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Best cinematography shots from the aviator10/31/2023 If you are interested in how the original movie could have looked like in the 1940s, this vintage print screened at Eye is the closest thing existing, much closer than prints made later, new analogue prints or digitised versions.įor the production of ‘Meet me in St. Therefore, this projection at Eye Filmmuseum is rather unique. We restrict the access only to institutions that guarantee a safe projection of the print. However, now this archival print has a great significance and we do not loan it easily. In France, we were not used to search for such films because there was not a culture of Technicolor as there was in the USA. The emulsions of Technicolor in the 1950s were highly performant and sensitive, using different dyes compared to the early days of this system. Yet, we know that during this period, several classical Hollywood films were reprinted in safety film for further theatrical distribution. It is difficult to know the exact date of the print, because there are no edge-marks that could help us identify the year. Louis print is an original Technicolor imbibition print that was made by the rightsholders for theatrical release in the 1950s. The characters are dressed purposefully in peculiar colours and as they seem indistinct, it helps the viewer to perceive the depth in the image. I remember a beautiful sequence with a snow landscape and many characters in the background, which reminded me of a Bruegel painting. Louis was revolutionary, because Minnelli together with his director of photography, George Folsey, played with the blurry effect that Technicolor would evoke. In his memoir, Minnelli said that he believed in the Technicolor system but that he did not always follow the advice of Natalie Kalmus, the famous Technicolor consultant. Louis was very interesting, because Minnelli tried to make the design and the settings in his own way, building upon his expertise from his work on Broadway. For my research on Technicolor, Meet Me in St. This was the first film that Vincente Minnelli shot in Technicolor. Can you tell us how important this film was in the Technicolor history? Louis “one of the year's prettiest pictures”. Upon its 1944 release, Time magazine called Meet me in St.
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