Word: technicolorful
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...film is black & white, not Technicolor; color feeds the senses and cloys the mind, and this is not a poem of sensuousness, but of sensibility. There is something approaching, if not quite achieving, absolute depth of focus. There is no pageantry and no ornament; the great, lost creatures of the poem move within skull-stark El-sinore-like thoughts and the treacherous shadows of thoughts. (Roger Purse's sets, as nobly severe and useful as the inside of a gigantic cello, are the steadiest beauty in the film. Next best: the finely calculated movement and disposal of the speakers...
...look at General Aniline & Film Corp.'s three-color process (Ansco Color) in the independent movie, Sixteen Fathoms Deep. As the color is incorporated in the negative, making it possible to record it with an ordinary black & white camera, General Aniline hopes that Ansco will eventually compete with Technicolor. In some Sixteen Fathoms scenes Ansco Color, like the new Rouxcolor of Paris' Roux brothers (TIME, June 7), seemed far more natural than the more expensive Technicolor. But in other scenes Ansco Color was washed out, and faces were often only pale blobs. Ansco blamed most of the faults...
Till The Clouds Roll By--Review day at the U.T. offers what is at its best a technicolor collection of Jerome Kern's great songs. At its worst, it is only a little more awful than the various other film biographies of composers...
...such superheated ban-nerlines last week was a new colored movie process called Rouxcolor. Though hardly as colossal as the excitable French puffs made out, the first Rouxcolor films made moviemen sit up & take notice. To many they seemed sharper and more nearly faithful to natural color values than Technicolor itself. Furthermore, Rouxcolor is an impressive cost-cutter: it can be made with an ordinary black& -white camera equipped with a special lens-at about the same cost as black-&-white film...
River Lady (Universal-International) is a solid little "sleeper" in a solid set of Technicolor pajamas. The studio seems to have intended making just another Yvonne de Carlo picture. But Scripters D. D. Beauchamp and William Bowers somehow got inspired by a logging war and turned out a trim screenplay; they even went so far as to write some good dialogue. Rough-hewn Rod Cameron turns in a smooth-sawn performance as a lumberjack, and Newcomer Helena Carter is expert as the girl who takes Rod away from his fancy lady (Miss De Carlo). Also starred is a redwood tree...