The
Widescreen Revolution
CinemaScope
by Rick Mitchell
Over
a century ago, motion picture standards for photography and
presentation basically were set and have only been altered
significantly on two occasions: first by the innovation of
sound in the late Twenties, and second by the "widescreen" revolution
that began in the early Fifties and continues to this very
day and into the future with the growing popularity of widescreen
television through "letterboxed" videotapes and laser discs
as well as the anticipated introduction of high-definition
television and Digital Video Disks (DVD).
In
this series of articles on the latter of these fundamental
alterations to the art of motion pictures, we have presented
an overview of the most notable widescreen photographic techniques
and processes, the changes within the motion picture industry
which gave rise to their introduction, the responses of the
movie-going public to each innovation, and the widescreen's
pervasive and lasting effect on motion picture production
and exhibition. Previous installments have covered the aborted
attempt to introduce a wide film in 1929-30 and the successful
introduction of Cinerama in 1952 and the consequences that
flowed from 20th Century-Fox's subsequent announcement of a
new widescreen process that
was less cumbersome and easier to install in existing theatres
than the giant screen, three-projector, Cinerama process.
To
recap, in January 1953, Fox licensed Professor Henri Chretien's
Hypergonar lens, which he had developed in France during
the latter part of the Twenties. During photography, this
cylindrical, "anamorphic" lens would record almost twice
as much horizontal information as its spherical counterpart.
By optically compressing or "squeezing" the horizontal image
by a factor of two, the anamorphic lens was able to record
its wider image on the same 35mm filmstock while employing
the same motion picture cameras that were already being used
by the major studios. To project the widescreen image, existing
theatres merely needed to equip their projectors with a similar
cylindrical lens that would unsqueeze the image and spread
the picture across an appropriately wider screen. Fox called
its new process "CinemaScope" and sought to make it a new
industry standard.
Almost
overnight, other studios, especially those with a large backlog
of unreleased spherical films, panicked and began to look
for other ways to jump on the widescreen bandwagon. Many
of these studios simply chose to mask off the top and bottom
of the 1.37:1 photographed image during projection, creating
the illusion of a wider image. The resulting, and competing,
aspect ratios used by the various studios were 1.66:1 (Paramount,
RKO, Republic), 1.75:1 (MGM, Disney, Warner Bros.), and 1.85:1
(Universal, Columbia, Allied Artists). Once they had released
their inventory backlog, these studios began to establish
this type of widescreen process as a standard by instructing
their cinematographers to compose images so that no important
action would be lost during projection. By 1956, the studios
had decided unofficially upon 1.85:1 as the standard for
this masked widescreen method.
Another
approach to widescreen photography and projection occurred
in 1954, when Panavision and Superscope developed lenses
for optical printers which made it possible to make anamorphic
prints from spherical negatives. The Superscope system, which
had a brief spurt of popularity in the mid-Fifties, transformed
entire spherical features into anamorphic. The Superscope
system was used under such names as Superama and Megascope
until 1963, when it was supplanted by the introduction of
Techniscope by Technicolor.
Techniscope
was conceptually the same as Superscope, except that cameras
using this process needed to be modified to pull down two
perfs rather than the customary four. This yielded a 2.35:1
aspect ratio image that was then optically stretched and
squeezed in the printing process.
In
the early Eighties Superscope was revived as "Super 35".
Because of the many cost-saving and photographic advantages
of this system - spherical lenses need less light and have
greater depth of field than their anamorphic counterparts
- both Super 35, and its counterpart Super 16, are widely
used today in feature film and television production.
Challenging
the CinemaScope Standard
Soon
after the introduction of CinemaScope in 1952, many anamorphic
challengers began to appear on the horizon. When it set up
CinemaScope as a new standard, 20th Century-Fox thought it
had covered all legal bases. Fox intended to own the use
of the process and license it to other companies. Unfortunately,
Fox soon discovered its rights were limited to the patents
it had obtained from Professor Chretien and H. Sidney Newcomer,
an American who had also been experimenting with anamorphic
lenses in the Twenties. CinemaScope's other basic design
patents were considered to be in the public domain. So, as
soon as the principles behind CinemaScope were published,
a number of competing manufacturers began to announce anamorphic
lens systems. One of the challengers, interestingly enough,
was Professor Ernst Abbe of France, the original developer
of the anamorphic lens.
Around
this time, Fox's most serious challenger was Warner Bros..
Some believe that Fox beat Warners in the race for Chretien's
patent. According to one account in Daily Variety, Jack Warner
had seen a private screening of CinemaScope long before it
was publicly introduced, and had attempted unsuccessfully
to purchase a one half interest in the process. Rebuffed,
Warner was determined to develop his own process and, to
that end, solicited bids from several American and European
optical companies, finally making a deal with Germany's Zeiss
Optical Company for a system that he would initially call "WarnerSuperScope".
The announcement of this newcomer caused yet another panic
among motion picture exhibitors, who were already upset by
the seemingly unending stream of technological changes that
were being foisted upon them. At the insistence of these
exhibitors, Warner shortened the name of the Zeiss process
to "WarnerScope".
WarnerScope
did not meet with success. Although Warners originally had
planned to use the Zeiss lenses on Rear Guard and the Judy
Garland/James Mason remake of A Star is Born (1954), the
lenses were not ready in time. Instead, on Rear Guard, which
began shooting in July 1953, Warners used a lens system called "Vistarama",
that had been developed by the Simpson Optical Company for
Carl Dudley. By September, when the Zeiss lenses finally
arrived at Warners, the studio tested them by shooting footage
of the Hollywood Premiere of The Robe which it planned to
use for a sequence in A Star is Born. When Warners reviewed
the footage, however, it found, much to its dismay, that
the Zeiss lenses had poor resolution and were unsuitable
for feature production. As a result, Warners chose to shoot
A Star is Born in spherical three-strip Technicolor.
According
to the late film historian Ron Haver (who spearheaded the
restoration of Star! (1968) in the early Eighties), when
A Star is Born was being restored, the only version that
could be located of a scene in which Judy Garland is seen
working as a carhop was one that was shot with the WarnerScope
Zeiss lenses. Curiously, in the late Fifties, Warners would
revive the WarnerScope name for three features that actually
were shot in the Superscope/Super 35 format.
While
the production costs were rising on A Star is Born, Warners'
treasurer, Albert Warner, who was impressed by the grosses
from The Robe, convinced Harry Warner to go over Jack's head
to arrange with Fox to use CinemaScope. Jack Warner was finally
convinced by the test CinemaScope footage shot by Milton
Krasner, ASC, and decided to scrap the first ten days of
shooting and start over.
As
a part of the new CinemaScope deal, Warners agreed to release
the Vistarama Rear Guard, now called The Command, as a "CinemaScope" picture.
When the picture opened, critics noticed that the images
were not as sharp as those shot in conventional CinemaScope.
Some critics even noticed that the image was darker near
the edges of the screen, an attribute noticed during the
test screenings of Vistarama in 1953.
Foreign
Rivals
Outside
of the United States, various foreign film companies began
to develop CinemaScope-compatible anamorphic lens systems.
The quality of these systems was somewhat uneven. One of
the most significant systems was developed in France by Prof.
Abbe, father of the anamorphic lens, and was called CinePanoramic.
CinePanoramic was the basis of the French DyaliScope and
FranScope processes as well as other processes used on the
Italian "sword 'n' sandal" epics of the early Sixties.
An
American company, Republic Pictures, arriving late to the
widescreen party, purchased rights to CinePanoramic, and
called it "Naturama". An interesting aspect of these anamorphic
lenses, which were a separate unit, was that each anamorphic
lens was collimated to work with a specific prime lens and
camera. The Naturama system, as recently seen on a rare 16mm
print of Lisbon (1956), the second Republic film to use the
process, appeared to have less of a problem with anamorphic "mumps" than
CinemaScope. Mumps occur when anamorphosis decreases as the
lens is focused closer. This moniker came from the fact that
actors' faces, when photographed in close-up and then projected,
appeared noticeably fatter, as though they had mumps. As
a result, directors using CinemaScope were forced into staging
scenes with wider shots, seriously limiting their editorial
choices.
Republic's
Naturama lenses had a concave distortion, which was most
noticeable in pan shots, and was apparent in every focal
length of lens. By contrast, CinemaScope and Panavision lenses
only caused concave distortion in their shortest focal lengths.
Although Republic offered to license Naturama to other film
companies, it found no takers. Ultimately, Republic amortized
its investment by shooting the rest of its films with Naturama
lenses.
CinemaScope
in Black & White
One
confusing name appearing on films of the Fifties is RegalScope,
which is really a pseudonym for low-budget, black and white
CinemaScope. Originally, Fox only licensed CinemaScope for "A" pictures
shot in color. Yet, once the process had been established,
some filmmakers wanted to use the CinemaScope lenses on dramatic
pictures about subjects that were better suited to black
and white photography. In early 1955, two pictures, Trial and Nicolas Ray's Rebel
Without a Cause, started principle
photography in black and white CinemaScope. When Fox found
out, it objected. As a result, Trial was shot with spherical
lenses, while the producers of Rebel Without a Cause elected
to shoot the teen drama in color.
MGM
was particularly rankled by Fox's absurd prohibition on black
and white. For a while, MGM toyed with the idea of shooting
pictures in color and releasing them in black and white.
Finally, in the Spring of 1956, MGM put The Power and
the Prize (1956) into production on black and white negative
under the photographic supervision of George Folsey, ASC.
This time, Fox did not object.
Having
established the CinemaScope standard, Fox quietly began to
modify its strict anti-black and white attitude. Fox made
a deal with independent producer Robert L. Lippert for a
series of anamorphic low budget "B" films. To distinguish
these low budget films from higher class color CinemaScope
productions, Fox coined the name "RegalScope" after Lippert's
production company, Regal Films. Of course, Regal's films
were photographed with Bausch & Lomb CinemaScope lenses.
Curiously, the first released Regal film, Stagecoach
to Fury (1956), bore a CinemaScope logo, though the size of the logo
was much smaller and less prominent than it had been on "A" pictures.
Around the same time, Fox began to break its own color barrier.
Without fanfare, it began production on a black and white "A" picture
titled Teenage Rebel.
The
most famous "almost" Regal film was The Fly (1958), which
Fox plucked from the Regal program when it decided to jump
on the late Fifties sci-fi bandwagon. One year later, when
Fox negotiated a new "B" picture contract with Regal, Regal
changed its name to Associated Producers and its pictures
were then officially advertised as being shot in CinemaScope.
As Associated Producers moved into the Sixties, however,
its used the anamorphic process less and less.
Panavision's
Better Quality Lenses
In
1953, Panavision was founded by Robert E. Gottschalk, who
had become interested in anamorphic lenses while he investigated
wide-angle lenses for underwater use. Panavision first developed
a set of variable squeeze projection lenses. The high quality
of these lenses, in comparison with Fox's Baush & Lomb lenses,
greatly impressed MGM's research director Douglas Shearer.
Shearer joined with Gottschalk in developing a line of high
resolution 35mm and 65mm anamorphic lenses. These lenses
also eliminated the "mumps" problem so that they could maintain
a 2x squeeze ratio throughout the range of focal distances.
MGM
was one of the first studios to use the new Panavision lenses
on Torpedo Run (1958), Party Girl (1958), and Green
Mansions (1959). Due to MGM's contractual arrangement with Fox, however,
these films were advertised as being shot in CinemaScope.
At Gottschalk's insistence, the films also bore the separate
credit: "Photographic Lenses by Panavision". As one might
expect, many film historians have been confused by these
dual credits.
The
first film to give exclusive credit to Panavision was Frank
Capra's A Hole in the Head (1959), released by United Artists,
a distribution company that was not bound to a blanket contract
with Fox because each of its individual producers negotiated
their own equipment licensing deals. Actor-producers Frank
Sinatra and John Wayne also became strong boosters of Panavision,
and insisted on using Panavision lenses and cameras on most
of the films produced by their companies. By 1960, Paramount,
which had resisted CinemaScope (even though it had released
a film shot in Technirama) also began filming in Panavision.
Although
Panavision shot tests for George Stevens' The Diary of
Anne Frank (1959), Fox resisted using the obviously better lenses,
most likely at the behest of its president Spyros Skouras,
who had been CinemaScope's biggest booster. It wasn't until
1966, four years after Spyros was deposed after the Cleopatra debacle, that several of Fox's top flight directors of photography
began to shoot in Panavision. Charles Lang, Jr., ASC, used
the sharper lenses on How to Steal a Million and The
Flim-Flam Man. Joe MacDonald, ASC, used them on The
Sand Pebbles and
A Guide for the Married Man.
That
summer, Fox filmed its last CinemaScope pictures, to be released
the following spring, In Like Flint and Caprice, the latter
photographed by Leon Shamroy, ASC, who had started it all
on The Robe and makes a cameo appearance in the film. Some
sources at Panavision claim that Von Ryan's Express was shot
with Panavision lenses at the insistence of Frank Sinatra.
Yet, while this may have been true for some scenes, there
are others in which the anamorphic mumps and other aberrations
associated with CinemaScope lenses are quite obvious.
In
the late Sixties, Panavision modified the Mitchell BNC to
make it a reflex camera which Gottschalk named the PSR (Panavision
Silenced Reflex). By 1970, Panavision dominated 35mm anamorphic
photography throughout the world. With the development of
the lighter and more compact Panaflex camera, which was first
used by Vilmos
Zsigmond, ASC,
on Steven
Spielberg's Sugarland Express, and a line
of high quality spherical lenses, Panavision solidified its
position as the industry leader.
Later
Anamorphic Systems
From
the early Seventies on, several companies have joined the
anamorphic fray by developing lenses for use with Arriflex
cameras. In 1971, Todd-AO licensed a line of Japanese designed
anamorphic lenses, primarily for use with Arriflex cameras,
which it marketed under the name "Todd-AO 35". The Japanese
lenses were used on the Academy Award winning documentary
The Man Who Skied Down Everest (1976), although the crew
that lugged the bulky 35mm cameras and anamorphic lenses
up the world's highest mountain might well have wished for
lighter 16mm equipment.
In
1976, an Italian company, Technovision, introduced a line
of Cooke spherical lenses that had been modified for 35mm
anamorphic photography. The Cooke anamorphics were particularly
popular with Vittorio Storaro, ASC, who used them on Apocalypse
Now (1989), The Last Emperor (1988), and the 35mm portions
of Little Buddha (1994).
In
1981, widescreen buff and equipment developer Joe Dunton
also came out with a line of anamorphic lenses which were
used by Dino De Laurentiis, who housed Dunton's American
headquarters at his North Carolina studio, on films he produced
such as Tai-Pai ( 1986) and Maximum Overdrive (1986). Other
films using Dunton's lenses were Invaders from Mars (1986),
The Sandlot (1992), and Rob Roy (1995).
In
1989, Germany's Isco Optic developed a line of anamorphic
lenses especially for Arriflex, which were given the moniker "Arriscope".
The Arriscope lenses were first used by Warner Bros. on Body
Snatchers, the second remake of the Don Siegel sci-fi thriller.
With
today's tightly-grained film stocks and high resolution anamorphic
and spherical lenses, there are many ways to produce rich
and beautiful widescreen 35mm motion pictures. Whether this
might have been envisioned in 1953 at the birth of the widescreen
revolution is not known. For at that time, each method involved
great compromises in image quality: the CinemaScope lenses
had mumps and masked spherical images wasted a significant
part of the photographed image. As soon as these techniques
were launched, industry technicians began to seek ways of
improving image quality. Through their efforts, the movie
going public has greatly benefited. Yet, on a parallel plane
with the optical improvements in 35mm photography just discussed,
some studios chose instead to improve image quality for their
premiere pictures by going to a larger negative.
|