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Glorious Technicolor (1998)

TV Movie  |   |  Documentary, History  |  7 December 1998 (USA)
7.9
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The history of color photography in motion pictures, in particular the Technicolor company's work.

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Title: Glorious Technicolor (TV Movie 1998)

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Cast

Cast overview, first billed only:
...
Narrator (voice)
...
Herself
...
Herself
...
Herself
John Alton ...
Himself - Cinematographer (archive footage)
...
Himself - Cinematographer
...
Himself - Cinematographer
Eugen Sandow ...
Himself (archive footage)
Annabelle Moore ...
Herself - Dancer (archive footage) (as Annabelle)
Cammie King Conlon ...
Herself - Step-daughter of Dr. Herbert Kalmus
Richard J. Goldberg ...
Himself - Dr., Technicolor research scientist 1953-65
Robert Gitt ...
Himself - Preservationist, UCLA Film and Television Archive (voice)
Fred Basten ...
Himself - Author of 'Glorious Technicolor'
...
Himself (archive footage)
Ron Jarvis ...
Himself - President, Technicolor Worldwide Filmgroup
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Storyline

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

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Release Date:

7 December 1998 (USA)  »

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Sound Mix:

Aspect Ratio:

1.33 : 1
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Did You Know?

Trivia

Released on the 2003 DVD of The Adventures of Robin Hood (1938). See more »

Goofs

The documentation neglects to mentioned that Suspiria was the last film to use the 3-strip Technicolor process. See more »

Connections

References Fantasia (1940) See more »

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User Reviews

 
GLORIOUS TECHNICOLOR (TV) (Peter Jones, 1998) ***
21 December 2006 | by (Naxxar, Malta) – See all my reviews

This 1-hour documentary details the history of this most famous of color processes, still considered the most satisfying - and durable - ever devised for purposes of filming. It also provides biographical data about the two people most important for its development and promotion - Dr. Herbert Kalmus and his wife Natalie; their thorny relationship and hers with the various studio bosses, when she eventually took Technicolor under her wing, is a great story in and of itself...but the documentary pays tribute as well to the many film-makers and auteurs who adopted the color system as their ideal mode of expression. There is a bit of an over-insistence on musical extravaganzas of the 1940s and 1950s but, then, it also affords reasonable time to classic illustrations of Technicolor on the screen - in particular, GONE WITH THE WIND (1939) and other David O. Selznick productions - and even touches upon how it fared in other countries, primarily Great Britain (where the process was perhaps seen at its best advantage in the idiosyncratic visions of The Archers' films).


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