CinemaScope - A forgotten innovation

Academic Amnesia ― Why has ‘CinemaScope’ become ignored or even completely forgotten by new film historians? By John V. Watson. © 2020 by John V. Watson. ‘CinemaScope’: An historical fact which has become a problem for some Academics to recognise?: The basis of my assertion is this: ‘CinemaScope’, the new anamorphic widescreen process, was launched in September 1953. It was an immediate success; by early 1955, only about eighteen months after it was introduced, nearly 20,000 cinemas worldwide had equipped to accommodate the new system. Now, many new, or newer, academics dismiss ‘CinemaScope’ as merely a flash-in-the-pan, an experiment which spluttered and soon disappeared. Why? These bookish individuals, cosseted in halls of learning, seemingly beyond the real world, often take an arrogant stance on this then new innovation - the widescreen aspect ratio. They just do not seem to grasp that ‘CinemaScope’ heralded in the third major cinematic innovation ― the widescreen. And, as a reminder to the reader, it should now be made clear that there were three prime innovations for the cinema ― firstly, colour, from more or less its earliest days; secondly, sound, from 1926-27; and thirdly, the widescreen; after a false start in 1929-1931, ‘CinemaScope’ came with a bang in 1953, and consequently changed the shape of the cinema screen forever. ‘CinemaScope’ heralds in the Third Foremost Innovation of the Cinema ― Widescreen in 1953: Although the system and the trademark of ‘CinemaScope’ itself disappeared over fifty years ago (in 1967, to be precise), its conception created the standard for the new widescreen ratio for the film industry which we still enjoy today, almost 70 years after this revolutionary system first burst onto the world’s cinema screens. And, in more recent years, that widescreen revolution has also affected our own television screens at home - these devices all have widescreens which are now standard issue. This author is old enough to remember the cinema when it had only the ‘Academy’ ratio (of 1.37:1) to photograph and screen films in. And I still remember the excitement of anticipating the imminent arrival of the new, huge widescreen, as I read about the forthcoming cinematic revolution in 1953 and 1954. And what a joy - nay, the sheer ecstasy - of seeing my first film in ‘CinemaScope’ in March 1955 - Sign of the Pagan (1954) at the Carlton Cinema, Norwich! (Fuller details about this wonderful, new and most exciting experience is given below.) Of course, from 1954 to 1956, it was a novelty at first for the average filmgoer both here and abroad. Cinema admissions rose significantly over those three years stemming the overall decline brought about primarily the growing threat of the power of television. But then the decline restarted and gathered pace, as widescreen presentation quickly became the norm. ‘CinemaScope’: Keeping its Legacy Alive: Determined to stop ‘the rot’ brought about by this cruel combination of academic arrogance and academic ignorance, I decided some years ago to put the record straight by writing several books on the history of widescreen in the cinema. The first dealt with widescreen presentation in its early days, through to Hollywood’s flirtation with huge wide screen presentations from 1929 to 1931, a brief experiment with limited engagements; and then on to the introduction of ‘Cinerama’ (a huge success but so very limited because of its enormous technology); the brief 3-D craze in 1952-3, which led to the launch of ‘CinemaScope’ itself in September 1953. Several other books specifically about ‘CinemaScope’ itself have since been published, covering the years 1953, 1954 and 1955. A further book is now in preparation about the progress and further consolidation of ‘CinemaScope’ in 1956. As with the previous books in this series, details about all the other widescreen, usually anamorphic systems, as covered; for example, ‘VistaVision’, ‘Cinerama’, the short-lived ‘SuperScope’, et al. All my books definitely make extensive use of source materials, particularly the trade journals of the day, as well as contemporary film fan magazines. In this respect - of using original source information, I am surprised, even amazed, how many so called learned texts I have read recently, whereby there has been a total absence of using original relevant publications to couch their ‘researches’; instead, pure conjecture has been utilized instead, with the feeling that they have made in up and they went along ― extraordinary, unprofessional and sometimes sheer childishness! All my books are available on Amazon Paperbacks; you can search for all of these using my name - John V. Watson. Welcome Accolades from Readers: I have already received some wonderful responses to two of my books from a purchaser of these on Amazon. The buyer’s comments are certainly worth repeating because they each encapsulate the essence of what I wanted to achieve with them, as expressed as follows: Abner Sam 5.0 out of 5 stars A Treasure Trove Reviewed in the United States on 21 May 2019 Verified Purchase of 1955: The Year of the Extraordinary Expansion of CinemaScope. (The History of Widescreen in the Cinema) “This is an absolutely magnificent labor of love about a subject much ignored or derided by film scholars. Kudos to Mr. Watson for keeping this period alive and well. Those of us lucky enough to have seen most of these movies in the great Cinemascope era of the Fifties are highly indebted to Mr. Watson for his effort. I can’t praise him enough.” Abner Sam 5.0 out of 5 stars Outstanding Undertaking Reviewed in the United States on 25 May 2019 Verified Purchase of ‘The Modern Miracle You See Without Glasses’: ‘Twentieth Century-Fox presents A CinemaScope Production’: 1953 (Films made in CinemaScope from 1953 to 1956) “This is a remarkable, fact- laden reference of the great early Fifties introduction to Cinemascope, a period which Mr. Watson actually experienced first-hand, jotting down fascinating information of the time. Largely ignored by film scholars, the beginning Cinemascope films now have vibrant life brought to them after years of neglect. Mr. Watson has also written four more books on this topic for which I am eternally grateful. THANK YOU, THANK YOU, THANK YOU.” _________ _________________________________ Putting the Record straight: The following summary is now presented here to enable a full understanding and appreciation of just how important ‘CinemaScope’ was in the development of the cinema in the 1950s which still holds good today. Consequently, it is hoped that those academics who, up until now, insist in denying the significance of ‘CinemaScope’ will now come to realise the error of their ignorant attitude. The Standard ‘Academy’ Ratio before 1953: I am not at all sure that what really happened in the history of the cinema is understood by many new film academics, born long after these major events of 1950s cinema occurred. Do they really understand that, before and as at 1953, films were shown across the globe in the old ‘Academy’ format of a ratio of 1.37 to 1, let alone appreciate what was really very soon to come? The Academy ratio of 1.375:1 (abbreviated as 1.37:1) is an aspect ratio of a frame of 35mm film when used with 4-perforation pull-down. It was presented by the Academy of Motion Picture Arts and Sciences as the standard film aspect ratio in 1932. Indeed, as a regular cinemagoer in the early 1950s, mostly patronising The Regal Cinema in Swaffham (where I lived and went to school), I saw many films in this ratio, and, of course, that was the only ratio; there was obviously nothing else available. But with the innovation of super-wide screen dimensions of Cinerama which arrived in late 1952 and with Fox’s announcement in early 1953 that it was going to produce all of its future major productions in CinemaScope, the use of the standard ratio was soon to change. Aware of Fox’s upcoming CinemaScope productions, Paramount was the next major Hollywood studio to announce their 100% widescreen policy on 24 March 1953, announcing ‘Paravision’ 1.66:1 as their house ratio. Paramount introduced this technique with its May 1953 release of Shane using the widescreen 1.66:1 aspect ratio. Filmed in July to October 1951, Shane was photographed in the standard Academy ratio. A month later, in late March 1953, a technique simply called ‘Wide-Vision’ was announced by Universal-International. Combined with Stereophonic sound, the Daily Variety article in their issue for 2 April 1953 described this as “impressive”. In May 1953, U-I released Thunder Bay (starring James Stewart and directed by Anthony Mann) with a 1.85:1 aspect ratio. The New York Times reviewer commented that this aspect ratio, although not as wide as the Fox’s forthcoming CinemaScope 2.55 to 1 aspect ratio, was “pleasingly effective”. By around August-September 1953, every major studio had abandoned making films in the standard ‘Academy’ 1.37:1 format; widescreen composition, with ratios ranging from 1.66:1 to 2:1, had now become the new industry standard. However, to ensure a steady flow of product for all exhibitors worldwide, the new films were still able to be projected in the old 1.37:1 format. ‘Cinerama’: In 1952, widescreen first came to the American cinema in the form of Cinerama. The photographic system used three interlocked 35 mm cameras equipped with 27 mm lenses, approximately the focal length of the human eye. Each camera photographed one third of the picture shooting in a criss-cross pattern, the right camera shooting the left part of the image, the left camera shooting the right part of the image and the centre camera shooting straight ahead. The three cameras were mounted as one unit, set at 48 degrees to each other. A single rotating shutter in front of the three lenses assured simultaneous exposure on each of the films. The three angled cameras photographed an image that was not only three times as wide as a standard film but covered 146 degrees of arc, close to the human field of vision, including peripheral vision. The image was photographed six sprocket holes high, rather than the usual four used in conventional 35 mm processes. The picture was photographed and projected at 26 frames per second rather than the usual 24 fps. The first production in Cinerama was This is Cinerama which opened on 30 September, 1952, at the New York Broadway theatre, in New York City. It was received with great enthusiasm and was a huge financial success. But, because of the very high financial investment costs, Cinerama could never be available to the ordinary cinema located in smaller urban areas. Cinerama’s bulky and expensive three-projector system and huge curved screen were impractical, if not impossible, to duplicate in any but the very largest of theatres. ‘CinemaScope’: When CinemaScope was unveiled to the cinema going public in late 1953, it carried with it this triumphant advertising catch-line: “The Modern Miracle You See Without Glasses”. Actually of course, movie audiences the world over had been enjoying the modern miracle of motion pictures for over fifty years without having to resort to spectacles to do so! The idea behind the catch-line, naturally, was to stress that the new CinemaScope process did not require special glasses. The special 3-D glasses required were the big drawback of all of the several American 3-dimensional films shown in 1952-3; they were awkward, clumsy and finally uncomfortable for audiences to wear. And, as has been already discussed, out-of-synchronisation projection, particularly for the earlier 3-D releases, was also a major problem. This catchline was a certainly an excellent selling angle. However, the catchline in itself is rather typical of the industry’s perennial reliance on “gimmicks”, and its delight in acclaiming a perfected or improved technique as something completely new and revolutionary. But, in so many ways, CinemaScope was something completely new and revolutionary. It certainly offered cinema audiences a new entertainment experience: a super-wide screen, full colour and stereophonic sound. Many of Fox’s films were at least partly shot in exotic places: for example, Rome for Three Coins in a Fountain; the Key West and Tarpon Springs, Florida locations for Beneath the 12-Mile Reef; Mexico for the outdoor sequences of Garden of Evil; portions of River of No Return were shot in Canada; and all of Night People was filmed in the then West Berlin, at Geiselgasteig Studios, in then West Germany; and a little later Fox shot much of Soldier of Fortune (1955) in Hong Kong. Television could not possible offer any of these wonderful selling points: spectacle, super widescreen and colour, plus exotic locations. In order to protect its huge investment and to ensure the continued use of CinemaScope, Fox offered loans to many exhibitors throughout the United States and the rest of the world to install the necessary projection and sound equipment. On 17 April 1953, Hollywood Reporter noted that at that time, more than 1,500 theatres had already placed orders for the equipment, and that it would cost between US$8,000 to US$22,000 to re-furbish theatres for CinemaScope and stereophonic sound, depending on the size of the establishment. By mid-July 1953, Fox had invested US$10,000,000 “in the development of CinemaScope and in advances to manufacturers throughout the United States and Europe to ensure speedy delivery of CinemaScope lenses, Miracle Mirror screens and stereophonic sound”. The studio also underwrote the retooling of manufacturing plants in an attempt to ensure a steady production of lenses, screens and sound equipment. A news item in Motion Picture Daily on 1 April 1955 reported that 12,711 theatres in the United States are equipped to present CinemaScope product with magnetic and optical sound. It added that there were approximately 7,000 theatres in the foreign market equipped for CinemaScope with equipment being installed at an average rate of 150 units weekly. One 20th-Fox International executive estimated that “by the end of the year there will be some 13,000 theatres overseas equipped for CinemaScope.” The huge success of CinemaScope had a positive effect on the average weekly admissions particularly in the U.S.; they rose significantly in 1953 and 1954-5, but the decline soon returned, and, by 1956, started to fall again. Other widescreen systems were created by other Hollywood studios; Paramount with its far superior VistaVision; the short-lived SuperScope which could be adapted for those cinemas who did have, or who could not afford to install, an anamorphic widescreen process; and Todd-AO which was first used for the production of Oklahoma! (1955). Technicolor’s superior Technirama process, with pin-sharp picture, was introduced in 1957. Panavision, incorporated in 1954, was established principally for the manufacture of anamorphic projection lenses to meet the growing demands of cinemas showing CinemaScope films. Panavision lenses gradually replaced CinemaScope as the leading anamorphic system for theatrical projection. Early CinemaScope camera lenses were notoriously problematic in close-ups with an optical aberration that was commonly known as “the mumps”: a widening of the face due to a loss of anamorphic power as a subject approaches the lens. Early CinemaScope productions compensated for this aberration by the avoidance of tightly framed shots. As the anamorphic process became more popular, it became more problematic. Panavision invented a solution: adding a rotating lens element that moved in mechanical sync with the focus ring. This eliminated the distortion and allowed for natural close-up anamorphic photography. The Auto Panatar, released in 1958, was rapidly adopted, eventually making CinemaScope lenses obsolete. Techniscope was introduced by Technicolor in 1960; using a 2-perforation pull-down, the negative frame height is reduced by one-half for the photographing of films, effectively halving negative and processing costs. A 4-perforation anamorphic positive print could be struck from the original negative. The Technicolor Corporation stated the process can save producers between $15,000 and $20,000 in “front end” production costs for a motion picture in colour. In Italy and Spain, the process was used extensively during the 1960s and was particularly popular for the producers of “Spaghetti Westerns” including those made by director Sergio Leone and his contemporaries. In order to save from paying expensive fees to Fox to use their CinemaScope process, European producers soon started to use alternative anamorphic systems made by French manufactures - Dyaliscope, Cinépanoramic and Franscope. Cinépanoramic was also used by Republic Pictures in Hollywood; branded “Naturama”, the studio’s first picture in the process was The Maverick Queen (1956). Totalscope was another Continental anamorphic system which was mostly used by Italian film producers. Although the system and the trademark ‘CinemaScope’ itself disappeared over fifty years ago, its conception created a standard of the widescreen ratio for the film industry which we still enjoy today, almost 70 years after this revolutionary system first burst onto the world’s cinema screens. _________ _________________________________ About the Author: The author was an Honorary Research Fellow in Film Studies at the University of Kent in 2010 and 2011. He has worked in the film industry for over 20 years in various roles including a cinema circuit controller, a film booking executive for a large cinema circuit which no longer exists, and a film distributor. He is a film historian and researcher, and an authority on British and American films and their histories. He has also written several important books on film history, receiving a most welcome accolade from a Professor of Film regarding the thorough detailed research about the history of Julius Hagen and the film empire he built at Twickenham Film Studios from 1928 to 1938. A series of books on widescreen in general and CinemaScope specifically have also been published to establish a proper and full record of this groundbreaking anamorphic system which revolutionised the cinema from 1953, a fact largely ignored, or misunderstood, by many academics these days. All have been published on Amazon Paperbacks. The author is also an accountant, a former business consultant, a former business executive and a former hotelier/restaurateur.