However, there was little interest in Pola-Lite and An ad in the May 28 issue of Filmĭaily mentions that Pola-Lite prints were also available for GORILLA AT LARGE, Pola-Lite CREATURE and TAZA, SON OF COCHISE. Universal-International was the first to offer two films in However, low light levels and reduced clarity worked against any potential for Printed side by side on a single frame of 35mm film in an aspect ratio of 1.75:1. Synchronization problems normally found with dual-projector presentations. In February 1954, Pola-Lite had offered a single-strip lens system toĮxhibitors (first demonstrated in June 1953) which would eliminate many of the Was the first feature to be shown in some theaters with the Pola-Lite projection While most of the engagements were shown in polarized dual-strip, CREATURE Plans were made to distribute the film on a regional saturation basis. The response was overwhelming and far exceeded the studios expectations. The following night, CREATURE opened in 3-D widescreen as a special midnight horror showĪt Butterfield theaters throughout Michigan. On February 12, she took part in the gala World Premiere heldĪt the 2,700 seat Broadway-Capitol Theater in Detroit. She had designed the Creature and also created the masks used in ABBOTT AND COSTELLO MEET DR. “The Beauty Who Lives with the Beasts” and sent on a New York promotional Milicent Patrick, from the studio make-up department, was tagged An un-credited 29 year old composer wrote 12 of the 44 cues in the finished film his name was Henry Mancini. PEABODY AND THE MERMAID, CITY BENEATH THE SEA, EAST OF SUMATRA, THE GLASS WEB, RIDE CLEAR OF DIABLO, IT CAME FROM OUTER SPACE, GHOST OF FRANKENSTEIN and THE REDHEAD FROM WYOMING. Dolan and Milton Rosen also contributed to the score which included cues from earlier Universal films MR. Herman Stein wrote the Main Title music which includes the famous three-note theme used for the Gillman. Music cue sheets were prepared on February 2. Below are the scenes that were selected for the reel. Though it was promoted in the pressbook, these promotional reels were never In a View-Master display cabinet utilized in theaters throughout the country. They also selected seven scenes from the movie to be used Theyĭesigned a series of teaser ads which helped to prepare moviegoers for a new type of monster from the studio that had cornered the horror market in the 1930's. As theįilm was in post-production, U-I’s publicity department went to work. Keep this in mind when we discuss the 3-D image on the Blu-ray.įilming was completed in the first week of November. This important aspect to the 3-D presentation. Snyder converged various seaweed,įish and flora at the stereo window being careful they would not leave theĮmphasis was on deep, not “in your face.” The preview trailer made mention of Sense of limitless space – and unknown danger – to the Gillman’s underwaterĭomain. Underwater scenes very deep within the stereoscopic window, giving the viewer a Jack Arnold made the aesthetic choice to place the The lead but asked to be let out of his contract to appear in MEN OF THE Hoping that lightning would strike twice. They had worked well together on IT CAME FROM OUTER SPACE and the studio was At that point, the studio shutĭown to prepare all departments for 100% widescreen production.ĬREATURE marked the second collaboration between star RichardĬarlson, producer William Alland, director Jack Arnold and writer Harry Essex. FilmingĬommenced on March 28 and was completed mid-May. In Technicolor and composed for 1.85:1 widescreen with stereophonic sound. WINGS OF THE HAWK was their next 3-D production, this time It is curved on a 90 foot radius." The combination ofģ-D, widescreen and three-channel stereophonic sound provided the audience withĪn immersive experience and effectively ushered in the “New Look” in motion Motion Picture Daily wrote, "The screen developed by Universal-International has a 1.85:1 aspect ratio with a textile base, sprayed with an aluminum solution to provide a 4-to-1 light magnifying factor. Composed for the aspect ratio of 1.37:1, it was the first 3-Dįilm projected in widescreen at the World Premiere in Hollywood. Newly titled IT CAME FROM OUTER SPACE, the studios first 3-D feature opened on May 27, 1953. The cast and crew signed a "loyalty pledge" stating they would not divulge the nature of the plot. Filming of THE STRANGERS FROM OUTER SPACE began on February 4 and the production was shrouded in secrecy. Jack Arnold remembered the resultingĮquipment as a “big monster,” but one that worked perfectly. Two different rigs were built one for medium/long shots and another for close-ups. System which had two cameras facing an angled mirror, placed a pair of MitchellĬameras side by side with one camera inverted. Polito developed a dual-camera rig that, unlike the Natural Vision Clifford Stine, David Horsley, Fred Campbell andĮugene F.
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