Misplaced Pages

#520479

69-395: The Wrong Man is a 1956 film directed by Alfred Hitchcock. The Wrong Man may also refer to: The Wrong Man It is recognized as the only Hitchcock film based on a true story and whose plot closely follows the real-life events. The Wrong Man had a notable effect on two significant directors: it prompted Jean-Luc Godard 's longest piece of written criticism in his years as

138-524: 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

207-424: 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

276-486: A delicatessen that had also been robbed by the same man. He is asked to write the words from a stick-up note used by the robber in the insurance company robbery; he misspells the word "drawer" as "draw"—the same mistake made in the robber's note. After being picked out of a police lineup by an employee of the insurance company who had witnessed the robberies, he is arrested on charges of armed robbery. Attorney Frank O'Connor sets out to prove that Manny cannot possibly be

345-406: A life insurance company to borrow money against Rose's policy, he is mistaken by the staff for a man who had held them up twice. He is questioned by the police, who call him "Chris" rather than Manny, and tell him that they are looking for a man who had robbed the insurance company and other businesses, and that he might be their man. Manny is instructed to walk in and out of a liquor store and

414-477: 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

483-404: 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

552-546: 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

621-453: A critic, and it has been cited as an influence on Martin Scorsese 's Taxi Driver . Alfred Hitchcock (or a double; he is in silhouette) appears on screen to tell the audience that the film's "every word is true". Christopher Emmanuel "Manny" Balestrero, a down-on-his-luck musician at New York City 's Stork Club , needs $ 300 for dental work for his wife Rose. When he visits the office of

690-599: A darkened studio before the credits at the beginning of the film, announcing that the story is true. Originally, he intended to be seen as a customer walking into the Stork Club, but he edited himself from the final print. Many scenes were filmed in Jackson Heights , the neighborhood where Manny lived when he was accused. Most of the prison scenes were filmed among the convicts in a New York City prison in Queens . The courthouse

759-565: A field day in his art of characterization and suspense". Harrison's Reports was also positive, calling it "grim but absorbing melodramatic fare", with Henry Fonda and Vera Miles "highly effective" in their roles. Jean-Luc Godard , in his lengthy treatise on the film, wrote, "The only suspense in The Wrong Man is that of chance itself. The subject of this film lies less in the unexpectedness of events than in their probability. With each shot, each transition, each composition, Hitchcock does

SECTION 10

#1733093330521

828-450: 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

897-445: 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

966-588: 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

1035-726: A somber case history that merely points a finger of accusation. His principals are sincere and they enact a series of events that actually are part of New York's annals of crime but they rarely stir the emotions or make a viewer's spine tingle. Frighteningly authentic, the story generates only a modicum of drama." Philip K. Scheuer of the Los Angeles Times agreed, writing, "As drama, unhappily, it proves again that life can be more interminable than fiction." Richard L. Coe of The Washington Post wrote, "Having succeeded often in making fiction seem like fact, Alfred Hitchcock in The Wrong Man now manages to make fact seem like fiction. But it

1104-512: 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 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

1173-737: 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

1242-402: Is a family of color motion picture processes. The first version, Process 1, 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

1311-423: Is named "Manny 'The Wrong Man' Balestrero Way", at 73rd Street and 41st Avenue. The street is not far from the former real-life Balestrero home. The theatrical release poster from The Wrong Man appears briefly in the film Zodiac (2007). The poster is on the wall in a scene where Robert Graysmith ( Jake Gyllenhaal ) is watching a news program in his flat (approx. 36:13). Technicolor Technicolor

1380-414: Is not good nor interesting fiction." John McCarten of The New Yorker declared, "Mr. Hitchcock makes a good point about the obtuseness of a police group that holds firm to the belief that everyone is guilty until proved innocent, but his story of the badgered musician is never very gripping." The Monthly Film Bulletin wrote that the early police procedural scenes "make a powerful contribution to

1449-677: Is the human condition." In 1998, Jonathan Rosenbaum of the Chicago Reader included the film in his unranked list of the best American films not included on the AFI Top 100 . Manny Balestrero sued the city for false arrest . Asking $ 500,000, he accepted a settlement of just $ 7,000. He earned $ 22,000 from the film (which he reportedly liked), and it went to repaying loans for Rose's care, although she never fully recovered, dying in 1984. Manny died in 1998. A street in Jackson Heights, Queens,

SECTION 20

#1733093330521

1518-661: 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 the Wind (1939), the film Blue Lagoon (1949), and animated films such as Snow White and

1587-483: The rosary after his mother urges him to pray for strength. A juror's remark forces a mistrial . While awaiting a second trial, Manny is exonerated when the true robber is arrested holding up a grocery store. Manny visits Rose at the hospital to share the good news, but she remains severely depressed. Still, it is said that she recovers two years later. Cast notes A Hitchcock cameo is typical of most of his films. In The Wrong Man , he appears only in silhouette in

1656-404: 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

1725-510: 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

1794-742: 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

1863-1106: 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 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

1932-506: 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

2001-481: 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

2070-544: 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

2139-460: 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

The Wrong Man (disambiguation) - Misplaced Pages Continue

2208-454: 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

2277-530: 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

2346-413: 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

2415-552: 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

2484-410: The effectiveness of the film's first part", but that Rose's hospitalization felt like a "dramatically gratuitous development, particularly as its demands are ill met by the actress concerned", and that the final act of the film suffered a "slow decline into a flatly factual ending". Variety called the film "a gripping piece of realism" that builds to a "powerful climax, the events providing director

2553-487: 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

2622-459: 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

2691-413: The film may be the "least fun" of Hitchcock's Hollywood period, but that it "is as fluently styled a movie as Hitchcock ever made". Richard Brody of The New Yorker wrote that "few films play so tightly on the contrast between unimpeachably concrete details and the vertiginous pretenses of reality. Hitchcock’s ultimate point evokes cosmic terror: innocence is merely a trick of paperwork, whereas guilt

2760-412: 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

2829-406: 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

The Wrong Man (disambiguation) - Misplaced Pages Continue

2898-422: 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

2967-442: 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

3036-520: 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

3105-447: 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

3174-418: 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

3243-629: 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,

3312-507: The nightclub scenes. This was Hitchcock's final film for Warner Bros. It completed a contractual commitment that had begun with two films that were produced for Transatlantic Pictures and released by Warner Bros.: Rope (1948) and Under Capricorn (1949), his first two films in Technicolor . After The Wrong Man , Hitchcock returned to Paramount Pictures . A. H. Weiler of The New York Times wrote that Hitchcock "has fashioned

3381-464: 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

3450-472: The only thing possible for the rather paradoxical but compelling reason that he could do anything he liked." The film ranked fourth on Cahiers du Cinéma ' s Top 10 Films of the Year List in 1956. The film holds an approval rating of 93% on Rotten Tomatoes , based on reviews from 27 surveyed critics, with an average rating of 8.1/10. Glenn Kenny , writing for RogerEbert.com in 2016, stated that

3519-432: 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,

SECTION 50

#1733093330521

3588-501: 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

3657-441: 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

3726-425: The right man. At the time of the first hold-up, he was on vacation with his family, and at the time of the second, his jaw was so swollen that witnesses would certainly have noticed. Of the three people with whom the couple played cards at the vacation hotel, two have died and the third cannot be found. This devastates Rose, whose resulting depression forces her to be hospitalized. During Manny's trial, he prays with

3795-560: 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

3864-480: 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

3933-486: 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

4002-475: 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

4071-595: 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

4140-405: 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

4209-412: 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

SECTION 60

#1733093330521

4278-412: 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

4347-638: 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

4416-455: Was located at the corner of Catalpa Avenue and 64th Street in Ridgewood . Bernard Herrmann composed the soundtrack , as he did for all of Hitchcock's films from The Trouble with Harry (1955) to Marnie (1964). It is one of the most subdued scores Herrmann ever wrote, and one of the few that he composed with some jazz elements, primarily to represent Fonda's appearance as a musician in

4485-399: 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

4554-433: 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

4623-423: 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

4692-518: 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

4761-432: 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

#520479