1 1

till •

tt 1
"^ 1
V * i?r« i IffL £sis

NEWS
AND

TECHNICOLOR VIEWS
5»
f
U» 1
\
 f 3
) ) ^ 7

President’s Message
By DR. HERBERT T. KALMUS

The motion picture industry continues

its evolution to wide-angle and three-
dimensional presentations.
Development of new procedures is not
new to TECHNICOLOR, I might say it is

one of the most distinctive features of

our history. When we
began, nearly four
decades ago, the problem was to bring
a sufficiently good quality of color to the
screen.Today our work is to accommo-
date our procedures to serve an increas-
ing number of screen techniques, all of
which are still in more or less formative
stages.
Dr. Herbert T. Kalmus, President and General Manager of Technicolor Motion Picture Corporation, shown with
We
have always taken pride in our Bing Crosby on the Paramount lot at a VistaVision demonstration. Crosby stars in “White Christmas," the
research and development department. firstfeature picture made by the VistaVision process.

Large sums have been and are being —

—
-
-expended on it, and we have always
TECHNICOLOR to meet the new increased
found that the results far more than justi-
area screen requirements was aimed in
Plans for French
fied the expenditure.

In this connection I may say in passing

three increased area of
directions:
(1) Plant Completed
negative at the time of photography; (2)
that the prints for “Cinerama" were Negotiations resulting in the drafting
improvement in the matrix stock and its
manufactured by TECHNICOLOR, the first of final documents for signature for the
processing; and (3) improvement in the
CinemaScope picture, “The Robe," was establishment of a French TECHNICOLOR
character of raw positive print stock and
in Color by TECHNICOLOR, and the first
plant in Paris have been completed, ac-
its processing.
VistaVision feature, “White Christmas," cording to Dr. Herbert T. Kalmus, Presi-
is also in Color by TECHNICOLOR. In The VistaVision demonstration which dent and General Manager of TECHNI-
1953 there were 24 three-dimensional showed improved characteristics of COLOR MOTION PICTURE CORPORA-
TECHNICOLOR productions. smoothness, freedom from grain, visi- TION.
So it may be seen how deeply TECH- bility and color rendition embodied only
The negotiations have been between
NICOLOR service and procedure are in- one of the three phases of improve- TECHNICOLOR MOTION PICTURE COR-
volved in the current evolution. It has ment upon which TECHNICOLOR is work- PORATION and important French motion
been necessary to modify procedures, ing. It embodied the increased negative picture and financial interests, Dr. Kal-
to devise new procedures, and to in- area, but not the improved matrix stock mus The name of the new company
said.
stall new equipment to supply the new
nor improved positive print raw
the is be SOCIETE TECHNICOLOR with a
to
demands of the industry. stock. The improved matrix and print capital of 1,000,000,000 (one billion)
For over twenty years TECHNICOLOR raw stock should further improve the francs. This step is a continuation of the
has been the mainstay of the industry clarity, smoothness, visibility and free- policy of TECHNICOLOR to expand its

in its evolution from black and white to dom from grain of TECHNICOLOR prints laboratories over the world.
color. During those years TECHNICOLOR manufactured from both large area and
TECHNICOLOR'S TECHNI-
British plant,
developed many methods of manufact- normal size area negatives.
COLOR LIMITED, at London, has been in
uring color motion picture release prints
These researches and this develop- existence since 1936.
which have gone through many stages
ment work which TECHNICOLOR is now
of improvement all tailored for best
undertaking has been in process for
effect in the theatres with screens up to
something like a year. TECHNICOLOR
something 35 feet
like in width.
hopes and expects to complete this work TECHNICOLOR
TECHNICOLOR recognized that
early some time during this year as a means of
it must serve the industry with the best continuing to be of greatest possible
NEWS & VIEWS
and least expensive prints in color which service to the motion picture industry. Vol. XVI September, 1 954 No. 1

would satisfy these new large screen re- Published from time to time by
quirements. Consequently it immediately Technicolor Motion Picture Corp.
embarked upon research and develop- THE COVER HERBERT T. KALMUS, President
ment projects to that end. 6311 Romaine Street
Upper —Technicolor Motion Picture Corporation,
Hollywood 38, California
At the outset, about two years ago, Hollywood
Margaret
in the very early conferences among Lower —Technicolor Limited, London
Ettinger, Editor

TECHNICOLOR technicians the attack of

— TWO —
 Hi;
TECHNICOLOR'S HALL OF FAME
No. 1 0 of a series of color portraits of distinguished stars who
appear in Color by TECHNICOLOR productions.

EXHIBITORS, ATTENTION! This full-page color portrait of beautiful RHONDA FLEMING is the tenth in a series of such portraits suitable for framing
for your theatre lobby, of motion picture stars who have added luster to films in Color by TECHNICOLOR, and so have won a place in the TECHNI-
COLOR HALL OF FAME. Miss Fleming is currently appearing in "Yankee Pasha," a Universal-International production in color by TECHNICOLOR.
 8-PERFORATION AREA
(VISTAVISION)
Technicolor has modified some of its three color cameras so
that a single strip of color negative film may be used. In these
modified cameras the film runs past the camera aperture hori-
zontally and an area corresponding to eight perforations (or
two normal frame areas) is exposed. The negative image area
is then optically printed in reduced size.
RED IMAGE BLUE IMAGE GREEN IMAGE
The Technicolor Three-Color Camera uses three strips of negative film and incorporates a prism
in the optical system to divide the light. Two of the films with emulsion surfaces in contact are
placed in the camera at a right angle tc the lens axis. The front film receives the BLUE image
and the rear film receives the RED image. The third film is placed directly in back of the prism
and receives the GREEN image. The negatives after processing appear as above.

FIGURE 1

EASTMAN COLOR NEGATIVE ANSCO COLOR NEGATIVE ANAMORPHOSED IMAGE

(CINEMASCOPE)
Eastman Color Negative has only one strip of film Ansco Color Negative has only one strip of film
surfaced with three layers of emulsion, each being surfaced with three layers of emulsion, each being For CinemaScope, the image is recorded on the film
sensitive to a different primary color. This film can sensitive to a different primary color. This film can in the same manner as on other negative film proc-
be used in a conventional 35mm camera. (Normal be used in a conventional 35mm camera. (Normal esses except the image is compressed horizontally by
aspect ratio shown.) aspect ratio shown.) means of a special lens.

color motion picture negative which, con- magnetic sound tracks. Such release procedures which are uniquely depend-
trary to custom, moves horizontally prints can, of course, be projected on ent upon steps in current TECHNICOLOR
through a camera. The scenes are re- any screen including large screens, and techniques. The new method is already
corded on an area equal to two full in any aspect ratio from 1.33 to or to 1 in operation in moderate volume at the
frames of normal motion picture nega- any larger ratio desired. Since these new Hollywood plant.
SUCCESSIVE FRAME NEGATIVE
tive. improved TECHNICOLOR dye transfer re- After successful camera tests com-
Working from such a double frame lease prints are of normal size and posi- bined with tests of the TECHNICOLOR The Successive Frame process, used in most animated
cartoon photography, uses one strip of black and
negative the TECHNICOLOR laboratory tion in every respect no special projection laboratory procedure, Paramount Studios white negative. In front of the camera lens is
is manufacturing 35mm TECHNICOLOR lens in the theatre is necessary. decided to photograph their high-budget mounted a wheel containing three filters — BLUE,
dye transfer release prints of normal size TECHNICOLOR has been working on production “White Christmas" using this GREEN and RED. This wheel rotates as each scene
is photographed three times on successive frames
and position, which may be combined the new system for more than a year, process, thus being the first to use it on through each of the three color filters. The negative
with either photographic or multiple resulting in the introduction of laboratory a feature picture. therefore is three times as long as the finished print.

CINERAMA AGFACOLOR GEVACOLOR FERRANIACOLOR

In Cinerama type photography, 35mm color negative film is used, but a larger than normal area In Europe, there are three additional color negatives, AGFACOLOR, GEVACOLOR and FERRANIA-
is exposed. On each of the three negatives, which are exposed simultaneously in three separate COLOR. These negatives are similar to those used in the United States in that three layers of emul-
cameras, an area 6 perforations in height and extending completely across the film between the sion are superposed on a single film base. Technicolor manufactures dye transfer prints from these
perforations is utilized. negatives also.

— F O U R — — FIVE —
 With the current evolution of motion
pictures to various types of wide screen iiiMiiaiiiiii • • •
and three-dimensional techniques, great
additional importance accrues to the
techniques of color motion picture pho-
tography.
Within the past two years photo-
graphic techniques have been altered in
two ways: New negative materials have
been introduced and new aspect ratios
1 • l l ••••••a a a a
for recording negative images have been 8-PERFORATION AREA RED IMAGE BLUE IMAGE
(VISTAVISION)
developed. The Technicolor Three-Color Camera uses three strips of negativi
Technicolor has modified some of its three color cameras so in the optical system to divide the light. Two of the films with
The new negative materials are, gen- that a single strip of color negative film may be used. In these
<

placed in the camera at a right angle to the lens axis. The froi
erally speaking, color negatives. modified cameras the film runs past the camera aperture hori- and the rear film receives the RED image. The third film is plac
zontally and an area corresponding to eight perforations (or and receives the GREEN image. The negatives after processing a
The aspect ratio (which means relation
two normal frame areas) is exposed. The negative image area
of picture width to height) had been set- is then optically printed in reduced size.

tled for over 30 years at four to three,

which means that for every four units
across the picture there were three units
in height.

Today this is all changed.

This article will deal with the most
important photographic techniques now
in use in motion pictures.

COLOR NEGATIVE
There are several color negative films
EASTMAN COLOR NEGATIVE ANSCO COLOR NEGATIVE ANAMC
(Cl
manufactured by different companies Eastman Color Negative has only one strip of film Ansco Color Negative has only one strip of film
surfaced with three layers of emulsion, each being surfaced with three layers of emulsion, each being For CinemaScope, the
throughout the United States and Europe. sensitive to a different primary color. This film can sensitive to a different primary color. This film can in the same manner
These negative films can be used in an be used in a conventional 35mm camera. (Normal be used in a conventional 35mm camera. (Normal esses except the imat
ordinary black and white camera and aspect ratio shown.) aspect ratio shown.) means of a special lei

in many respects are similar; having

three emulsion layers superposed on a
cellulose acetate base. These three emul-
sion layers are differently sensitive to color motion picture negative which, con- magnetic sound Such release
tracks. procedures whi<
different colors of light. This means that trary to custom, moves horizontally be projected on
prints can, of course, ent upon steps
the photo-sensitive silver halide particles through a camera. The scenes are re- any screen including large screens, and techniques. The
in the separate emulsions are exposed corded on an area equal to two full in any aspect ratio from 1.33 to or to 1 in operation in
by different colors of light. Generally, frames of normal motion picture nega- any larger ratio desired. Since these new Hollywood plan
color negative films have a filter layer tive. improved TECHNICOLOR dye transfer re- After succes:
between the top two emulsions. Where Working from such a double frame lease prints are of normal size and posi- bined with tesl
the color sensitivity
is not complete, this negative the TECHNICOLOR laboratory tion in every respect no special projection laboratory procE
filter aidsseparating unwanted colors
in is manufacturing 35mm TECHNICOLOR lens in the theatre is necessary. decided to phot<
from a particular emulsion. dye transfer release prints of normal size TECHNICOLOR has been working on production "Wh
In the United States the most widely and position, which may be combined the new system for more than a year, process, thus be
used color negatives are Eastman and with either photographic or multiple resulting in the introduction of laboratory a feature pictur
Ansco. In Europe in addition to these
two are Agfacolor, Gevacolor and Fer-
raniacolor. The TECHNICOLOR labora-
tories, in both United States and Eng-
land, manufacture release prints from
all of these color negative systems.

TECHNICOLOR has long recognized

that an improvement in the definition or
visibility of TECHNICOLOR dye transfer
(imbibition) prints when projected in the
theatre, especially on large screens,
would be possible from a negative re-
sulting from almost any system of pho-
tography that employed a larger than
standard area of negative on which to
CINERAMA AGFACC
record the picture information. There are
a number of photographic procedures In Cinerama type photography, 35mm color negative film is used, but a larger than normal area In Europe, there
exposed. On each of the three negatives, which are exposed simultaneously in three separate
is COLOR. These n
which might bring this about. One such cameras, an area 6 perforations in height and extending completely across the film between the sion are superpe
system employs a single strip of 35mm perforations is utilized. negatives also.

—FOUR—
 Current Zeckniques of Color
With the current evolution of motion
pictures to various types of wide screen
and three-dimensional techniques, great
liiiimiiiiiiMil
additional importance accrues to the
techniques of color motion picture pho-
tography.
Within the past two years photo-
graphic techniques have been altered in
New negative materials have •
p • • i
two ways:
been introduced and new aspect ratios
for recording negative images have been
8-PERFORATION AREA RED IMAGE
(VISTAVISION)
developed. The Technicolor Three-Color Camera use
Technicolor has modified some of its three color cameras so in the optical system to divide the light
The new negative materials are, gen- that a single strip of color negative film may be used. In these placed in the camera at a right angle I

erally speaking, color negatives.
The aspect ratio (which means relation
of picture width to height) had been set-
modified cameras the film runs past the camera aperture hori- and the rear film receives the RED imac
zontally and an area corresponding to eight perforations (or and receives the GREEN image. The neg
two normal frame areas) is exposed. The negative image area
is then optically printed in reduced size.

tled for over 30 years at four to three,

which means that for every four units
across the picture there were three units
in height.

Today this is all changed.

This article will deal with the most
important photographic techniques now
in use in motion pictures.

COLOR NEGATIVE
There are several color negative films
manufactured by different companies
throughout the United States and Europe.
These negative films can be used in an
ordinary black and white camera and
EASTMAN COLOR NEGATIVE ANSCO COLOR NEGATIVE
Eastman Color Negative has only one strip of film Ansco Color Negative has only one strip of film
surfaced with three layers of emulsion, each being surfaced with three layers of emulsion, each being
sensitive to a different primary color. This film can sensitive to a different primary color. This film can
be used in a conventional 35mm camera. (Normal be used in a conventional 35mm camera. (Normal
aspect ratio shown.) aspect ratio shown.)

in many respects are similar; having

three emulsion layers superposed on a
cellulose acetate base. These three emul-
sion layers are differently sensitive to color motion picture negative which, con- magnetic sound tracks. Such release
different colors of light. This means that trary to custom, moves horizontally prints can, of course, be projected on
the photo-sensitive silver halide particles through a camera. The scenes are re- any screen including large screens, and
in the separate emulsions are exposed corded on an area equal to two full in any aspect ratio from 1.33 to or to 1

by different colors of light. Generally, frames of normal motion picture nega- any larger ratio desired. Since these new
color negative films have a filter layer tive. improved TECHNICOLOR dye transfer re-
between the top two emulsions. Where Working from such a double frame lease prints are of normal size and posi-
the color sensitivity
is not complete, this negative the TECHNICOLOR laboratory tion in every respect no special projection
filter aidsseparating unwanted colors
in is manufacturing 35mm TECHNICOLOR lens in the theatre is necessary.
from a particular emulsion. dye transfer release prints of normal size TECHNICOLOR has been working on
In the United States the most widely and position, which may be combined the new system for more than a year,
used color negatives are Eastman and with either photographic or multiple resulting in the introduction of laboratory
Ansco. In Europe in addition to these
two are Agfacolor, Gevacolor and Fer-
raniacolor. The TECHNICOLOR labora-
tories, in both United States and Eng-
land, manufacture release prints from
all of these color negative systems.

TECHNICOLOR has long recognized

that an improvement in the definition or
visibility of TECHNICOLOR dye transfer
(imbibition) prints when projected in the
theatre, especially on large screens,
would be possible from a negative re-
sulting from almost any system of pho-
tography that employed a larger than
standard area of negative on which to
CINERAMA
record the picture information. There are
a number of photographic procedures In Cinerama type photography, 35mm color negative film is used, but a larger than normal area
exposed. On each of the three negatives, which are exposed simultaneously in three separate
is
which might bring this about. One such cameras, an area 6 perforations in height and extending completely across the film between the
system employs a single strip of 35mm perforations is utilized.

— FOUR —
 Motion Picture Photography
THREE-STRIP NEGATIVE
When color motion pictures are photo-
graphed by the three-strip method, a
special camera is used. These cameras
are manufactured by TECHNICOLOR and
are furnished to the motion picture pro-
ducer. They are available to him upon
demand at his studio or on location.
This camera is unique. It is the only
BLUE IMAGE GREEN IMAGE one used commercially in which three
strips of motion picture film are success-
es three strips of negative film and incorporates a prism
it. Two of the films with emulsion surfaces in contact are
fully exposed simultaneously to exactly
tc the lens axis. The front film receives the BLUE image the same scene. The strips of film in this
ige. The third film is placed directly in back of the prism camera are negative films and each re-
gatives after processing appear as above.
cords a specific color aspect of a given
scene. As seen in Figure 1, green light
coming from a scene is transmitted
through the lens of the camera and
thence through a special light-dividing
FIGURE 1 prism. It is recorded on a negative film
which is particularly sensitive to green

light. The red and blue colors coming

from the same scene pass through the
same lens and enter the same special
prism; but instead of being transmitted
they are reflected to an aperture on the
side of the camera. In this aperture two
ANAMORPHOSED IMAGE films are traveling. These films are placed
(CINEMASCOPE) one in front of the other; the front one
For CinemaScope, the image is recorded on the film records the blue light of the scene, while
in same manner as on other negative film proc-
the the back one records the red light.
esses except the image is compressed horizontally by
means of a special lens. When developed these negatives have
silver when held up to the
images, and
light, appear the same as black and
white negatives. These special cameras
used in this taking process have traveled
procedures which are uniquely depend- with location units to every continent of
ent upon steps incurrent TECHNICOLOR the globe. Cameras have been used in
techniques. The new method is already the air; under water; and even in the
in operation in moderate volume at the craters of volcanoes.
Hollywood plant.
SUCCESSIVE FRAME NEGATIVE
After successful camera tests com- 16MM POSITIVE
bined with tests of the TECHNICOLOR The Successive Frame process, used in most animated
cartoon photography, uses one strip of black and For expedition photography in rough
laboratory procedure, Paramount Studios white negative. In front of the camera lens is country many producers favor the light
decided to photograph their high-budget mounted a wheel containing three filters —
BLUE,
weight 16mm taking system. Addition-
production "White Christmas" using this GREEN and RED. This wheel rotates as each scene
is photographed three times on successive frames ally, operation of the 16mm equipment
process, thus being the first to use it on through each of the three color filters. The negative is less complex.
a feature picture. therefore is three times as long as the finished print.

Zhree Negatives Used Abroad

KODACHROME
Similar to color negative, 16mm color positive film
has three layers of emulsion, each sensitive to a
different primary color —
red, green and blue. The
commercial film is low in contrast and differs from

color negative in that a positive color image is

obtained by reversal development rather than a neg-
ative. From it three 35mm separation negatives are
made. * * *
AGFACOLOR GEVACOLOR FERRANIACOLOR
All of the taking systems shown on
In Europe, there are three additional color negatives, AGFACOLOR, GEVACOLOR and FERRANIA-
COLOR. These negatives are similar to those used in the United States in that three layers of emul- this page are being used in the manu-
sion are superposed on a single film base. Technicolor manufactures dye transfer prints from these facture of Technicolor release prints.
negatives also.

— FIVE —
 Zecknicolor
* denotes Print by Technicolor Saadia (British) —
others Color by Technicolor. Saracen Blade, The — M-G-M
— Columbia
all
Saskatchewan Univ.-lnt'l
Scarlet Spear (British) — United Artists
CURRENTLY RELEASED Secret of the Incas — Paramount
Siege of Red River — Panoram 20th Century-Fox
All the Brothers
Annapurna
Were Valiant
(British) — Mayer-Kingsley -M-G-M Silver Lode —Bogeaus, RKO
— RKO
Susan Slept Here
Apache — Linden, United Artists Tanganyika — Univ.-lnt'l
Arrow in the Dust •
H. Goetz, Allied Artists
— Columbia Taza, Son of Cochise — Univ.-lnt'l
Battle of
Beachhead
Rogue River
— Schenck, United Artists
Tennessee Champ — M-G-M
— 20th
Black Horse Canyon — Univ.-lnt'l
Three Coins in the Fountain
— Warner Century-Fox

Caine Mutiny, The — Columbia Three Sailors and a Girl Bros.

Carnival Story, The — King RKO

Bros.,
Three Young Texans
— Panoram
Casanova's Big Night — c, 20th Century-Fox

Conquest of Everest (British) — Paramount

United Artists
Uncle Willie's Bicycle Shop
— (Bri tish)

Dangerous Mission
—
— RKO Valley of the Kings
A.B.P.C., Stratford
— M-G-M
Demetrius and the Gladiators
Dial M for Murder
20th Century-Fox
Bros.— Warner Yankee Pasha — Univ.-lnt'l

"DEMETRIUS AND THE GLADIATORS" Drums Across the River Univ.-lnt'l — TO BE RELEASED
Twentieth Century-Fox Drums of Tahiti — Columbia
Elephant Walk — Paramount Adam And Athena
Barefoot Contessa (British)
M-G-M
Flame and the Flesh, The (British)
— M-G-M British Studios Ltd.
— Figaro, Inc. (Rome), United Artists
French Line — RKO Beachcomber, The (British)
—
London Independent Producers Ltd., United Artists
Gambler from Natchez
— Bengal Brigade Univ.-lnt'l—
Garden of Evil
Panoramic, 20th Century-Fox
— Big Rainbow, The RKO —
20th Century-Fox
— Black Dakotas, The Columbia —
Glenn Miller Story, The Univ.-lnt'l
Black Knight, The (British) —
Warwick, Columbia
Golden Coach, The (British)
— Black Shield of Falworth — Univ.-lnt'l
Panaria, United Artists
-— Panoramic, 20th Century-Fox Bridges of Toko-Ri, The — Paramount
Gorilla at Large
— M-G-M Is Waiting, A —
— RKO Welsch,
Gypsy Colt Bullet

Helland Water
High — 20th Century-Fox Chief Crazy Horse
— Cinerama Univ.-lnt'l

Her Twelve Men — M-G-M Cinerama Holiday

— George Paramount
Iron Glove, The — Columbia Conquest of Space
— Pal,

Jesse James vs. — Columbia

The Daltons Dawn at Socorro
— M-G-M Univ.-lnt'l
— Deep in My Heart
— Paramount
Pine-Thomas,
Jivaro
Johnny Duel in the Jungle (British)
Knock
Dark
Wood
on — Dena, Paramount Univ.-lnt'l
— A. B.P.C. -Marcel Heilman Prods. ,Ltd. Warner Bros.
Laughing Anne — Republic Destry — ,

Univ.-lnt'l
Law
(British)
— Columbia
Kid, The Far Country, The — Univ.-lnt'l
Living
vs. Billy the
Desert, The— Buena — Disney, Father's Doing Fine (British) — A.B.P.C., Stratford
“JIVARO" Paramount
— Paramount
Vista
Over Africa —
Living UpIt

Magnificent Obsession —
York, Fire
Four Guns to the Border
(British)
— Columbia Univ.-lnt'l
Men Lady
of the Fighting — M-G-M Univ.-lnt'l
Golden Mistress — R-K Prods., Inc. United Artists
Naked Jungle, The — Paramount Green Fire — M-G-M
,

Night People — 20th Century-Fox Hansel and Gretel — Myerberg

Outlaw Stallion, The — Columbia It Happened in Paradise (British)
— Panorama,
— - G.F.D., Astor
— Jesse James' Women United Artists
Passion
Phantom Rue Morgue
of the — Warner RKO Pinecrest,
Bros. Jet Pilot
Lady and the Tramp, The
—
— RKO
Disney
Prince Valiant 20th Century -Fox
Princess of the Nile — Panoramic, 20th Century-Fox Last Time Saw Paris, The
I — M-G-M
Rails into Laramie — Univ.-lnt'l Littlest Outlaw, The (formerly Miraflores)
—
Rear Window — Lansburgh, Disney
Red Garters — Paramount
Patron,
Paramount Long Gray Line, The — Columbia
— —
— M-G-M
Rhapsody Long John Silver (British) Treasure Island
Ride Clear of Diablo Univ.-lnt'l Love Is a Weapon — Pine-Thomas, Paramount
River of No Return — Columbia Lucrece Borgia (British) — Films Ariane, United Artists
Robe, The — 20th Century-Fox Malaga (British) — Film Locations Ltd., Columbia

"HELL BELOW ZERO" Columbia

Zecknicolor
Arctic Rivals — Terrytoons, 20th-Fox Dog Pounded — W.B. Cartoons
—
Ballet Oop — United Prods., Col. Donald's Diary
— Warner RKO Disney,
Bell Hoppy — W.B. Cartoons Don't Forget to Write Bros.
Belle Boys — Lantz, U-l Drag A Long Droopy — M-G-M
Ben & Me — RKO
Disney, Feline Frame Up — W.B. Cartoons
Blind Date — Terrytoons, 20th-Fox Fish Tales — M-G-M
Boo Moon — Famous, Par. Floor Flushers — Famous, Par.
Boos and Saddles — Famous, Par. Glimpses of Western Germany - — FitzPatrick,
— M-G-M
— Go South Amigos
— Warner
Born to Ski Lantz, U-l
Bringing Up Mother United Prods., Col.
Bros.
Growing Pains — Terrytoons, 20th-Fox
Bugs and Thugs — W.B. Cartoons Helpless Hippo — Terrytoons, 20th-Fox
Calypso Carnival — Lantz, U-l Heart of a Champion — Warner Bros.
Canvas Back Duck — RKODisney, Hobo Bobo — W.B. Cartoons
Captain Hareblower — Hot Noon — Lantz, U-l
Cat's Aweigh — W.W.B. B.
Cartoons
Cartoons How to Relax — Terrytoons, 20th-Fox
—
Cat's Bah W.B. Cartoons How to Sleep Disney, RKO
Chilly Willy — Lantz, U-l Huey's Ducky Daddy — Famous, Par.
Continental Holiday — Warner Bros. Hypnotic Hick — Lantz, U-l
— W.B.
—— Famous,
Crazy Town Par. 1 Gopher You Cartoons
Do or Diet Famous, Par. In the Valley of the Rhine — FitzPatrick, M-G-M
“THE VANISHING PRAIRIE". Disney
— six
 feature Schedule
Man With a Million G.F.D., United Artists Glass Slipper — M-G-M
Man Without a Star
(British)
— Univ.-lnt'l Joseph and His Brethren — Columbia
Many Rivers to Cross — M-G-M Jupiter's Darling — M-G-M
Masterson of Kansas — Columbia Lucy Gallant — Pine-Thomas, Paramount
Pirates of Tripoli — Columbia Moby Dick (British) — Elstree, Warner Bros.
Prize of Gold (British) -Warwick, Columbia Napoleon (British)
— Societe de Production des Films C.L.M. (Paris)
Purple Plain (British)
G.F.D. -Group Film Prods., United Artists Oklahoma! — Rodgers and Hammerstein, M-G-M
Raid, The Panoramic, 20th Century-Fox Paris Affair (British) — G.F.D., Group Film Ltd.
— M-G-M
Romeo and Prodigal, The
Juliet (British)
— G.F.D. United Artists Symphony of Love (British) —
Imperial Film (Rome)
Run for Cover — Pine-Thomas, Paramount ,

White Feather — Panoramic, 20th Century-Fox

Secret of the Incas — Paramount
—
Seminole
Sign of the Pagan
Uprising
— Columbia Univ.-lnt'l
IN PREPARATION
Smoke Signal — Univ.-lnt'l Animal — Warner
So This Paris — Univ.-lnt'l
World, The Windsor,
—
Bros.

Son of Sinbad
Is
— RKO Boy and the Bull, The
— Documento Rome King Bros.

Star Born, A — Warner Bros.

Casta Diva (British) Film,
Is
Star of India (British) — Stross, United Artists
Cockleshell Heroes (British)
— Warwick Film Productions Ltd., Columbia
Stranger in Town (British)
— Court Jester Dena, Paramount —
A.B.P.C.-Anglo-Film Ltd., Allied Artists
— Paramount Day Called Tomorrow, — A Univ.-lnt'l
Strategic Air Command Desperate Hours — Paramount
Switzerland, People and Places
— Executioners, The — Cagney, Warner Bros.
Disney, Buena Vista
— Columbia French Can Can (British) London — Franco Film, Paris
Ten Wanted Men
— Gabriel Horn — Flora, United Artists
This Island Earth Univ.-lnt'l
— Columbia Galileans, The — Univ.-lnt'l
They Rode West
— Columbia Gay Girls, The — Columbia
Three for the Show
— Columbia Girl Rush, The — Independent RKO Artists,
Three Hours to Kill
— Goddess, The — Univ.-lnt'l
Three Ring Circus Wallis, Paramount —
Tiger and the Flame, The (British) — Modi (Bombay)
—
Great Louisiana Lottery,
Holiday Bagdad
in
The
— Nat Holt
Univ.-lnt'l
20,000 Leagues Under the Sea
—
Disney Indian Fighter, The — King Bros.
Ulysses (British) Ponti de Laurentiis, United Artists Justice Comes Tomahawk to — Univ.-lnt'l

——
Vanishing Prairie, The Disney, Buena Vista •

Lady Godiva of Coventry -

Univ.-lnt'l
Vera Cruz Flora, United Artists
— Legionnaire
-

Allied Artists
Violent Men
We're No Angels
Columbia
Paramount — Lewis and Clark — Cinerama
Lorenzo the Magnificent (British) Copa, Columbia -
West of Zanzibar (British)
— Madame — Gallone
Butterfly (British) (Rome)
G.F.D, Ealing, Univ.-lnt'l
— Paramount Man —
White Christmas
—
Laramie
from
Purple Mask, The — Columbia Univ.-lnt'l
Woman's World 20th Century-Fox
— Red Blizzard — Montgomery
Wyoming Outlaws
— Columbia Robin Hood, Outlaw — Columbia
Yellow Mountain Univ.-lnt'l Rose Tattoo — Paramount Wallis,
You Know What Sailors Are
— (British) Safari (British) — Warwick, Columbia
G.F.D., United Artists Bad Men —
Seven
SiluriUmani (British) — NatRome Titanus,
Holt

PRODUCTION Sleeping Beauty — Disney

IN
So This Is Rio — Univ.-lnt'l
African Lion — — Buena Disney, Vista Stalk, The (British) — Copa, Columbia
Annapolis Story Allied Artists Swamp Fox — Camden
Bad Day at Black Rock — M-G-M Sword Hood
of Robin — Camden
Blue Horizons — Paramount
Pine-Thomas, Ten Commandments, The — Paramount
Captain Lightfoot — Univ.-lnt'l Third Girl from the Right — Univ.-lnt'l
Casa Ricordi — Documento Film (Rome) To and Back
Hell — Univ.-lnt'l
Catch a Thief
(British)
— Paramount Trouble With —
Harry Paramount Patron,
Cattle Queen of Montana — RKO Pinecrest, Two Soldiers Cagney, Warner — Bros.
Vagabond —
Eddie Foy Story
de Caroline, Le (British)
- Hope, Paramount
Cinephonic (Paris) Wichita
King
— Paramount Allied Artists
— Paramount
Fils -

Foxfire — Univ.-lnt'l You're Never YoungToo York,

Short Subjects
Log Rollers — 20th-Fox
Terrytoons, Rugged Bear —
Disney, RKO
— Runaway Mouse —
— W.B. M-G-M
Looking at Lisbon Terrytoons, 20th-Fox
Lumber Jack Rabbit
FitzPatrick,
Cartoons Satisfied Customers — Terrytoons, 20th-Fox
Magoo Goes Skiing — United Prods., Col. Seapreme Court — Famous, Par.
Magoo Slept Here — United Prods., Col. Sea Sports of Tahiti — Warner Bros.
No Barking — W.B. Cartoons Seeing Spain — M-G-M
FitzPatrick,
No Parking Hare — W.B. Cartoons Shaving Muggs — Famous, Par.

Nonsense Newsreel — Terrytoons, 20th-Fox Socko in Morocco — Lantz, U-l

North of Sahara — Warner Bros. Spare the Rod — Terrytoons, 20th-Fox
Northwest Mousie — Famous, Par. Spare the Rod — RKO Disney,
Of Rice and Hen — W.B. Cartoons Surf and Sound — Famous, Par.
Pecos Bill — RKO Disney, Tall Tale Teller — 20th-Fox
Terrytoons,
Pet Problems — Terrytoons, 20th-Fox Tell Tale Heart — United Prods., Col.
Plywood Panic — Lantz, U-l Three Little Pups — M-G-M
Popeye Ace of Space — Famous, Par. When Fish Fight — Warner Bros.
Popeye's 20th Anniversary — Famous, Par. Wild Wife — W.B. Cartoons
Prescription for Percy — Terrytoons, 20th-Fox Winter Paradise — Warner Bros.
Punch Trunk — W.B. Cartoons Working for Peanuts — RKO Disney,
Robot Rabbit — W.B. Cartoons Zero the Hero — Famous, Par.

"RHAPSODY" M-G-M
— SEVEN —
M.G.M. PRESENTS RHAPSODY
Vl
ZBSSSat
8Y TECIINJCOlot
ELIZABETH TAYU» C OLOR BY TECHNICOLOR

SSw “« glenn miuer story

mm GREAT GUEST STARS

> ' irawi

—
Four Star Theatre — Los Angeles United Artists Theatre Circuit Lyric Theatre — Minneapolis — Minnesota Amusement Co.

u
'

'
wrUrr | ON PANORAMIC SCREEN k
* SASKATCHEWAN"
"RIDE CLEAR OF

r0 LOR BY
OtABM,,
PRISONERS Of "t CAS3AM
TECHNICOLOR
bSB k 6
.

('
.•"’ALAN LADD
SHELLEY WINTERS
COLOR TECHNICOLOR ’» ?

p _
"Hm HHHHHhhHI BP^E s
RKO Pan — Minneapolis - — RKO Theatres — — Loew's State Cleveland Loews Inc. Indiana — Indianapolis — Greater Indianapolis Theatres

TECHNICOLOR IS THE REGISTERED TRADE-MARK OF

TECHNICOLOR MOTION PICTURE CORPORATION

HERBERT T. KAIMUS, PRESIDENT AND GENERAL MANAGER
Scanned from the collection of

Karl Thiede

Coordinated by the
Media History Digital Library
www.mediahistoryproject.org