Word: technicolors
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Dates: during 1940-1949
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Sometimes British Cinemaster J. Arthur Rank must feel that nobody in the world appreciates a really enterprising man. He might have expected cheers for his latest ambitious project: to put a full-length Technicolor record of this summer's Olympic Games on the world's screens within a bare three weeks of the last event. Instead, the predominant noise was a squawk from other moviemakers, shut out of the Olympics when Rank paid ?25,000 for exclusive film (and television) rights. By last week, however, with Rank's announcement of final arrangements, everyone calmed down...
...fine, eye for crisis and sidelight, pageantry and crowd, and assembled them with one of the world's most striking talents for cutting. To handle Britain's film, Rank has hired bouncing, white-haired little Castleton Knight, 54, head of Gaumont British News, who did the Technicolor films of the royal wedding and the royal wedding presents...
Easter Parade (MGM) would have more than enough if it presented nobody but Fred Astaire. Besides Astaire, it has Judy Garland, Peter Lawford, Technicolor, several old, durable songs by Irving Berlin, and some perishable but pleasant new tunes, also by Berlin. Besides all that, it gives the best role of her career to Ann Miller, who sports the most interesting thighs since the unveiling of Linda Darnell. There is also a story (Lawford-loves-Judy-loves-Astaire-loves-Ann), but nothing much need be said about that...
...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...