Technicolor News & Views (November 1953)

TECHNIC

i

President’s M^sage

By DR. HERBERT T. KALMUS

PRICE REDUCTION MADE BY TECHNICOLOR
To Save Industry About $1,800,000 Annually

A price reduction which will give the American motion picture industry savings
at the rate of approximately $1,800,000 annually was announced on August 13,
1953, by Dr. Herbert T. Kalmus, President and General Manager of Technicolor Mo-
tion Picture Corporation.

The price reduction amounts to .35c
(three and one-half tenths of a cent) per
foot on all 35-millimeter dye transfer
motion picture release prints made by
TECHNICOLOR, and delivered from its
Hollywood plant. It affects the major
portion of TECHNICOLOR'S 35-millimeter
release print production. This reduction
makes the base price on such prints
4.98c per foot, as compared to the pre-
vious price of 5.33c per foot. The price
reduction is retroactive to August 1,
1953, and applies to release prints de-
livered on and after that date.

This price reduction was made volun-
tarily by TECHNICOLOR, and comes in a
period of generally rising prices. In view
of current industry conditions — particu-
larly the failure of the motion picture in-
dustry to obtain theater admission tax
relief — the present price reduction an-
nounced by TECHNICOLOR should be
most timely.

In a letter sent by Dr. Kalmus to cus-
tomers he said, in part:

“We are pleased to announce a re-
duction of ,35c per foot in the price of
all 35mm Release Prints, including the
leader footage, made by our Dye Trans-

fer (Imbibition) process and furnished
from our plant in Hollywood, California.
The reduction will be retroactive to Au-
gust 1, 1953, and will apply to all such
prints delivered on and after that date.

“Based on our present volume of busi-
ness, this reduction is at the rate of total
savings to our customers of approxi-
mately $1,800,000 a year, and repre-
sents a continuation of our policy of
lowering prices from time to time as we
find conditions make it possible."

Technicolor, Inc.Earnings
First Nine Months of 1953

The consolidated net profit after taxes
on income of Technicolor, Inc., for the
nine months ended September 30, 1953,
is estimated to be $2,121,518, equiva-
lent to $1.10 per share on the new stock
outstanding, as compared to $1,499,507,
or 80 cents per share (shares adjusted to
new stock basis), for the first nine months
of 1952, according to Dr. Herbert T.
Kalmus, President and General Manager.

I am repeat-
edly asked
what will be
the effect on
TECHNICOLOR
business of the
various new
processes of
ph otography,
la b o r a t o r y
work and exhi-
bition.

The ways for
the public to
dr. kalmus spend its

amusement dollar including radio and
television have become more numerous
and more competitive in recent years,
and consequently as a general proposi-
tion you might expect less money to be
available for any one of them, such as
the motion picture theatre.

The motion picture industry is meet-
ing these challenges by presenting bet-
ter motion pictures to the public and in
more attractive form. CinemaScope, Cin-
erama, 3-D and Todd-American Optical
are attempts in this direction. TECHNI-
COLOR is in the midst of it all.

We number among our customers prac-
tically every important producer in Hol-
lywood, and we are working with most
of them on one or another of these
processes.

In connection with this work a very
important recent development has ema-
nated from the research, technical and
engineering departments of TECHNICOL-
OR. This development permits the pro-
ducer now to have his choice of using
the special TECHNICOLOR three-strip
cameras, or single-strip color negative
such as Eastman color negative or Ansco
color negative through any black and
white motion picture camera, and from
the negative of whichever one of these
he chooses, having his prints made by
TECHNICOLOR using the standard TECH-
NICOLOR dye transfer process or by
TECHNICOLOR using color positive such
as Eastman color positive or Ansco color
positive. That is added flexibility for the
producer.

It is apparent that producers generally
feel that color is more important than
ever with the new screen techniques. I
believe that the motion picture industry
is on the threshold of a new era in which
Color by TECHNICOLOR will have an in-
creasingly important place.

Critics Hail "Robe’s"
Color by Technicolor

Press and public praise of an un-
precedented nature greeted 20th Century-
Fox's first CinemaScope picture, “The
Robe," in Color by TECHNICOLOR, at its
New York and Hollywood openings.

As we go to press, the critical com-
ment includes the following:

“A new era in motion picture history
began last night on the Roxy Theatre
magic mirror screen when 20th Century-
Fox unveiled its long awaited Technicolor
production of 'The Robe' in the new
process known as CinemaScope." — Kate
Cameron in The New York Daily News.

Sherwin Kane in Motion Picture Daily
reported that “Images were clear and
well-lighted, without fuzziness at edges."
The Color by TECHNICOLOR, he said,
“was rich-hued and deep, and illusions
of depth were numerous."

Color by TECHNICOLOR and stereo-
phonic sound “added enormously to the
illusion," in the opinion of Philip K.
Scheurer of The Los Angeles Times.

Technicolor Credit
Phrases Explained

Technicolor has received a number of
requests from exhibitors and others for
clarification of the credits “Color by
TECHNICOLOR" and “Print by TECHNI-
COLOR."

“Color by TECHNICOLOR" is a credit
phrase used for motion pictures in color
which have been controlled through all
stages from the original negative or
“taking" film supplied or developed by
the Technicolor companies to the positive
CONTINUED ON PAGE EIGHT

TECHN (COLOR

NEWS & VIEWS

Vol. XV November, 1 953 No. 2

Published from time to time by

Technicolor Motion Picture Corp.

HERBERT T. KALMUS, President
6311 Romaine Street
Hollywood 38, California

Margaret Ettinger, Editor

— TWO

EXHIBITORS, ATTENTION! This full-page color portrait of beautiful ARLENE DAHL is the ninth 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 TECHNICOLOR
HALL OF FAME. Miss Dahl is currently appearing in "Sangaree," a Pine-Thomas production in Color by TECHNICOLOR, released by Paramount.

“THIS IS CINERAMA" — Cinerama

CINERAMA uses three strips of film projected simultaneously by three synchronized pro-
jectors set at 48° angles to each other. The three images form a continuous panoramic
scene on a screen covering a field of vision 146° wide and 55 high — over 4 V 2 times
as large as the conventional screen. To keep a line from appearing where the three im-
ages meet, tiny comblike bits of steel in each projector at the side of the film track,
vibrate up and down to blend the edges of the film image.

The motion picture industry in the United States is now at a
third point in its evolution — three-dimensional and wide screen
pictures.

The two outstanding points of evolution in the past develop-
ment of the motion picture form of entertainment were the advent
of sound and of color.

The current phase of evolution affects photography, labora-
tory procedure, prints and theatre projection.

The interest occasioned has been heightened by the fact that,
broadly speaking, three different techniques came almost simul-
taneously.

These may be summarized as:

(1) Cinerama, Wide Angle, or Peripheral Vision

This is evidenced by the production “This Is Cinerama"
which created a furore in New York City. It has been playing
there for months with no apparent abatement, and is being shown
in other cities. In the ordinary motion picture theatre the audience
is looking at the picture usually on a screen about 24 feet in
width. With the Cinerama production, the picture is projected on
a screen about three times as wide and one and one-half times
as high as the ordinary picture and the audience feels as if it
were in the picture instead of looking at it. Cinerama employs
three cameras for photography, three projectors and a large
curved screen in the theatre.

(2) CinemaScope

Another procedure for bringing about wide angle vision

is being sponsored by Twentieth Century-Fox Film Corporation
and is called “CinemaScope." In this method of presentation the
effect is also that of wide angle vision which, however, is brought
about in a manner entirely different from Cinerama. Instead of
employing three cameras and three projectors it employs one
camera with a specially designed optical attachment for the lens
and employs one projector in the theatre again with a specially
designed optical attachment. The angle of vision of the audience
may be intermediate between that of the normal flat motion pic-
ture screen and Cinerama. CinemaScope employs a large curved
screen in the theatre in place of the present relatively small flat
screen. The first Cinemascope picture to be released was “The
Robe," by 20th Century-Fox, whose forthcoming pictures in this
medium include “How to Marry a Millionaire" and “Beneath the
12-Mile Reef." Metro-Goldwyn-Mayer has produced “Knights of
the Round Table" and “Rose Marie" for CinemaScope presentation.

(3) Three-Dimensional or Stereoscopic Pictures

Working out and perfecting the equipment and operation
required by Cinerama and CinemaScope to operate in the theatres
on an international scale may take many months. Meanwhile,
processes have appeared which are not similar to either Cinerama
or CinemaScope. These processes are stereoscopic, that is, three-
dimensional, in the sense that human vision is three-dimensional
due to the separation of the two eyes. A number of pictures of
this type are being exhibited, such as “Second Chance" (RKO). An
example of three-dimensional pictures emanated from Great
Britain under the name of Stereo-Techniques, Ltd. and which with

“THE ROBE"— 20th Century-Fox

CINEMASCOPE uses only one strip of film. Scenes are pho-
tographed with an anamorphoscopic wide-view lens in
front of the regular camera lens. This compresses the im-
age within the full aperture of 35mm film. In projection,
another anamorphoscopic placed before the projector lens
expands the compressed image to a screen over two and
a half times as large as the conventional screen.

—FOUR—

mat and Wide Screen Motion Pictures

“FORT Tl" — Columbia

Currently, professional THREE-DIMENSIONAL films may be
photographed on two strips of film with two cameras set
for proper convergence and inter-ocular distance. In view-
ing, left and right images are projected through light polar-
izing filters onto a special metallic screen. The audience
must wear special light polarizing viewing glasses to ob-
serve the illusion of depth on the screen.

the help and cooperation of Technicolor Motion Picture Corpora-
tion's British affiliate. Technicolor Limited, photographed the
stereoscopic film "Royal River" in Color by TECHNICOLOR for the
Festival of Britain.

As yet there has been no process yielding three-dimensional
pictures which does not require the audience to wear glasses or
attachments of some sort.

There are a number of variations in the wide screen field. All
the major studios are now using screens in this category.

TECHNICOLOR is cooperating with most of the new processes,
in the interests of the motion picture industry, through the means
of any device which will enhance the entertainment value or
lower the cost of screen presentation entertainment.

TECHNICOLOR was especially well equipped to deal with the
changes indicated by the new processes. The company has always
strongly believed in operating a vigorous and growing research
department, and is in an improved position to give the motion
picture industry the laboratory service and prints it requires..

TECHNICOLOR has evolved a three-dimensional camera system
of its own, using two of its regular three-strip cameras with a
connecting optical system. The first picture thus photographed is
"Money from Home," a Hal Wallis production for Paramount.

At all points i.n its evolution the motion picture industry has
aimed at increasing the entertainment value of its product.

It is expected that the coming of the new techniques will
bring appreciably nearer the day of the all-color screen.

In the pioneer days of motion picture photography in color.

the goal of perfected color on the screen seemed very far. It took
years of research and development, of methods tried and found
wanting, of subsquent procedures that proved successful, to
bring present-day Color by TECHNICOLOR to the screen.

Before color had really succeeded on the screen, the motion
picture industry underwent the great change of replacing the
silent film with sound. In all the great evolution periods of the
industry, TECHNICOLOR has been exceptionally equipped, by long
experience and scientific study, to meet the needs of the cine-
matic art.

Today, as a recession from sound is unthinkable, so is it cer-
tain that increased emphasis will be placed on the use of color.

Cinerama has signed a contract with TECHNICOLOR for the use
of Color by TECHNICOLOR in its productions. Twentieth Century-
Fox has announced that all of its CinemaScope pictures will be
produced with Color by TECHNICOLOR.

At the present writing it is still too early to forecast with any
degree of accuracy what definite course the screen's evolution
will take . . . whether one idea or process will dominate or if
various techniques will function concurrently.

It may be predicted, however, that whichever course or courses
screen development may take, TECHNICOLOR will be in the position
it now occupies — the soundest guarantee of box office attraction.

The progress of the cinematic art naturally includes an in-
creased movement toward the use of color. The advent of the new
wide angle and/or three-dimensional processes should mean an
increasing demand for the services and products of TECHNICOLOR.

“THUNDER BAY" — Univ.-lnt'l

A typical example of the new wide screens is that of Uni-
versal-International. This utilizes only one strip of standard
film, and the projectors use a wide angle lens to spread the
normal film image to the wide angle screen. The curved
screen is treated to give greater light magnification.

— FIVE —

CURRENTLY RELEASED

"THE LIVING DESERT" Disney

GOLDEN BLADE"

Univ.-lnt'l

“BOTANY BAY" Paramount

"BENEATH THE TWELVE MILE REEF"

20th Century-Fox

Zeckmcolor

“Affair at Monte Carlo'' (British)

— A.B.P.C., Allied Artists
1 All Ashore'' — Columbia

“Ambush at Tomahawk Gap" — Columbia

“Arena" — M-G-M

“Arrowhead" — Nat Holt, Paramount

“Band Wagon, The" — M-G-M

“Beggar's Opera, The" (British)

— Imperadio Pictures, Ltd., Warner Bros.
“Below the Sahara" — RKO Pathe, Inc., RKO

“By the Light of the Silvery Moon" — Warner Bros.
“Call Me Madam" — 20th Century-Fox

“City of Bad Men" [formerly “Fight Town")

— 20th Century-Fox
“Column South" — Univ.-lnt'l

“Conquest of Cochise" — Columbia

"Dangerous When Wet" — M-G-M

“Desert Legion" — Univ.-lnt'l

“Desert Song" — Warner Bros.

“Devil's Canyon" (formerly "Arizona Outpost") — RKO

"Sea Devils" (British)

— Coronado Prods. (England) Ltd., RKO

— 20th Century-Fox
Kramer, Columbia

— Columbia
— Columbia

— 20th Century-Fox

— 20th Century-Fox

— Paramount
— Univ.-lnt'l

"Farmer Takes a Wife, The'

"5,000 Fingers of Dr. T"

“Flame of Calcutta"

“Fort Ti"

“Gentlemen Prefer Blondes"

“Girl Next Door, The"

“Girls of Pleasure Island, The'

“Great Sioux Uprising, The"

“Gun Belt" (formerly “Tombstone Express")

— Edward Small, United Artists

“Gun Smoke" — Univ.-lnt'l

Houdini" — George Pal, Paramount

“Inferno" — 20th Century-Fox

“It Started in Paradise" (British) — Rank, Astor

“Jack McCall, Desperado" — Columbia

"Jamaica Run" Pine-Thomas, Paramount

“Johnny the Giant Killer" (British)

— Jean Image, Paris; Lippert
“Latin Lovers" — M-G-M

“Law and Order" — Univ.-lnt'l

“Let's Do It Again" — Columbia

“Lili" — M-G-M

“Lone Hand" — Univ.-lnt'l

“Man from the Alamo" — Univ.-lnt'l

“Master of Ballantrae, The" (British) — Warner Bros.
“Melba" (British)

— Horizon Pictures (G.B.) Ltd., United Artists
“Mogambo" (British) — M-G-M British Studios Ltd.
“Paris Express" (British) — Raymond Stross

“Penny Princess" (British) — Rank, Univ.-lnt'l

“Pony Express" — Nat Holt, Paramount

“Powder River" — 20th Century-Fox

“Queen Is Crowned, A" (British) — G.F.D., Univ.-lnt'l
“Raiders of the Seven Seas"

— Edward Small, United Artists
“Return to Paradise" (British)

— Aspen Prods. Ltd., United Artists
“Ride, Vaquero" — M-G-M

“Robe, The" — 20th Century-Fox

“Salome" — Columbia

“Sangaree" — Pine-Thomas, Paramount

“Scandal at Scourie" — M-G-M

“Sea Around Us, The" — RKO

"Second Chance
"Seminole"

"Serpent of the Nile"

"Shane"

"Siren of Bagdad"

"Small Town Girl"

"Sombrero"

"So This Is Love"

"Stars Are Singing, The"

"Story of Three Loves"

"Stranger Wore a Gun, The'

(formerly "I Ride Alone'"

"Sword and the Rose, The" (British)

— Walt Disney British Films, Ltd

— RKO

— Univ.-lnt'l

— Columbia

— Paramount

— Columbia
— M-G-M
— M-G-M

Warner Bros.

— Paramount
— M-G-M

— Columbia

RKO

"Take Me to Town" — Univ.-lnt'l

"Taza, Son of Cochise" — Univ.-lnt'l

"This Is Cinerama" — Cinerama

“Thunder Bay" — Univ.-lnt'l

"Titfield Thunderbolt, The" (British)

— Rank, Univ.-lnt'l
"Tonight at 8:30" (British) — Rank-Continental

"Tonight We Sing"
"Vanquished, The"
"War of the Worlds"
"White Witch Doctor"
"Wings of the Hawk"
"Young Bess"

— 20th Century-Fox
— Pine-Thomas, Paramount

— George Pal, Paramount

— 20th Century-Fox

— Univ.-lnt'l
— M-G-M

TO BE RELEASED

"All the Brothers Were Valiant" — M-G-M

"Animal Farm" (British)

— Halas & Batchelor Cartoon Films Ltd.
"Appointment in Honduras"

(formerly "Rage of the Jungle") — Bogeaus, RKO
"Arrow in the Dust" — Goetz, Allied Artists

"Back to God's Country" — Univ.-lnt'l

"Battle of Rogue River, The" — Columbia

"Beachhead" — Schenck, United Artists

"Beneath The Twelve Mile Reef"

— • 20th Century-Fox
"Big Jump, The" (British) — Warwick, Columbia
"Black Knight, The" (British)

— Warwick Film Prods. Ltd.
"Border River" — Univ.-lnt'l

"Botany Bay" — Paramount

"Caine Mutiny, The" — Kramer, Columbia

"Calamity Jane" — Warner Bros.

"Carnival Story" — King Bros., RKO

"Casanova's Big Night"

(formerly “Mr. Casanova") — Paramount

“Charge of the Lancers" — Columbia

"Cruisin' Down the River" — Columbia

"Demetrius and the Gladiators"

(formerly “The Gladiators") — 20th Century-Fox
"Doctor in the House, A" (British)

— G.F.D. -Group Film Productions Ltd.
"Drums of Tahiti" — Columbia

"Duel in the Jungle" (British)

— A. B.P.C. -Marcel Heilman Prods. Ltd.

Zeckmcolor

“Aero-Nutics
“Baby Wants a Battle"

"Bargain Days"

"Better Bait than Never"

"Bully for Bugs"

"By the Old Mill Scream"

"Cattails for Two"

“Catty Cornered"

"Christopher Crumpet"

"Copenhagen, City of Towers"

“Delightful Denmark"

"Don's Fountain of Youth"

"Drinks on the Mouse"

"Duck Dodgers of the 24 V 2 Century" — W.B
"Duck Rabbit Duck" — W.B

— Famous, Par.
— Famous, Par.

— Terrytoons, 20th-Fox

— Famous, Par.
— W.B. Cartoons
— Famous, Par.
— W.B. Cartoons
— W.B. Cartoons

— United Prods., Col.

— FitzPatrick, M-G-M
— FitzPatrick, M-G-M

— Disney, RKO
— Famous, Par.
Cartoons
Cartoons

"Easy Peckins"
"Fiesta Frolics"

- W.B. Cartoons
— U-l

"Firemen's Brawl"

"Flying Turtle"

"Football Now and Then"
"For Whom the Bull Toils"
"Gone Fishin"

"Half Pint Palomino"
"Herman, the Catoonist"
"How to Dance"

"How to Keep Cool"
"Invention Convention"
"Johannesburg, City of Gold"
"Just Ducky"

"King of the Sky"

"Little Boo Peep"

"Little Johnny Jet"

— Famous, Par.

— Lantz, U-l
— Disney, RKO
— Disney, RKO
— W.B. Cartoons
— M-G-M
— Famous, Par.
— Disney, RKO
— Terrytoons, 20th-Fox
— Famous, Par.
— FitzPatrick, M-G-M
— M-G-M
— U-l
— Famous, Par.
— M-G-M

"Little Roquefort in Mouse Menace"

— Terrytoons, 20th-Fox

— SIX-

i

feature Schedule

"East of Sumatra"

"Easy to Love"

"Eddie Cantor Story, The"
"Elephant Walk"

"Far Country"

"Father's Doing Fine" (British)
"Flight to Tangier"

"Fort Laramie"

"French Line"

"Gatling Gun"

"Gilbert and Sull

— Univ.-lnt'l
— M-G-M
— Warner Bros.
— Paramount
— Univ.-lnt'l
— A.B.P.C., Stratford
— Nat Holt, Paramount
— Univ.-lnt'l
— RKO

- Panoramic, 20th Century-Fox
llivan" (British)

— British Lion Prods., United Artists

"Give a Girl a Break" — M-G-M

"Glenn Miller Story, The"

(formerly "Moonlight Serenade) — Univ.-lnt'l

"Golden Blade, The" — Univ.-lnt'l

"Golden Coach, The (British)

— Panaria Film, Rome; United Artists
"Gorilla at Large" — Panoramic, 20th Century-Fox
"Gun Fury" — Columbia

"Gypsy Colt" — M-G-M

"Hell and High Water" - — 20th Century-Fox

"Here Come the Girls" — Paramount

"His Majesty O'Keefe" (British)

— Norma, Warner Bros.
"How to Marry a Millionaire" — 20th Century-Fox
"Invitation to the Dance" (British)

— M-G-M British Studios, Ltd.
"Jesse James Versus the Daltons" — Columbia

— RKO

— 20th Century-Fox

— Columbia
— M-G-M

— Dena, Paramount

"Jet Pilot"

"King of the Khyber Rifles"

"Kiss and the Sword, The"

"Kiss Me Kate"

"Knock on Wood"

"Laughing Anne" (British)

— ■ Imperadio Pictures Ltd., Republic
"Lion Is in the Streets, A" — Cagney, Warner Bros.
"Living Desert, The" — Disney

"Long, Long Trailer, The" — M-G-M

"Lost Treasure of the Amazon"

— Pine-Thomas, Paramount
"Loves of Three Women, The" (British)

(formerly "Three Women") — Antares Film, Rome
"Maddalena" (British)

"M iss Baker's Dozen"

"Miss Sadie Thompson"

(formerly "Sadie Thompson")

"Money from Home" —

"Naked Jungle" —

"Nebraskan, The"

"Night People" (formerly "The Cannibals")

- 20th Century-Fox

- Titanus, Rome

— M-G-M

— Columbia
— Hal Wallis

— Paramount
— Columbia

"O'Leary Night" (British)
"Port of Spain" (British)
"Prince of Bagdad"
"Prince Valiant"
"Prisoner of the Casbah"

— A.B.P.C.-Anglofilm Ltd.
— Film Locations Ltd.

— Univ.-lnt'l
— 20th Century-Fox
— Columbia

"Rainbow Jacket" (British) (formerly

"Newmarket Heath") — G.F.D. -Ealing Studios Ltd.
"Red Garters" — Paramount

"Rhapsody" — M-G-M

"Ride Clear of Diablo" — Univ.-lnt'l

"River of No Return" — 20th Century-Fox

"Rob Roy" (British)

— Walt Disney British Films Ltd., RKO

Short Subjects

"Magoo's Masterpiece"

"Maw and Paw"

"Melody"

"Mouse and the Lion"

"New Neighbor"

"No Place Like Rome"

"North Pal"

"Operation Sawdust"

"Plop Goes the Weasel"
"Popeye's Mirthday"

"Red Hot Riding Hood"
"Reluctant Pup" -

"Royal Mounties'

"Safety Spin"

"Southern Fried Rabbit"

"Sparky the Firefly" —

"Street Cat Named Sylvester, A'

— United Prods., Col.

— Lantz, U-l
— Disney, RKO
— Lantz, U-l
— Disney, RKO
: — Famous, Par.
— Famous, Par.
— Lantz, U-l
— W.B. Cartoons
— Famous, Par.
— M-G-M

- Terrytoons, 20th-Fox

— Warner Bros.

— United Prods., Col.

— W.B. Cartoons

- Terrytoons, 20th-Fox

— W.B. Cartoons

"Rose Marie" — M-G-M

"Saskatchewan" - — -Univ.-lnt'l

"Slaves of Babylon" — Columbia

"Son of Sinbad" — RKO

"Stand at Apache River,' The" — Univ.-lnt'l

"Summer Storm" (British) — Lux Film, Rome

"Tennessee Champ" — M-G-M

"Those Redheads from Seattle"

(formerly "Sisters from Seattle")

— Pine-Thomas, Paramount
"Three Sailors and a Girl" — Warner Bros.

"Three Texans" — Panoramic, 20th Century-Fox

"Thunder in the North" RKO

"Thunder Over the Plains" — Warner Bros.

"Torch Song" — M-G-M

"Tumbleweed" (formerly"Three Were Renegades")

— Univ.-lnt'l

"Ulysses" (British) — Ponti-de Laurentiis, Rome

"Vanishing Prairie, The" — Disney

"Wakamba" — Jarville Studios

"Walking My Baby Back Home" — Univ.-lnt'l

"War Arrow" (formerly "Brady's Bunch")

— Univ.-lnt'l

"We Believe in Love" (formerly "There's

No Place Like Rome") — 20th Century-Fox
"West of Zanzibar" (British)

— G.F.D. -Ealing Studios Ltd.
"Yankee Pasha" — Univ.-lnt'l

IN PRODUCTION

"Annapolis Story" — Allied Artists

"Attila, Scourge of God" (British)

— Ponti de Laurentiis, Rome
"Beachcomber, The" (British)

— London Independent Prods. Ltd.
"Black Prince, The" (British) — A.B.P.C.

— Linden Prods.
Documento Films, Rome
— Cinerama
— Filmsonor, Paris
— Univ.-lnt'l

"Broncho Apache"

"Casa Ricordi" (British). - —

"Cinerama # 1 "

"Clouzot Subject" (British)

"Drums Along the River"

"Glorious Days, The" (British)

— Imperadio Pictures, Ltd.
"Ha nsel and Gretel" — Myerberg

"Johnny Dark" — Univ.-lnt'l

"Judith and Holofernes" (British)

— Ponti de Laurentiis, Rome
"Lady and the Tramp" — Disney

"Magnificent Obsession" — Univ.-lnt'l

"Mambo" (British) — Ponti de Laurentiis, Rome

"Miraflores" — Lansburgh, Disney

"Parisienne, La" (British) — Films Ariane, Paris

"Purple Plain, The" (British)

— G.F.D. -Two Cities Films Ltd.

"Saracen Blade"

"Silver Nutmeg, The" (British)

— "Mayflower"

"Sodom and Gomorrah" (British)
"Star is Born, A"

"Tanganyika"

"White Christmas"

"Wild Horse Canyon"

"Young Lovers" (British)

— Columbia

Pictures Corp., Ltd.
— Titanus, Rome
— Warner Bros.
— Univ.-lnt'l
— Paramount
Univ.-lnt'l
— G.F.D.

"Surf Bored"

"TV of Tomorrow"

"That's My Pup"

"Timid Scarecrow, The"
"Toreadorable"

"Travel Quiz"

"Unicorn in the Garden" —

"Walky Talky Hawky"

"Wee Willie Wild Cat"

"When Mousehood Was in Flower"

— Famous, Par.
— M-G-M
— M-G-M
-Terrytoons, 20th-Fox
— Famous, Par.
— M-G-M
— United Prods., Col.
— W.B. Cartoons
— M-G-M

"Where the Tradewinds Play"
"Wild Over You"

"Winner by a Hare"
"Wrestling Wrecks"

"Zipping Along"

-Terrytoons, 20th-Fox
— Warner Bros.

W.B. Cartoons
— Famous, Par.
— Lantz, U-l
— W.B. Cartoons

“THE ROBE" 20th Century-Fox

"MOGAMBO" M-G-M

“DRUMS OF TAHITI" Columbia

—SEVEN—

“THE EDDIE CANTOR STORY". Warner Bros.

Theatre — Chicago, III. — Telenews Theatres.

Warners — New York — Stanley-Warner Theatres

Fox — San Francisco
Fox West Coast

Mayfair — New York — Brandts' Theatres

Technicolor Credit
Phrases Explained

CONTINUED FROM PAGE TWO

release prints produced by the Techni-
color companies.

"Print by TECHNICOLOR'' is a credit
phrase used for motion pictures in color
which are photographed on negative or
"taking" film other than that supplied
or developed by the Technicolor com-
panies but which are, however, controlled
by the Technicolor companies through
some or all of the stages subsequent to
photography always including produc-
tion of the positive release prints.

In brief:

"Color by TECHNICOLOR" is applied
to a picture which has been photo-
graphed on film supplied or developed
and its release prints produced by Tech-
nicolor. ■

"Print by TECHNICOLOR" is applied
to a picture photographed on film not
supplied or developed by Technicolor,
but the release prints of which were pro-
duced by Technicolor.

TECHNICOLOR

IS THE REGISTERED TRADE-MARK OF

TECHNICOLOR MOTION PICTURE CORPORATION

HERBERT T. KALMUS, PRESIDENT AND GENERAL MANAGER

Scanned from the collection of

Karl Thiede

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