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saic. What is significant to the producer as well as the critic, is the colour, which has been supervised by Edmund Jones, the Broadway stage designer.
Reactions to the colour after seeing one screening: (i) Enjoyed observing for the first time chromatic detail in non-animated film worked out by an artist. Shades, blending, contrasts of colours built up into a composition, in contrast to the usual colour postcard effect. (2) Bewildered by having to watch colour, direction, movement, and story all at once. Almost like trying to see everything at a three ring circus. (3) Noticed a theatricalness in the design of the coloured set. Seemed that the set was not designed for camera angles, close-ups, and dolley shots. (4) Felt that colour does the following: gives the material a stereoscopic roundness and unusual depth ; emphasizes what may not be desired, such as a bright orange tie in a close-up; spoils the possibilities of two-dimensional design present in black-and-white film. (5) Amused at the unimaginative and incomplete attempt to use colour as an intrinsic part of the plot: a face darkens from embarrassment in rather halo fashion with the aid of a spot light (Disney's Big Bad Wolf changed colour more convincingly), and yet a few minutes later the same face, in agony from the effect of an over seasoned salad, doesn't change in colour; a scene of anger is played before a wall bathed in passionate red-orange light, while two steps to the right the wall is a green grey. (6) Concluded that colour paradoxically renders natural material artificial, and that therefore it would be most successful in fantasy and musicals and stylized productions.
According to inside authority, M.G.M. has spent about 300,000 dollars on David Copperfield (not yet in production) merely testing actors for the various parts. So far no one has been selected for David. It cost about 30,000 dollars to produce Madchen in Uniform.
"Time," the news magazine, is launching a new type of news-reel. As reported in the "Motion Picture Herald," the experimenters in charge have been working "on the theory that in the proper picturization of each news sequence there should be depicted : ( 1 ) the events leading up to the beginning; (2) the events that transpired between the beginning and the end, and (3) the end itself, all three parts to be built up dramatically at both the studio and on the actual scene of the incident." Thus stock shots and studio scenes will augment the actual news-reel event.
The idea sounds promising. But "Time" will not have to go far to surpass the Hollywood news-reel, what with its disregard of important events, and monotonous repetition of beauty parades and military manoeuvres. Mack W. Schwab.
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