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Word: technicolor (lookup in dictionary) (lookup stats)
Dates: during 1950-1959
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Usage:

...twice on TV; its theme song brays steadily from the nation's jukeboxes; coonskin hats, flintlock muskets and some 100 other Crockett-inspired products flood U.S. stores (TIME, May 23). Now at last, the film has reached movie theaters, but its belated arrival is far from an anticlimax. Technicolor and the wide screen combine to make this classic tale of derring-do bigger and better than ever. The episodic story has been shortened by 40 minutes but not changed: Davy still fights the Creek War, gets elected to Congress, dies gloriously in the Alamo. Newcomer Fess Parker plays...

Author: /time Magazine | Title: Cinema: The New Pictures, Jun. 13, 1955 | 6/13/1955 | See Source »

Chief Crazy Horse (Universal-International) pays a Technicolor installment on Hollywood's mountain of debt to the American Indian: after years of getting clobbered, the redskins this time win three battles in a row over the U.S. cavalry. What's more, the embattled Sioux are given Victor Mature as their peerless leader, but sad to say, when silhouetted against the sky in war paint and feathers, Mature looks more like an aggrieved turtle than an eagle of the plains...

Author: /time Magazine | Title: Cinema: Three Up, Three Down | 5/30/1955 | See Source »

...that is rare in Hollywood westerns. The rootin', tootin' (with Claire Trevor as the whirly-girly) and shootin' are unusually low-falutin. There is one long shot of a man being dragged by a horse through enough barbed wire fence to justify the use of Technicolor in this picture...

Author: /time Magazine | Title: Cinema: The New Pictures, Apr. 4, 1955 | 4/4/1955 | See Source »

...Nero, put thumbs down on "Quo Vadis." In all, many countries outlaw more American films than they admit, and sometimes pay for a portion of their movie imports with the censorship fees. But Hollywood isn't worried yet, and won't, said one producer, "until they get tired of Technicolor...

Author: NO WRITER ATTRIBUTED | Title: Movie Madness | 2/21/1955 | See Source »

...movie itself is a jumble of all the old show business plots, but then this is a huge gathering of all musicals. Glue for the mixture is a pleasing serum of Irving Berlin's tunes and a splashing does of technicolor. Ethel Merman is the film's biggest asset, launching into her songs with a driving enthusiasm that shames Dan Dailey, who is busy worrying about his errant showtime son, Donald. O'Connor hoofs and melodizes in his usual manner, but looks like the Soap-Box Derby Winner with a Cadillac when he romances with a healthier and heftier Marilyn...

Author: By Cliff F. Thompson, | Title: There's No Business Like Show Business | 1/4/1955 | See Source »

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