Word: metrocolor
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Dates: during 1960-1969
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...with good committed art. Since then, the money increased, Hollywood beckoned, Polanski learned English, and his films have apparently fallen into every cinematic pitfall readily available. Repulsion revelled in cheap lens distortion and sound effects, and The Fearless Vampire Killers was lousy with back-drops painted in poorly processed Metrocolor...
GRAND PRIX. With the help of Cinerama, Metrocolor and Super Panavision, Director John Frankenheimer has captured most of the excitement-and all of the noise-of last year's nine-race Grand Prix competition for Formula One racing cars. Top billing goes to Yves Montand, James Garner, Eva Marie Saint and Franchise Hardy, but the true stars are the cars, performing in some of the most spectacular sequences ever filmed of metal in motion...
GRAND PRIX. With the help of Cinerama, Metrocolor and Super Panavision, Director John Frankenheimer has captured much of the excitement-and all of the noise-in last year's nine-race Grand Prix competition for Formula One racing cars. Top billing goes to Yves Montand, James Garner, Eva Marie Saint and Francoise Hardy, but the true stars are the cars, performing in some of the most spectacular sequences ever filmed of metal in motion...
...circuit, they were tailgated by Director John Frankenheimer and 16 camera teams. By season's end, at a cost of $7,500,000, Frankenheimer & Co. had shot 1,000,000 film feet of Formula One racing-some of it real, some of it rigged, all of it in Metrocolor of admirable luster. Out of this ava lanche of acetate, the director has constructed a motion picture that crams the supercolossal Super Panavision screen with some of the most spectacular pictures ever taken of metal in motion...
Jumbo. Broadway's elephantasy of 1935, pumped full of Metrocolor, comes to the screen as a "pulchatoobinous pachadoim" of a picture-anyway, that's the way Jimmy Durante says it, and in this picture Jimmy himself is 100% right. Martha Raye is 99% right. And Doris Day is Doris...