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Glorious Technicolor (1998) (TV)

Glorious Technicolor Directed by
Peter Jones

Writing credits
Fred Basten (book)
Peter Jones

Add this title to MyMoviesAdd to MyMovies IMDbPro Details
Genre: Documentary (more)

Plot Outline: The history of color photography in motion pictures, in particular the Technicolor company's work.

User Comments: detailed historical analysis of the process (more)

User Rating: *********_ 8.5/10 (40 votes) Vote Here

Credited cast:
John Alton .... Himself
Fred Basten .... Himself
Jack Cardiff .... Himself
Cammie King Conlon .... Herself
Arlene Dahl .... Herself
Tony Duquette .... Himself
Robert Gitt .... Himself (voice)
Richard J. Goldberg .... Himself (as Dr. Richard J. Goldberg)
Kim Hunter .... Herself
Ron Jarvis .... Himself
Herbert T. Kalmus .... Dedicatee (archive footage)
Natalie Kalmus .... Dedicatee (archive footage)
Evelyn Keyes .... Herself
Cammie King .... Herself
Angela Lansbury .... Narrator
Jerry Maren .... Himself
Oswald Morris .... Himself
Thelma Schoonmaker .... Herself (as Thelma Schoonmaker-Powell)
Daniel Selznick .... Himself
Vittorio Storaro .... Himself
William Tuttle .... Himself
Esther Williams .... Herself
  (more)


Runtime: 60 min
Country: USA
Language: English
Color: Black and White / Color
Sound Mix: Stereo

Trivia: Released on the 2003 DVD of The Adventures of Robin Hood (1938). (more)

Goofs: Factual errors: The documentation completely ignores the earlier German system "Agfacolor" which is the mother of all modern multi-layer color systems. (more)
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User Comments:

2 out of 2 people found the following comment useful:-
detailed historical analysis of the process, 8 January 2005
7/10
Author: didi-5 from United Kingdom

Now available on DVD, this documentary looks at the ups and downs of Technicolor and the importance of film milestones such as 'Snow White and the Seven Dwarfs'; 'Becky Sharp'; 'The Black Pirate'; and 'Gone With The Wind'. It shows how colour in films grew from experiments in two-strip and three-strip bits to full-length mistakes, travelogues and total triumphs.

It makes interesting points about the fear of actresses that colour would remove their mystique (until Dietrich and 'The Garden of Allah' that is); about the constant interference of Natalie Kalmus ('creative consultant' on all Technicolor films); and about the eventual acceptance of the process as industry standard worldwide. The examples shown prove that the colour palette available to films in their heyday enhanced the 'golden age' - later films in Eastmancolor and the like look washed-out in comparison.

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