prism Technicolor has modified some of its three color cameras so in the optical system to divide the light. Two of the films with emulsion surfaces in contact are that a single strip of color negative film may be used. In these placed in the camera at a right angle tc the lens axis. The front film receives the BLUE image modified cameras the film runs past the camera aperture hori- and the rear film receives the RED image. The third film is placed directly in back of the prism zontally and an area corresponding to eight perforations (or and receives the GREEN image. The negatives after processing appear as above. two normal frame areas) is exposed. The negative image area is then optically printed in reduced size.

FIGURE 1

EASTMAN COLOR NEGATIVE ANSCO COLOR NEGATIVE ANAMORPHOSED IMAGE (CINEMASCOPE) Eastman Color Negative has only one strip of film Ansco Color Negative has only one strip of film surfaced with three layers of emulsion, each being surfaced with three layers of emulsion, each being For CinemaScope, the image is recorded on the film sensitive to a different primary color. This film can sensitive to a different primary color. This film can in the same manner as on other negative film proc- be used in a conventional 35mm camera. (Normal be used in a conventional 35mm camera. (Normal esses except the image is compressed horizontally by aspect ratio shown.) aspect ratio shown.) means of a special lens.

color motion picture negative which, con- magnetic sound tracks. Such release procedures which are uniquely depend- trary to custom, moves horizontally prints can, of course, be projected on ent upon steps in current TECHNICOLOR through a camera. The scenes are re- any screen including large screens, and techniques. The new method is already corded on an area equal to two full in any aspect ratio from 1.33 to 1 or to in operation in moderate volume at the frames of normal motion picture nega- any larger ratio desired. Since these new Hollywood plant. SUCCESSIVE FRAME NEGATIVE tive. improved TECHNICOLOR dye transfer re- After successful camera tests com- Working from such a double frame lease prints are of normal size and posi- bined with tests of the TECHNICOLOR The Successive Frame process, used in most animated cartoon photography, uses one strip of black and negative the TECHNICOLOR laboratory tion in every respect no special projection laboratory procedure, Paramount Studios white negative. In front of the camera lens is is manufacturing 35mm TECHNICOLOR lens in the theatre is necessary. decided to photograph their high-budget mounted a wheel containing three filters — BLUE, GREEN and RED. This wheel rotates as each scene dye transfer release prints of normal size TECHNICOLOR has been working on production “White Christmas" using this is photographed three times on successive frames and position, which may be combined the new system for more than a year, process, thus being the first to use it on through each of the three color filters. The negative with either photographic or multiple resulting in the introduction of laboratory a feature picture. therefore is three times as long as the finished print.

CINERAMA AGFACOLOR GEVACOLOR FERRANIACOLOR

In Cinerama type photography, 35mm color negative film is used, but a larger than normal area In Europe, there are three additional color negatives, AGFACOLOR, GEVACOLOR and FERRANIA- is exposed. On each of the three negatives, which are exposed simultaneously in three separate COLOR. These negatives are similar to those used in the United States in that three layers of emul- cameras, an area 6 perforations in height and extending completely across the film between the sion are superposed on a single film base. Technicolor manufactures dye transfer prints from these perforations is utilized. negatives also.

— F O U R — — FIVE — With the current evolution of motion pictures to various types of wide screen iiiMiiaiiiiii • • • and three-dimensional techniques, great additional importance accrues to the techniques of color motion picture pho- tography. Within the past two years photo- graphic techniques have been altered in two ways: New negative materials have 1 • l l ••••••a a a a been introduced and new aspect ratios for recording negative images have been 8-PERFORATION AREA RED IMAGE BLUE IMAGE (VISTAVISION) developed. The Technicolor Three-Color Camera uses three strips of negativi Technicolor has modified some of its three color cameras so in the optical system to divide the light. Two of films < The new negative materials are, gen- the with that a single strip of color negative film may be used. In these placed in the camera at a right angle to the lens axis. The froi

erally speaking, color negatives. modified cameras the film runs past the camera aperture hori- and the rear film receives the RED image. The third film is plac zontally and an area corresponding to The aspect ratio (which means relation eight perforations (or and receives the GREEN image. The negatives after processing a two normal frame areas) is exposed. The negative image area set- of picture width to height) had been is then optically printed in reduced size. tled for over 30 years at four to three, which means that for every four units across the picture there were three units in height.

Today this is all changed. This article will deal with the most important photographic techniques now in use in motion pictures.

COLOR NEGATIVE EASTMAN COLOR NEGATIVE ANSCO COLOR NEGATIVE ANAMC There are several color negative films (Cl manufactured by different companies Eastman Color Negative has only one strip of film Ansco Color Negative has only one strip of film surfaced with three layers of emulsion, each being surfaced with three layers of emulsion, each being For CinemaScope, the throughout the United States and Europe. sensitive to a different primary color. This film can sensitive to a different primary color. This film can in the same manner These negative films can be used in an be used in a conventional 35mm camera. (Normal be used in a conventional 35mm camera. (Normal esses except the imat ordinary black and white camera and aspect ratio shown.) aspect ratio shown.) means of a special lei in many respects are similar; having three emulsion layers superposed on a cellulose acetate base. These three emul- sion layers are differently sensitive to color motion picture negative which, con- magnetic sound tracks. Such release procedures whi< different colors of light. This means that trary to custom, moves horizontally prints can, of course, be projected on ent upon steps the photo-sensitive silver halide particles through a camera. The scenes are re- any screen including large screens, and techniques. The in the separate emulsions are exposed corded on an area equal to two full in any aspect ratio from 1.33 to 1 or to in operation in by different colors of light. Generally, frames of normal motion picture nega- any larger ratio desired. Since these new Hollywood plan color negative films have a filter layer tive. improved TECHNICOLOR dye transfer re- After succes: between the top two emulsions. Where Working from such a double frame lease prints are of normal size and posi- bined with tesl the color sensitivity is not complete, this negative the TECHNICOLOR laboratory tion in every respect no special projection laboratory procE filter aids in separating unwanted colors is manufacturing 35mm TECHNICOLOR lens in the theatre is necessary. decided to phot< from a particular emulsion. dye transfer release prints of normal size TECHNICOLOR has been working on production "Wh In the United States the most widely and position, which may be combined the new system for more than a year, process, thus be used color negatives are Eastman and with either photographic or multiple resulting in the introduction of laboratory a feature pictur Ansco. In Europe in addition to these two are Agfacolor, Gevacolor and Fer- raniacolor. The TECHNICOLOR labora- tories, in both United States and Eng- land, manufacture release prints from all of these color negative systems. TECHNICOLOR has long recognized that an improvement in the definition or visibility of TECHNICOLOR dye transfer (imbibition) prints when projected in the theatre, especially on large screens, would be possible from a negative re- sulting from almost any system of pho- tography that employed a larger than standard area of negative on which to CINERAMA AGFACC record the picture information. There are a number of photographic procedures In Cinerama type photography, 35mm color negative film is used, but a larger than normal area In Europe, there is exposed. On each of the three negatives, which are exposed simultaneously in three separate COLOR. These n which might bring this about. such One cameras, an area 6 perforations in height and extending completely across the film between the sion are superpe system employs a single strip of 35mm perforations is utilized. negatives also. —FOUR— Current Zeckniques of Color

With the current evolution of motion pictures to various types of wide screen liiiimiiiiiiMil and three-dimensional techniques, great additional importance accrues to the techniques of color motion picture pho- tography. Within the past two years photo- graphic techniques have been altered in two ways: New negative materials have p • • i • been introduced and new aspect ratios 8-PERFORATION for recording negative images have been AREA RED IMAGE (VISTAVISION) developed. The Technicolor Three-Color Camera use Technicolor has modified some of its three color cameras so in the optical system to divide the light The new negative materials are, gen- that a single strip of color negative film may be used. In these placed in the camera at a right angle I erally speaking, color negatives. modified cameras the film runs past the camera aperture hori- and the rear film receives the RED imac zontally and area corresponding to The aspect ratio (which means relation an eight perforations (or and receives the GREEN image. The neg two normal frame areas) is exposed. The negative image area set- of picture width to height) had been is then optically printed in reduced size. tled for over 30 years at four to three, which means that for every four units across the picture there were three units in height.

Today this is all changed. This article will deal with the most important photographic techniques now in use in motion pictures.

COLOR NEGATIVE EASTMAN COLOR NEGATIVE ANSCO COLOR NEGATIVE There are several color negative films manufactured by different companies Eastman Color Negative has only one strip of film Ansco Color Negative has only one strip of film surfaced with three layers of emulsion, each being surfaced with three layers of emulsion, each being throughout the United States and Europe. sensitive to a different primary color. This film can sensitive to a different primary color. This film can These negative films can be used in an be used in a conventional 35mm camera. (Normal be used in a conventional 35mm camera. (Normal ordinary black and white camera and aspect ratio shown.) aspect ratio shown.) in many respects are similar; having three emulsion layers superposed on a cellulose acetate base. These three emul-

sion layers are differently sensitive to color motion picture negative which, con- magnetic sound tracks. Such release different colors of light. This means that trary to custom, moves horizontally prints can, of course, be projected on the photo-sensitive silver halide particles through a camera. The scenes are re- any screen including large screens, and in the separate emulsions are exposed corded on an area equal to two full in any aspect ratio from 1.33 to 1 or to by different colors of light. Generally, frames of normal motion picture nega- any larger ratio desired. Since these new color negative films have a filter layer tive. improved TECHNICOLOR dye transfer re- between the top two emulsions. Where Working from such a double frame lease prints are of normal size and posi- the color sensitivity is not complete, this negative the TECHNICOLOR laboratory tion in every respect no special projection filter aids in separating unwanted colors is manufacturing 35mm TECHNICOLOR lens in the theatre is necessary. from a particular emulsion. dye transfer release prints of normal size TECHNICOLOR has been working on In the United States the most widely and position, which may be combined the new system for more than a year, used color negatives are Eastman and with either photographic or multiple resulting in the introduction of laboratory Ansco. In Europe in addition to these two are Agfacolor, Gevacolor and Fer- raniacolor. The TECHNICOLOR labora- tories, in both United States and Eng- land, manufacture release prints from all of these color negative systems. TECHNICOLOR has long recognized that an improvement in the definition or visibility of TECHNICOLOR dye transfer (imbibition) prints when projected in the theatre, especially on large screens, would be possible from a negative re- sulting from almost any system of pho- tography that employed a larger than standard area of negative on which to CINERAMA record the picture information. There are a number of photographic procedures In Cinerama type photography, 35mm color negative film is used, but a larger than normal area is exposed. On each of the three negatives, which are exposed simultaneously in three separate which might bring this about. such One cameras, an area 6 perforations in height and extending completely across the film between the system employs a single strip of 35mm perforations is utilized. — FOUR — Motion Picture Photography

THREE-STRIP NEGATIVE When color motion pictures are photo- graphed by the three-strip method, a

special camera is used. These cameras are manufactured by TECHNICOLOR and are furnished to the motion picture pro- ducer. They are available to him upon demand at his studio or on location.

This camera is unique. It is the only

BLUE IMAGE GREEN IMAGE one used commercially in which three strips of motion picture film are success- es three strips of negative film and incorporates a prism fully exposed simultaneously to exactly it. Two of the films with emulsion surfaces in contact are tc the lens axis. The front film receives the BLUE image the same scene. The strips of film in this ige. The third film is placed directly in back prism of the camera are negative films and each re- gatives after processing appear as above. cords a specific color aspect of a given

scene. As seen in Figure 1, green light

coming from a scene is transmitted through the lens of the camera and thence through a special light-dividing

FIGURE 1 prism. It is recorded on a negative film

which is particularly sensitive to green light. The red and blue colors coming from the same scene pass through the same lens and enter the same special prism; but instead of being transmitted they are reflected to an aperture on the side of the camera. In this aperture two ANAMORPHOSED IMAGE films are traveling. These films are placed (CINEMASCOPE) one in front of the other; the front one

For CinemaScope, the image is recorded on the film records the blue light of the scene, while in the same manner as on other negative film proc- the back one records the red light. esses except the image is compressed horizontally by When developed these means of a special lens. negatives have silver images, and when held up to the light, appear the same as black and white negatives. These special cameras used in this taking process have traveled procedures which are uniquely depend- with location units to every continent of ent upon steps in current TECHNICOLOR the globe. Cameras have been used in techniques. The new method is already the air; under water; and even in the in operation in moderate volume at the craters of volcanoes. Hollywood plant. SUCCESSIVE FRAME NEGATIVE After successful camera tests com- 16MM POSITIVE bined with tests of the TECHNICOLOR The Successive Frame process, used in most animated cartoon photography, uses one strip of black and For expedition photography in rough laboratory procedure, Paramount Studios white negative. In front of the camera lens is country many producers favor the light decided to photograph their high-budget mounted a wheel containing three filters — BLUE, weight 16mm taking system. GREEN and RED. This wheel rotates each Addition- production "White Christmas" using this as scene is photographed three times on successive frames ally, operation of the 16mm equipment process, thus being the first to use it on through each of the three color filters. The negative is less complex. a feature picture. therefore is three times as long as the finished print.

Zhree Negatives Used Abroad

KODACHROME

Similar to color negative, 16mm color positive film has three layers of emulsion, each sensitive to a different primary color — red, green and blue. The commercial film is low in contrast and differs from color negative in that a positive color image is obtained by reversal development rather than a neg- ative. From it three 35mm separation negatives are made. * * * AGFACOLOR GEVACOLOR FERRANIACOLOR All of the taking systems shown on In Europe, there are three additional color negatives, AGFACOLOR, GEVACOLOR and FERRANIA- this COLOR. These negatives are similar to those used in the United States in that three layers of emul- page are being used in the manu- sion are superposed on a single film base. Technicolor manufactures dye transfer prints from these facture of Technicolor release prints. negatives also.

— FIVE — ,

Zecknicolor

* denotes Print by Technicolor Saadia (British) — M-G-M all others Color by Technicolor. Saracen Blade, The — Columbia Saskatchewan — Univ.-lnt'l Scarlet Spear (British) — United Artists CURRENTLY RELEASED Secret of the Incas — Paramount Siege of Red River — Panoram 20th Century-Fox All the Brothers Were Valiant -M-G-M Silver Lode —Bogeaus, RKO Annapurna (British) Mayer-Kingsley — Susan Slept Here — RKO Apache — Linden, United Artists Tanganyika — Univ.-lnt'l Arrow in the Dust • H. Goetz, Allied Artists Taza, Son of Cochise — Univ.-lnt'l Battle of Rogue River — Columbia Tennessee Champ — M-G-M Beachhead — Schenck, United Artists Three Coins in the Fountain — 20th Century-Fox Black Horse Canyon Univ.-lnt'l — Three Sailors and a Girl — Warner Bros. Caine Mutiny, The Columbia — Three Young Texans Carnival Story, The — King Bros., RKO — Panoram c, 20th Century-Fox Casanova's Big Night — Paramount Uncle Willie's Bicycle Shop (Bri tish) Conquest of Everest (British) — United Artists — A.B.P.C., Stratford Dangerous Mission RKO — Valley of the Kings — M-G-M Demetrius and the Gladiators — 20th Century-Fox Yankee Pasha — Univ.-lnt'l Dial M for Murder — Warner Bros. "DEMETRIUS AND THE GLADIATORS" Drums Across the River — Univ.-lnt'l TO BE RELEASED Twentieth Century-Fox Drums of Tahiti — Columbia Elephant Walk — Paramount Adam And Athena M-G-M Barefoot Contessa (British) Flame and the Flesh, The (British) Figaro, Inc. (Rome), United Artists — M-G-M British Studios Ltd. — Beachcomber, The (British) French Line — RKO Gambler from Natchez — London Independent Producers Ltd., United Artists — Panoramic, 20th Century-Fox Bengal Brigade — Univ.-lnt'l Big Rainbow, The RKO Garden of Evil — 20th Century-Fox — Black Dakotas, The Columbia Glenn Miller Story, The — Univ.-lnt'l — Black Knight, The (British) Golden Coach, The (British) — Warwick, Columbia Black Shield of Falworth Univ.-lnt'l — Panaria, United Artists — Gorilla at Large -— Panoramic, 20th Century-Fox Bridges of Toko-Ri, The — Paramount Bullet Is A Gypsy Colt — M-G-M Waiting, — Welsch, RKO Crazy Horse Hell and High Water — 20th Century-Fox Chief — Univ.-lnt'l Her Twelve Men — M-G-M Cinerama Holiday — Cinerama Conquest of Iron Glove, The — Columbia Space — George Pal, Paramount Dawn at Socorro Univ.-lnt'l Jesse James vs. The Daltons — Columbia — Jivaro — Pine-Thomas, Paramount Deep in My Heart — M-G-M Duel in the Jungle (British) Johnny Dark — Univ.-lnt'l A. B.P.C. -Marcel Heilman Prods. ,Ltd. Warner Bros. Knock on Wood — Dena, Paramount — , Laughing Anne (British) — Republic Destry — Univ.-lnt'l Law vs. Billy the Kid, The — Columbia Far Country, The — Univ.-lnt'l “JIVARO" Paramount Living Desert, The —— Disney, Buena Vista Father's Doing Fine (British) — A.B.P.C., Stratford Fire Africa (British) Living It Up — York, Paramount Over — Columbia Magnificent Obsession — Univ.-lnt'l Four Guns to the Border — Univ.-lnt'l

Men of the Fighting Lady — M-G-M Golden Mistress — R-K Prods., Inc. , United Artists Naked Jungle, The — Paramount Green Fire — M-G-M Night People — 20th Century-Fox Hansel and Gretel — Myerberg — - Outlaw Stallion, The — Columbia It Happened in Paradise (British) G.F.D., Astor Passion — Pinecrest, RKO Jesse James' Women — Panorama, United Artists Phantom of the Rue Morgue — Warner Bros. Jet Pilot — RKO Prince Valiant 20th Century -Fox Lady and the Tramp, The — Disney

Princess of the Nile — Panoramic, 20th Century-Fox Last Time I Saw Paris, The — M-G-M Rails into Laramie — Univ.-lnt'l Littlest Outlaw, The (formerly Miraflores) Rear Window — Patron, Paramount — Lansburgh, Disney Red Garters — Paramount Long Gray Line, The — Columbia Rhapsody — M-G-M Long John Silver (British) — Treasure Island Ride Clear of Diablo — Univ.-lnt'l Love Is a Weapon — Pine-Thomas, Paramount River of No Return — Columbia Lucrece Borgia (British) — Films Ariane, United Artists Robe, The — 20th Century-Fox Malaga (British) — Film Locations Ltd., Columbia

"HELL BELOW ZERO" Columbia Zecknicolor

Arctic Rivals — Terrytoons, 20th-Fox Dog Pounded — W.B. Cartoons Ballet Oop — United Prods., Col. Donald's Diary — Disney, RKO Bell Hoppy — W.B. Cartoons Don't Forget to Write — Warner Bros. Belle Boys — Lantz, U-l Drag A Long Droopy — M-G-M Ben & Me — Disney, RKO Feline Frame Up — W.B. Cartoons Blind Date — Terrytoons, 20th-Fox Fish Tales — M-G-M Boo Moon — Famous, Par. Floor Flushers — Famous, Par. Boos and Saddles — Famous, Par. Glimpses of Western Germany -— FitzPatrick, M-G-M Born to Ski — Warner Bros. Go South Amigos — Lantz, U-l Bringing Up Mother — United Prods., Col. Growing Pains — Terrytoons, 20th-Fox Bugs and Thugs — W.B. Cartoons Helpless Hippo — Terrytoons, 20th-Fox Calypso Carnival — Lantz, U-l Heart of a Champion — Warner Bros. Canvas Back Duck — Disney, RKO Hobo Bobo — W.B. Cartoons Captain Hareblower — W.B. Cartoons Hot Noon — Lantz, U-l Cat's Aweigh — W. B. Cartoons How to Relax — Terrytoons, 20th-Fox Cat's Bah W.B. Cartoons How to Sleep — Disney, RKO Chilly Willy — Lantz, U-l Huey's Ducky Daddy — Famous, Par. Continental Holiday — Warner Bros. Hypnotic Hick — Lantz, U-l Cartoons Crazy Town —Famous, Par. 1 Gopher You — W.B. Do or Diet — Famous, Par. In the Valley of the Rhine — FitzPatrick, M-G-M

“THE VANISHING PRAIRIE". Disney — six feature Schedule

Man With a Million (British) G.F.D., United Artists Glass Slipper — M-G-M Man Without a Star — Univ.-lnt'l Joseph and His Brethren — Columbia Many Rivers to Cross — M-G-M Jupiter's Darling — M-G-M Masterson of Kansas — Columbia Lucy Gallant — Pine-Thomas, Paramount Pirates of Tripoli — Columbia Moby Dick (British) — Elstree, Warner Bros. Prize of Gold (British) -Warwick, Columbia Napoleon (British) Purple Plain (British) — Societe de Production des Films C.L.M. (Paris) G.F.D. -Group Film Prods., United Artists Oklahoma! — Rodgers and Hammerstein, M-G-M Raid, The Panoramic, 20th Century-Fox Paris Affair (British) — G.F.D., Group Film Ltd. Romeo and Juliet (British) Prodigal, The — M-G-M United Artists Symphony of Love (British) — Imperial Film (Rome) — G.F.D. , Run for Cover — Pine-Thomas, Paramount White Feather — Panoramic, 20th Century-Fox Secret of the Incas — Paramount Seminole Uprising — Columbia IN PREPARATION Sign of the Pagan — Univ.-lnt'l Smoke Signal — Univ.-lnt'l Animal World, The — Windsor, Warner Bros. So This Is Paris — Univ.-lnt'l Boy and the Bull, The — King Bros. RKO Son of Sinbad — Casta Diva (British) — Documento Film, Rome Bros. Star Is Born, A — Warner Cockleshell Heroes (British) United Artists Star of India (British) — Stross, — Warwick Film Productions Ltd., Columbia Stranger in Town (British) Court Jester — Dena, Paramount — A.B.P.C.-Anglo-Film Ltd., Allied Artists Day Called Tomorrow, A — Univ.-lnt'l Strategic Air Command — Paramount Desperate Hours — Paramount Switzerland, People and Places Executioners, The — Cagney, Warner Bros. Disney, Vista — Buena French Can Can (British) — Franco London Film, Paris Ten Wanted Men — Columbia Gabriel Horn — Flora, United Artists This Island Earth — Univ.-lnt'l Galileans, The — Univ.-lnt'l Columbia They Rode West — Gay Girls, The — Columbia Columbia Three for the Show — Girl Rush, The — Independent Artists, RKO Three Hours to Kill — Columbia Goddess, The — Univ.-lnt'l Three Ring Circus — Wallis, Paramount Great Louisiana Lottery, The — Nat Holt (Bombay) Tiger and the Flame, The (British) — Modi Holiday in Bagdad — Univ.-lnt'l Disney 20,000 Leagues Under the Sea — Indian Fighter, The — King Bros. United Artists Ulysses (British) — Ponti de Laurentiis, Justice Comes to Tomahawk — Univ.-lnt'l

• Vista Vanishing Prairie, The Disney, Buena Lady Godiva of Coventry -— Univ.-lnt'l Vera Cruz - Flora, United Artists Legionnaire — Allied Artists Violent Men — Columbia Lewis and Clark — Cinerama We're No Angels — Paramount Lorenzo the Magnificent (British) - Copa, Columbia West of Zanzibar (British) Madame Butterfly (British) — Gallone (Rome) — G.F.D, Ealing, Univ.-lnt'l Man from Laramie — Columbia White Christmas — Paramount Purple Mask, The — Univ.-lnt'l Woman's World — 20th Century-Fox Red Blizzard — Montgomery Wyoming Outlaws — Columbia Robin Hood, Outlaw — Columbia Yellow Mountain — Univ.-lnt'l Rose Tattoo — Wallis, Paramount What Sailors Are (British) You Know Safari (British) — Warwick, Columbia — G.F.D., United Artists Seven Bad Men — Nat Holt Siluri Umani (British) — Titanus, Rome IN PRODUCTION Sleeping Beauty — Disney So This Is Rio — Univ.-lnt'l African Lion — Disney, Buena Vista Stalk, The (British) — Copa, Columbia Annapolis Story — Allied Artists Swamp Fox — Camden Bad Day at Black Rock — M-G-M Sword of Robin Hood — Camden Blue Horizons — Pine-Thomas, Paramount Ten Commandments, The — Paramount Captain Lightfoot — Univ.-lnt'l Third Girl from the Right — Univ.-lnt'l Casa Ricordi (British) — Documento Film (Rome) To Hell and Back — Univ.-lnt'l Catch a Thief — Paramount Trouble With Harry — Patron, Paramount Cattle Queen of Montana — Pinecrest, RKO Two Soldiers — Cagney, Warner Bros. Eddie Foy Story - Hope, Paramount Vagabond King — Paramount Fils de Caroline, Le (British) - Cinephonic (Paris) Wichita — Allied Artists Foxfire — Univ.-lnt'l You're Never Too Young — York, Paramount

Short Subjects

Log Rollers — Terrytoons, 20th-Fox Rugged Bear — Disney, RKO Looking at Lisbon — FitzPatrick, M-G-M Runaway Mouse — Terrytoons, 20th-Fox Lumber Jack Rabbit — W.B. Cartoons Satisfied Customers — Terrytoons, 20th-Fox Magoo Goes Skiing — United Prods., Col. Seapreme Court — Famous, Par. Magoo Slept Here — United Prods., Col. Sea Sports of Tahiti — Warner Bros. No Barking — W.B. Cartoons Seeing Spain — FitzPatrick, M-G-M No Parking Hare — W.B. Cartoons Shaving Muggs — Famous, Par. Nonsense Newsreel — Terrytoons, 20th-Fox Socko in Morocco — Lantz, U-l North of Sahara — Warner Bros. Spare the Rod — Terrytoons, 20th-Fox Northwest Mousie — Famous, Par. Spare the Rod — Disney, RKO Of Rice and Hen — W.B. Cartoons Surf and Sound — Famous, Par. Pecos Bill — Disney, RKO Tall Tale Teller — Terrytoons, 20th-Fox Pet Problems — Terrytoons, 20th-Fox Tell Tale Heart — United Prods., Col. Plywood Panic — Lantz, U-l Three Little Pups — M-G-M Popeye Ace of Space — Famous, Par. When Fish Fight — Warner Bros. Popeye's 20th Anniversary — Famous, Par. Wild Wife — W.B. Cartoons Prescription for Percy — Terrytoons, 20th-Fox Winter Paradise — Warner Bros. Punch Trunk — W.B. Cartoons Working for Peanuts — Disney, RKO Robot Rabbit — W.B. Cartoons Zero the Hero — Famous, Par. "RHAPSODY" M-G-M — SEVEN — —

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TECHNICOLOR IS THE REGISTERED TRADE-MARK OF TECHNICOLOR MOTION PICTURE CORPORATION

HERBERT T. KAIMUS, PRESIDENT AND GENERAL MANAGER Scanned from the collection of Karl Thiede

Coordinated by the Media History Digital Library www.mediahistoryproject.org