Word: warnercolor
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...This is a success story," wrote Editor Reyner Banham of the British Architectural Review, "that will need Todd-AO, Dynamation, Warnercolor, Billy Wilder and a cast of millions to film, but there is one thing very odd about it. He has not gone on doing the same thing until the public has caught up. He has gone right on developing, never backtracking, rarely standing still, and quite suddenly he has met the public taste coming round the other...
John Patrick's screenplay is almost identical to his play, an effective satire of the attempt of the U.S. Government and Army to bring American democracy and values to the inhabitants of Okinawa after the war. Thanks to Marlon Brando, Glenn Ford, Cinema scope, and Warnercolor the movie is better than the play...
This is the story the film tells competently. At times, however, the celluloid seems to have been coated with whitewash as well as WarnerColor-a treatment that damages Billy as well as the story. Billy's virtues (courage and sincerity) were set off, as well as offset, by his vices (fanaticism and tactlessness). In the part as it is written, Gary Cooper plays the flamboyant Billy for a sort of militant old maid, and his historic cry for justice for the air service sometimes seems about as exciting as an old maid's protest that the neighbor...
...cunning mongrel dog named Pard; the other, an equally cunning gun moll named Marie (Shelley Winters). Palance finds them in a mountain hideout where he holes up to plan his' next caper -the stickup of the exclusive Tropico Hotel. Shelley keeps mooning at the snowy WarnerColor peaks of the High Sierras and speculating that it must be mighty clean up there. "Cold, too," says Jack, and goes back to laying his plans. Scripter W. R. (This Gun For Hire) Burnett still has about 30 minutes to kill before he can get around to his killing finish; so he sends...
Dial M for Murder (Warner) started out in 1952 as a British television drama, moved on to long, successful runs on the London stage and Broadway, and has now been made into a first-rate movie. Director Alfred Hitchcock, by shooting the film in three-dimensional WarnerColor, avoids the static quality common to many stage plays when transferred to the screen. The 3-D is used not so much for its shock value as to bring alive for moviegoers much of the theater's intimacy and depth of movement...