Word: technicoloration
(lookup in dictionary)
(lookup stats)
Dates: all
Sort By: most recent first
(reverse)
...according to his lights, left the youngsters plenty to work with. They had a $6,000,000 production nut to crack, along with "a million-two" ($1,200,000) set aside for promotion. They had Vista-Vision, Technicolor, five big stars (Charles Boyer, Charlton Heston, Claire Bloom, Inger Stevens and the berugged Brynner), 55 featured players, 100 bit-players, 12,000 calls for extras, 60,000 props-including 15 authentic pirogues, $100,000 worth of genuine antique furniture and two boxcarloads of Spanish moss and cypress trees. Not to overlook one of the best true-adventure stories in American history...
...movie's Producer-Director Stanley Donen had about $1,500,000 to squander. Instead of painted flats, he had the city of London for his backdrop, and some of the city's stateliest halls for his interiors. Instead of nature's timid hues, he had Technicolor. Instead of a couple of merely famous names-Mary Martin and Charles Boyer-on his marquee, he had two of the biggest that have ever been in the business-Ingrid Bergman and Gary Grant...
...brute almost as much as he hates his half brother Einar (Kirk Douglas), who is Ragnar's legitimate son and heir. One day Eric flies his hawk at Einar's face, and the beast tears out one of his eyes-a scene that is especially effective in Technicolor. In reprisal, Eric is chained in a tidal pool to be eaten alive by crabs, but he calls on Odin, and the tide goes...
Tonight at 8:30 is a series of technicolor comedies keyhole-peeping into the lives of a husband-and-wife vaudeville team, a non-U family on London's seamier side, and a couple of young bon vivants broke in Southern France...
...seat-flattening length of 2 hr. 51 min.-plus a 15-minute intermission. They gave it the supercolossal screen of the Todd-AO process and twirled the volume knob on the stereophonic sound system until the chandeliers began to rattle. They gave it some of the smoothest Technicolor that has ever creamed a moviegoer's eyeballs; but then, gripped by the fear that all this would be too subtle, they decided to smear "mood" all over the big scenes by shooting them through filters. Result: too often the actors are tinted egg yellow, turtle green-and sometimes phosphorescent fuchsia...