Harrison's Reports (1954)

52 HARRISON’S REPORTS March 27, 1954 bility that SuperScope prints of a particular picture might be made available also in stereophonic as well as one-track sound, in which case it would mean four types of prints that would have to be dealt with. Moreover, it must be remembered that insofar as the distributor is concerned there is an economic hmit to the number of prints that may be processed on a particular picture. As to the availability of pictures in SuperScope, Mr. Tushinsky said that RKO is preparing to release five completed pictures through his system, and that Paramount is considering the use of the process for “Elephant Walk.” He claimed also that he is now in the midst of tests and negotiations with Columbia for a SuperScope treatment on “The Caine Mutiny”; with Samuel Goldwyn on the gen-j eral release of “Hans Christian Andersen”; and with several independent producers releasing through United Artists. There can be no question that SuperScope is a highly important development in view of the swing toward widescreen presentations, and it offers the exhibitors, as well as the producers, definite advantages. To begin with, it offers the exhibitors an anamorphic projection lens that is easily attached to any projector, that can be adjusted to any aspect ratio desired, and that is priced at a cost that, for the present, is far below the cost of other anamorphic lenses. Secondly, SuperScope enables the producers to make their pictures available in either anamorphic or conventional form without the expense of double shooting, thus giving the exhibitor his choice of screen presentation. Thirdly, it will make anamorphic pictures available to the exhibitors with one-track sound. And, finally, it helps to establish the anamorphic picture as an industry standard, and should therefore hasten the day of standardization of the process. Since both SuperScope and CinemaScope are anamorphic processes, comparisons are inevitable, and already claims are being made on both sides as to why and how one is superior to the other. The fact of the matter is that both are fine systems, and it is doubtful if the public will notice any difference between them in projection quality. There is a difference, of course, in that CinemaScope has a set aspect ratio of 2.55 to 1, while the aspect ratio of the SuperScope pictures will be variable. It may be argued that an aspect ratio of 2.55 to 1 makes for a more “startling” picture than one with a lower ratio. Granted that this is true, the fact remains that an exhibitor is controlled by the structural limitations of his theatre. Consequently, it seems practical to leave to his judgment the aspect ratio that will make for the best presentation in his theatre. The other important difference between the two systems is that CinemaScope calls for compulsory stereophonic sound, while SuperScope will make the use of such sound optional. The SuperScope policy, of course, now strengthens the hand of those exhibitors who have been battling 20thFox’s demands on stereophonic sound, either because they cannot afford the equipment or do not believe that such sound is essential. Many industryites now feel that 20thFox will have no alternative but to ease up on its stereophonic sound demands, but we may know more about this next Monday, on which day Spyros Skouras has scheduled a trade press conference for the purpose of discussing “important new advances in CinemaScope," and of making several announcements of “extreme significance.” THE SUPER PANATAR DEMONSTRATION Demonstrated also this week at the RKO 86th Street Theatre in New York was the Super Panatar variable anamorphic projection lens, developed by Robert S. Gottschalk and owned by Panavision, Inc., of Hollywood. This lens is similar to the Tushinsky SuperScope lens, but Gottschalk claims that it offers a sharper and better image from the standpoint of color. This was not evident at the demonstration, for scenes from “Knights of the Round Table” came through with a certain amount of fuzziness. The fault, however, might have been in the print, for some of the scenes seemed sharper and had better color definition than others. The Super Panatar lenses had originally been quoted at a price of $1,100 a pair, but Gottschalk told the press that the price would be reduced shortly. He did not, however, specify by how much. The lens will be distributed by the Radiant Manufacturing Company, and it is expected that within one month they will be produced at the rate of 50 lenses per day. Whether the Super Panatar lens is as good or better than the SuperScope lens insofar as ease of operation is concerned could not be determined at the demonstration, but the end result on the screen was good. “Carnival Story” with Anne Baxter, Steve Cochran and Lyle Bettger (RKO, April; time, 94 min.) The King Brothers have come through with a gripping adult melodrama in “Carnival Story,” one that is loaded with sex, thrills and suspense, and is boldly frank in its depiction of an illicit love affair. It certainly is not a picture for the youngsters. Filmed in AVGA color, with prints by Technicolor, the picture was shot entirely in Germany. It is not a pleasing story, for one does not enjoy seeing a weak-willed woman dominated by a worthless fellow with animal instincts, but the good acting, the colorful background of a traveling American carnival, and the thrilling scenes of high-diving from a 110-foot ladder into a tank of water, give the picture a fascinating quality and grips one’s attention throughout. Anne Baxter delivers perhaps the best performance of her career as the weak woman who stupidly allows herself to be dominated and repeatedly fooled by Steve Cochran. That she wins some measure of sympathy in the characterization is a credit to her fine acting. The picture has ingredients that make for popular appeal and, since it offers also many exploitation angles, it should prove to be a winner at the box-office: — Cochran, advance man for a traveling carnival operated by Jay C. Flippen, obtains a dishwashing job for Anne, a German girl down on her luck, after he catches her picking his pocket. It soon becomes clear to Anne that Cochran expects more than gratitude from her, and she finds that he arouses her beyond her powers of resistance. Lyle Bettger, who did a high diving act, takes an interest in Anne and offers her a chance to join his act. While teaching her how to execute the perilous dive, he falls in love with her and asks her to marry him. Fearful of hurting Bettger, Anne asks Cochran for advice. She discovers what a heel he is when he suggests that she marry Bettger for his money while continuing to see him. After her marriage to Bettger, Anne finds that she still cannot resist Cochran. She continues to see him until Bettger catches them together. Bettger gives Cochran a severe beating and forces him to leave the show. In revenge, Cochran causes Bettger to plunge to his death by loosening a rung on the high ladder. The death is assumed to be accidental, and Anne carries on with the act. In due time Cochran comes to see her and, after spending the night with her, absconds with $5,000 left to her by Bettger. The experience leaves Anne bitter, and shortly thereafter she is injured while doing a dive. During her recovery in a sanatorium, she is visited by George Nader, a friend of her dead husband, who persuades her to quit the act and marry him. But she changes her mind at the last minute and returns to the show. When Cochran comes into her tent and kisses her, she exultantly realizes that he no longer appealed to her. Cochran gets rough with her, only to be chased by Adi Berber, the show’s halfwitted strong-man, who was devoted to Anne. Berber traps Cochran on a ferris wheel and hurls him to his death. Berber surrenders to the police, and Anne sets out to start life anew with Nader. Maurice and Frank King produced it, and Kurt Neumann directed it, from a screenplay by Hans Jacoby and Mr. Neumann, based on a story by Marcel Klauber and C. B. Williams. Adults.