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How REAL Technicolor used to look
Judging from this short film's (currently) only other IMDb review, some kind of version exists that might have been transferred from an inferior source with yellowish color and scratchy condition. Whether that version of TECHNICOLOR FOR INDUSTRIAL FILMS appears on some substandard DVD or was televised, I have no idea; but the other discussion should not influence too many of you.
This radiant little documentary accomplishes exactly what its title suggests. It is a lovely, 1940 sales pitch for the three-strip Technicolor process (a now-extinct system for color photography as well as for dye-transfer positive prints) -- which many people, including this contributor, feel yields the richest, most superior colors on film ever.
Anyone who gets to view an authentic Technicolor print of this short will understand that the film existed for one reason: to convince corporate audiences to spend the dough to have their own 1940s industrial sales films produced in vivid Technicolor, rather than the more economical black-and-white norm of the time. However, the greatest value for modern viewers is the quality of the colors themselves. The "look" is the point here; and a substandard transfer loses that point.
The sheer range of settings displayed in this eight-minute short exceeds the typical sales film of its day. Content is not limited to one single industry, because the subject is simply how impressively the Technicolor process enhances the presentation of all KINDS of subjects. Interiors, exteriors, railroads, supermarkets, colorful products, fabrics, studio glamor, sports, and the high life -- day or night. By trying to convince captains of industry that the use of Technicolor could enhance their sales, this short demonstrates for later generations the visual power of vintage Technicolor itself.
The documentary is not long enough to become boring, and is brief enough to make us hunger for more of this addictive cinematography. If you ever get to view this little film ON film, and as it was intended to look, you'll start to appreciate why even in this digital age the word "Technicolor" is still revered by so many. (Alas, the sad day draws nearer when people might not easily get to see celluloid prints of ANY film.)
Despite IMDb dating this film as 1949, my own 16mm print's narration reports its original release date as 1940.
PINOCCHIO: Second in line but Top of the List
While my personal favorite Disney feature is THE THREE CABALLEROS, I consider PINOCCHIO the greatest. This 1940 film is gracefully executed and dramatically powerful in its range of depicted emotions felt by on screen characters, as well as in how well (and how many of) those responses are evoked within viewers.
I first saw PINOCCHIO at age seven. It wasn't even the first cartoon feature I ever watched; yet more than 50 years later, I still don't feel I have ever seen finer or more subtle character animation on film. For one quick example: the brief shot (during Gepetto's "Little Woodenhead" song) from Cleo's point of view, presenting the not-yet-living puppet being marched by strings toward her goldfish bowl. The visual distortion of Pinocchio's movement, as seen through both water and the glass bowl, is brilliantly rendered -- AND we immediately grasp why the distortion terrifies the tiny fish.
By the time his studio created those features, Walt Disney was no longer contributing any of the physical artwork; but the films benefited from his detailed supervision and gift for story analysis. One studio history which I've read does quote Disney as having told one employee, as PINOCCHIO finally was completed, "I will never work that hard again." That declaration probably explains why PINOCCHIO was never equaled -- by Disney or by any other team.