Lots of misinformation about the movie. Even the writer of THE MGM STORY gets the information about Grimm wrong saying it was the first of the single camera/no panel Cinerama features. Obviously this person never saw the film, even in its 35mm engagements.
Definitely true that one can't be sure of the accuracy when you read something on Cinerama. I imagine due to a combination of oft repeated and thus altered accounts and attempts to connect the dots that end up with 2+2 = 44. Human error I suppose.
In a previous post I mentioned having read that Pacific/Foreman made the decision to Kill 3 strip in favor of cheaper 70mm. Have since gone to a reliable source that says it was Nicolas Reisini who took over Cinerama inc, after their Stanley Warner contract was up... Now Foreman/Pacific were definitely involved to a degree from at least the agreement to build the Dome for Mad World... and you'll see they definitely helped bury Cinerama for decades...
Quoting Excerpts by Greg Kimble:
"When the 70mm comedy "It's a Mad, Mad, Mad, Mad World" proved a success, he [Reisini] decided the 3-panel process was just too expensive and made all future films in either Technirama or Super Panavision 70, hoping to trade on the established marquee value of the Cinerama name. Of course, audiences weren't fooled by this bastardization of the process - it was impossible not to notice that there was only one projector."
"Worse, Reisini also called a halt to all R&D, which stopped production of Waller's design of a 35mm 16-perf pull-across camera with a curved gate, and curved real element lens. Three-panel prints would be made from the single negative, forever solving the image kinking problem where the panels (each with its own vanishing point) met. Waller had never stopped trying to improve the process, and had always seen 3-panel as first generation technology. "
"The Cinerama name rapidly lost its caché and market share. Theaters were un-converted to conventional projection... The company assets and distribution arm were purchased by Pacific Theaters, which mothballed the equipment and sold the remaining prints as sound spacer."
"The original film materials for all the travelogues have been vaulted for decades. Fading as we speak, they are awaiting restoration - if only someone will put up the money.
"And what of the Cinerama Dome in Hollywood? Nearly lost in a planned conversion to flat-screen and buried inside a parking structure, the Dome was saved largely through the efforts of the Los Angeles Conservancy under the direction of Doug Haines' Friends of Cinerama. This is quiet vindication for John Sittig, long time Pacific Theaters manager, who has been quietly lobbying behind the scenes for years to install Cinerama in the Dome."
Full Article by Greg Kimble here:
Greg has both the access to original documents and hands-on experience with Cinerama elements. He was integral to the development of the SmileBox digital format. So if you want a reliable Cinerama source, he's the man.