Everett S.
Movie King (formally a projectionist)
For May release. Dvd only. Amazon.
Apparently not.Dick said:Why is this post in the 3-D thread? Is HONDO 3-D a part of the set?
1932 - Big Stampede / Ride Him, Cowboy / Haunted Gold 1933 - The Telegraph Trail / Somewhere in Sonora / The Man From Monterey 1939 - Allegheny Uprising 1942 - Reunion in France 1944 - Tall in the Saddle 1945 - Back to Bataan 1945 - They Were Expendable 1946 - Without Reservations 1947 - Tycoon 1948 - Fort Apache 1948 - 3 Godfathers 1949 - She Wore a Yellow Ribbon 1951 - Operation Pacific 1951 - Flying Leathernecks 1952 - Big Jim McLain 1953 - Trouble Along the Way 1955 - The Sea Chase 1955 - Blood Alley 1956 - The Searchers 1957 - The Wings of Eagles 1959 - Rio Bravo 1962 - Hatari! 1962 - How the West Was Won: PART 1 1962 - How the West Was Won: PART 2 1962 - The Man Who Shot Liberty Valance 1963 - Donovan's Reef 1965 - In Harm's Way 1965 - The Sons of Katie Elder 1966 - El Dorado 1968 - The Green Berets 1969 - True Grit 1970 - Chisum 1972 - The Cowboys 1973 - The Train Robbers 1973 - Cahill: United States Marshal 1974 - McQ 1976 - The Shootist - Bonus disc
SORRY.Dick said:Why is this post in the 3-D thread? Is HONDO 3-D a part of the set?
B&W was still a popular and accepted cinema medium in 1965. A few reasons why this was B&Wsonomatom1 said:Does anymore know the story behind "In Harm's Way" - why did Preminger film it in b/w? It was 1965, for crying out loud, well into the era of color ... (or was he afraid that the pathetic ship models would look even more pathetic?). I love the film, but the modeling - whoa! - what a disappointment.
Thanks for your very interesting response; I think I understand the thinking behind the film a lot more now. What I still find interesting about IHM, is the relatively modern story of sexual assault in the military seen through the filter of the 1940s.JoHud said:B&W was still a popular and accepted cinema medium in 1965. A few reasons why this was B&W
-The Academy Awards still had a separate cinematography Oscar award for B&W Cinematography. This award was last presented for the year of 1966. This gave studios and other filmmakers an extra incentive to make B&W films. And indeed In Harms Way was nominated for Best B&W Cinematography
- WWII pictures were still commonly B&W. Some because B&W gave a properly nostalgic look to the past, and many because B&W stock could much more easily be intercut seamlessly with actual B&W combat footage. Even the 20th Century Fox mega-production of The Longest Day was in B&W.
- As an independent producer, Preminger probably felt the extra cost of Color film stock wasn't worth it. Plus he seemed more comfortable with B&W cinematography and while he made some color productions in the past, he had always fallen back to B&W. This and Bunny Lake Is Missing were his last B&W films. His B&W films garnered praise up to that time, which probably gave him less incentive to stick with color films until later on when the market all but demanded it.
-Similar to what you said, B&W tend to hide the seams of special effects better than color. With a few exceptions, rear projection was still more noticeable in color films than it was in B&W films.