They stopped making three-strip Technicolor movies about 60 years ago. The movies are still around, and they’re still beautiful. This summer, the Pacific Film Archive will screen three different films shot in the still-loved format, and thanks to the way they’re being screened, each one projected using a different technology. You can decide which is best way to see them.
From the mid-1930s to the early 1950s, almost every Hollywood color film was shot in Technicolor No. IV–casually known as “three-strip Technicolor.” These include Gone with the Wind, The Wizard of Oz, Singin’ in the Rain, The Adventures of Robin Hood, The Bandwagon, The Life and Death of Colonel Blimp, and The African Queen.
The unofficial name tells you how it worked. Through a beam splitter, filters, and special film stocks, a special camera captured each primary color on a separate strip of black-and-white film.
From Filmmaker IQ
From each of these three negatives, Technicolor would create a special relief print that was thicker where the image was darkest. From these three intermediate prints (called matrices), the lab would literally print (in the pre-photographic sense of the word) the colors to 35mm release prints. You can find more technical details at the Widescreen Museum and the Timeline of Historical Film Colors.
From The American Widescreen Museum
These dye-transfer prints (the official name was IB, for imbibition) have a considerably longer history than three-strip. Technicolor introduced them in 1928 as an improved printing method for their then-current two-color system. And when three-strip died around 1954, Technicolor started making IB prints off of three-strip’s replacement–Eastman Color Negative film. The company continued this service until the mid-1970s.
So what does all this mean for presenting and watching three-strip films today?
Both three-strip and dye-transfer have significant advantages in preservation and restoration. The printing dyes in IB prints don’t fade as quickly as the photochemical dyes in color film (especially color film from the 50s, 60s, and 70s). And since the three-strip negatives store color information on black-and-white film, fading colors isn’t an issue.
But three-strip has its own problems. Film shrinks over time, and no three cans of film are going to shrink exactly the same way. Even the slightest shrinkage can cause a disaster when three strips have to line up perfectly. Because of their high contrast, dye-transfer prints don’t make good sources for new copies.
Digital technology has solved the shrinking problem. You can scan all three negatives at a high resolution (say, 4K), resize them to match each other, and produce a full image. But this sort of restoration requires three things not always available. You need the original negatives (or at least black and white protection positives made from them), a lot of money, and people who know what they’re doing.
So let’s look at the three films to be screened at the PFA this summer, and how they’ll be projected:
Leave Her to Heaven
35mm Eastmancolor print
Thursday, June 18
I strongly suspect that the PFA will screen the same print I saw in 2008–or certainly one from the same restoration. And as beautiful as I found the print, I suspect this will be the least accurate three-color experience of the PFA summer.
In the 1970s, Twentieth Century-Fox created new, color-film negatives of their three-strip titles. Then they did something unforgivable: They destroyed the original three-strip camera negatives. When the color negatives inevitably faded, they had no way to restore them.
So the Film Foundation basically had to colorize this film, using the sole surviving three-strip print as a guide. In other words, they didn’t really restore the colors, they painted them in.
By the way, this is the only one of the three I’ve seen. A rare Technicolor 40s noir, it stars Gene Tierney as a woman who loves too much. She’ not the typical film noir femme fatale, seducing men to their doom in her quest for material ends. She doesn’t need material things, but she needs her man (Cornel Wilde) so desperately she can’t bear the thought of sharing him with friends or family. And she’s willing to do anything to keep him to herself. I give it an A-.
35mm Technicolor IB dye-transfer print
Wednesday, July 15
Jean Renoir took the big Technicolor cameras to the newly-independent nation of India to film this coming-of-age story. And the PFA will screen it in an actual Technicolor dye-transfer print from 1952.
That’s about as close to the original experience as you can get.
Note: I altered this section after first posting the article, after confirming when the print was manufactured.
The Tales of Hoffmann
Sunday, July 19
If Leave Her to Heaven is the problematic restoration, and The River is closest to the original experience, The Tales of Hoffmann provides an example of an ideal restoration, done off of the original, 35mm three-strip camera negative. I haven’t seen the restoration (or the film in any form), but i trust the people who did it.
Unlike Heaven, Hoffmann will
be projected the way it was restored–digitally. I realize that many will object, but not me. Taking it from the digital domain and converting it back into film loses image quality, and adds nothing except vibration, flicker, and, inevitably, scratches.
Of course, I hope that they have transferred it back to film for archival purposes. it will be decades before we know if we can safely archive bits.
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