The Independent Film Journal (1955)

“The ‘Oklahoma!’ Introduction The biggest news of this week — and possibly of the entire year — is that Rodgers & Hammerstein’s “Oklahoma !”, already one of the most fabulous stage successes of modem times, has world premiered in the new TODD-AO process at the Rivoli Theatre, New York. The next openings will be at the Egyptian theatre, Hollywood, about Nov. 1, to be followed in about three weeks by the United Artists theatre, Los Angeles. Spokesmen for “Oklahoma!” and TODDAO are decidedly “bullish” about this proposition, convinced that this musical will revolutionize current methods of film presentation. They are talking about a two to four-year run at the Rivoli, and an eventual “take” that will reach $75 million, or twice the gross of “Gone With The Wind.” Mike Todd says that before “Oklahoma” finishes its run on the nation’s screens, at least four pictures a year will be produced on TODD-AO, and 100 houses throughout the country will be equipped for TODD-AO presentation. “Oklahoma !” was photographed on 70mm film with an assortment of narrow and wideangle lenses. The film will be projected onto the largest curved screen possible, by a single projector which is compatible with all 35mm processes. The aural portions of the film will be heard on six sound tracks. The most perfect “sense of audience participation” to date is claimed. We will relate the complete lowdown on these innovations as told to us by the men who know “Oklahoma!” best. Among these contributors are Dr. Brian O’Brien, vicepresident of American Optical, who engineered the visual aspects of the system; William Peck, general manager of the AO motion picture division; Dr. M. McNeil, research scientist, and L. D. Netter Jr., vicepresident of TODD-AO in charge of theatre equipment. MAGNAte GEORGE P. SKOURAS STARS GORDON MacRAE and SHIRLEY JONES The Process: Todd-AO History Most intimately connected with the beginnings of TODD-AO were Broadway producer Michael Todd, veteran theatremen George Skouras and Joseph Schenck, and scientist Dr. Brian O’Brien. Todd left the original “Cinerama” financing team before the production opened, determined to show his former associates a better process. Scouting around for the “Einstein of the optics dodge,” he found Dr. O’Brien at the University of Rochester. After a few preliminary experiments, both men decided they were on the right track. All they needed was a) more money for research, and b) a picture to distribute. This they would get later from Skouras and Schenck. O’Brien’s first experiments were simple enlargements of “stills” of a plant; next came a black-and-white sequence of a landing in a Buffalo airport, made into a flipbook for demonstration purposes. Finally, O’Brien used color film at the Rockaway Park roller-coaster, where the famous “Cinerama” scene was photographed. The wide-gauge film couldn’t be developed for a week. When it was ready, Schenck and Skouras saw the film on an ancient 70mm Erneman projector. The theatremen agreed that the process was startling, but would not participate further without a “great” story property. Rodgers and Hammerstein, approached about “Oklahoma!”, agreed to shoot it on the new process if it could “tell a story.” Fred Zinnemann proved that it could. Besides taking scenic shots from a helicopter over Niagara Falls, Zinnemann directed a scene between two young lovers in a Buffalo park. After seeing the rushes, Rodger’s and Hammerstein were “in” and the picture was on the way. Five companies will share the profits of “Oklahoma!”. They are TODD-AO, which controls the patents, sells all equipment, and granted the license to make “Oklahoma!”; Rodgers & Hammerstein Inc.; Magna Theatre Corp., the distributing company; American Optical Co., which manufacturers everything but the projector “head” ; and United Artists Theatres Circuit Inc., which owns Magna stock. Camera The most striking feature of the TODDAO cameras is their small size and light weight. They were designed to take the 65mm TODD-AO negative, the cameras are only slightly wider and a few pounds heavier than conventional 35mm cameras. The movement is of a double eccentric and link type and is very quiet running. Special emphasis has been put on steadiness in the picture. In addition to running at 30 frames per second, TODD-AO cameras also run at 24 frames per second ; a high speed camera is also available, which will run up to 90 frames per second for special effects photography. For interior shots where special quietness is necessary, the camera carries a light fiberglass, sound-proof blimp and a special “barney” of soft padding to surround the huge ‘“Bugeye” lens. Each camera is equipped with a new dualmagnification focus finder as an integral part. Sixteen-power magnification is available in the center of the field to make possible unusually precise focussing. In low magnification position, the focus finder gives an exceptionally bright, wide view of the entire field on the ground glass with reticle lines marked for the TODD-AO frame and for other aspect ratios. This permits the photographer to compose the picture to take best advantage of the various forms of printdown with the TODDAO negative, as well as to compose the primary TODD-AO picture. MAGNAte JOSEPH M. SCHENCK 22 THE INDEPENDENT FILM JOURNAL— October 15, 1955