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Rock Hudson in the title role of the 3 D Technicolor " Taza, Son of Cochise," makes demands of Robert Burton, as Dick Cutting and Gregg Palmer look on. Above are two scenes from " The Charge at Feather River"—a 3 D Western — left, Onslow Stevens, Guy Madison, Frank Lovejov, Helen Westcott and Vera Miles, and on the right, Indians on the warpath. Stormy inquisitively looks on as Sylvester, the kindly stableboy, grooms the colt’s mother in ‘ Stormy the Thoroughbred." Below : Philip Carey, Doris Day and Howard Keel in " Calamity Jane." Sound, as you may remember, outstripped colour in the race for representation on the screen. But colour added tremendously to the attraction of Westerns when it came—who, having seen The Trail of the Lonesome Pine, the first coloured Western, can forget the blue sky revealed behind pine and fir trees, and the gleam of horses’ coats ? Colour, of course, is far more real and less noticeable nowadays, so much has the grading improved its reproduc- tion. Yet there are some films in which it adds so much to beauty that it remains in one's mind—such as the magnifi- cent wooded sweeps of mountain in O’Rourke of the Royal Mounted, with glimpses of blindingly silver lakes at their foot, of grey, misty river scenes, and of sequences in the dark in which the scarlet jackets of the Royal North West Mounted Policemen glowed like live embers. Now have come Three Dimension films and Cinema- Scope. But even the 3D thrills of charging Indians and fighting white men, of knives and tomahawks being hurled straight at us, is challenged by CinemaScope. The Command was photographed in colour and Cinema- Scope. In it the tumult of the Indians and American Cavalry charging pell mell towards the pass for safety, amid magnificent surroundings, and the fine work done by Guy Madison as the doctor who reluctantly takes command of a cavalry and infantry outfit escorting a convoy of covered wagons (which include some cases of suspected