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Robert Harris

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Universal was never a company known for quality three-strip Technicolor productions.

They began using the process later than most - 1942 - and during that entire decade only produced 23 films in the process.

Most was either westerns, or titles with exotic names and locales, hence Kino's latest Universal releases in the format, White Savage (1943), Gypsy Wildcat (1944), and Sudan (1945), all starring the exotically named Maria Montez, and Jon Hall.

Ms Montez, born in the Dominican Republic in 1912, was a Universal contract player, first appearing in Boss of Bullion City a 1940 western. Two years hence, she starred with Mr. Hall in the studios first 3-strip production, Arabian Nights (1942), Cobra Woman (1943) and Ali Baba (1944). All are available from Kino.

Her final film for the studio was Pirates of Monterey (1947), after which she appeared in European productions.

Mr. Hall, three years Ms Montez's junior, was born in Fresno, CA, and had a far longer career, beginning in 1935 in Women Must Dress. He played a Tahitian native in the 1935 Mutiny on the Bounty. He acted into the 1960s.

I make note of the number of Technicolor productions to make a point. This particular Kino release accounts for some 15% of the entire output.

To be clear, these films are all B fluff, but it's the Technicolor that should be of interest to the technically inclined. Of further interest, the screenplay for White Savage was by Richard Brooks - his first full screen credit.

How do they look?

Generally, fine.

White Savage is of lesser quality than the other two - possibly derived from an older IP. The others are far superior.

All three fit nicely on a single Blu-ray disc, as total running time is only 228 minutes, and the aspect ratio is 1.37.


Image

White Savage – 3.5
Gypsy Wildcat - 4
Sudan - 4!

Audio – 5 (Monaural)

Pass / Fail – Pass

Plays nicely with projectors - Yes

Recommended

RAH
 
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dana martin

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Fun with math
Assuming it is a 4

But it's those other numbers that are telling, 23 technicolor films in total. So Ms. Montez and Mr. Hall account for 1/4 of the output of the 23.
 

RobertMG

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Fun with math
Assuming it is a 4

But it's those other numbers that are telling, 23 technicolor films in total. So Ms. Montez and Mr. Hall account for 1/4 of the output of the 23.
Never even saw these on TCM --- with these out are they all on vid?
 

The Tall Cinephile

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Universal was never a company known for quality three-strip Technicolor productions.

They began using the process later than most - 1942 - and during that entire decade only produced 23 films in the process.

Most was either westerns, or titles with exotic names and locales, hence Kino's latest Universal releases in the format, White Savage (1943), Gypsy Wildcat (1944), and Sudan (1945), all starring the exotically named Maria Montez, and Jon Hall.

Ms Montez, born in the Dominican Republic in 1912, was a Universal contract player, first appearing in Boss of Bullion City a 1940 western. Two years hence, she starred with Mr. Hall in the studios first 3-strip production, Arabian Nights (1942), Cobra Woman (1943) and Ali Baba (1944). All are available from Kino.

Her final film for the studio was Pirates of Monterey (1947), after which she appeared in European productions.

Mr. Hall, three years Ms Montez's junior, was born in Fresno, CA, and had a far longer career, beginning in 1935 in Women Must Dress. He played a Tahitian native in the 1935 Mutiny on the Bounty. He acted into the 1960s.

I make note of the number of Technicolor productions to make a point. This particular Kino release accounts for some 15% of the entire output.

To be clear, these films are all B fluff, but it's the Technicolor that should be of interest to the technically inclined. Of further interest, the screenplay for White Savage was by Richard Brooks - his first full screen credit.

How do they look?

Generally, fine.

White Savage is of lesser quality than the other two - possibly derived from an older IP. The others are far superior.

All three fit nicely on a single Blu-ray disc, as total running time is only 228 minutes, and the aspect ratio is 1.37.


Image

White Savage – 3.5
Gypsy Wildcat - 4
Sudan - 4!

Audio – 5 (Monaural)

Pass / Fail – Pass

Plays nicely with projectors - Yes

Recommended

RAH
Not part of this set, but I always thought ALI BABA AND THE FORTY THIEVES (1944) another WWII era Universal fantasia had gorgeous Technicolor photography and was the best of the Montez-Hall sword and sandal epics
 

Robert Crawford

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Not part of this set, but I always thought ALI BABA AND THE FORTY THIEVES (1944) another WWII era Universal fantasia had gorgeous Technicolor photography and was the best of the Montez-Hall sword and sandal epics
For those that haven't bought it yet, Kino already released it on Blu-ray back in 2020.
 

Robert Harris

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Anyone who has seen the nitrate print of Phantom of the Opera (1943) would not question the quality of Universal's Technicolor productions.
I don’t believe anyone is questioning the studio’s ability to create a quality product, nor the work of Mr. Greene or Mr. Mohr.

Of the small number of films created in the process, most were lesser projects, that did not use the process to its full potential.

Aside from the colorful use of the process in the films discussed in this thread, what titles truly stand out?

Phantom, The Climax…
 
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timk1041

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I don’t believe anyone is questioning the studio’s ability to create a quality product, nor the work of Mr. Greene or Mr. Mohr.

Of the small number of films created in the process, most were lesser projects, that did not use the process to its full potential.

Aside from the colorful use of the process in the films discussed in this thread, what titles truly stand out?

Phantom, The Climax…
I thought "Can't Help Singing" (1944) with Deanna Durbin also looked really good.
 

lark144

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mark gross
I don’t believe anyone is questioning the studio’s ability to create a quality product, nor the work of Mr. Greene or Mr. Mohr.

Of the small number of films created in the process, most were lesser projects, that did not use the process to its full potential.

Aside from the colorful use of the process in the films discussed in this thread, what titles truly stand out?

Phantom, The Climax…
I would also include the 1946 CANYON PASSAGE, which, as directed by Jacques Tourneur and photographed by Edward Cronjager, has an extraordinary and innovative use of Technicolor, including the painting of natural foliage in order to create a sense of drama as well as a decorativeness. I believe that was independently produced by Walter Wanger, and distributed by Universal--as was ARABIAN NIGHTS, the first of the Montez-Hall films, and Universal's first three-strip production--which may be why you left it out.
 

Will Krupp

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I believe that was independently produced by Walter Wanger, and distributed by Universal--as was ARABIAN NIGHTS, the first of the Montez-Hall films, and Universal's first three-strip production--which may be why you left it out.

If I'm not mistaken, I think the Wanger deal was unusual in that Walter Wanger Productions produced films like Eagle Squadron, Arabian Nights, We've Never Been Licked, etc AT Universal using only Universal resources (the casts, studio and backlot space, technicians and so forth.) This is why Arabian is often mentioned as the studio's first in-house three-strip production and not 1939's The Mikado, which Universal only distributed in the sates but had no hand in the physical production.
 

Robert Harris

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If I'm not mistaken, I think the Wanger deal was unusual in that Walter Wanger Productions produced films like Eagle Squadron, Arabian Nights, We've Never Been Licked, etc AT Universal using only Universal resources (the casts, studio and backlot space, technicians and so forth.) This is why Arabian is often mentioned as the studio's first in-house three-strip production and not 1939's The Mikado, which Universal only distributed in the sates but had no hand in the physical production.
Universal distributed a large number of UK, especially Rank productions over the years.
 

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