3-D Concludes (For Now)

Arch Oboler felt the success he’d given the motion picture industry should merit  a medal at least. Lacking of wisdom in that industry had forced him to operate without proper funds, under constant tension, and in an atmosphere of ignorance and disparagement, said Oboler. Standardization of three-dimension must take place immediately, according to the producer, and companies had best beware of giving the public anything less than perfection in the production of 3-D features. He was convinced that audiences would reject Cinerama and other widescreen processes once they’d experienced true depth, and that the next five years would be golden ones. Within that period, all films would be presented in three-dimension, according to Oboler.

Judging by action at turnstiles, few would argue Oboler’s point, but was this revolution really built to last? You’d think distributors were squirreling ahead for those five years based on orders Polaroid received for glasses. Twenty-five million was the number needed as of January 1953, with Bwana Devil the only feature in release. Cost of each pair was ten cents. Polaroid stock went up eight points within that month. All sorts of problems came with donning spectacles, however. Ones supplied for Sol Lesser’s Tri-Opticon (now renamed Stereo-Cine) were plastic-framed and reusable. It was said these were dipped in antiseptic solution before transfer to the next patron.

Projecting 3-D at a Drive-In Was Usually Recipe for Disaster, According to Trades

Natural Vision’s cardboard counterpart was more fragile and of a throwaway variety. Patrons in many situations were encouraged to take these home as souvenirs. A few showmen were reputed to have fudged on disposal of the specs, collecting ones discarded and handing them out to incoming audiences as a cost-saving measure, even as community and state Boards Of Health became more vigilant in monitoring proper issuance. Ticket takers were trained to advise everyone not to put fingers on the Polaroid lens. Those already wearing spectacles were issued rubber bands in some venues to adjust 3-D glasses over their own. Others could modify the frames to fit existing ones, even as flimsy cardboard sometimes tore or bent in the effort.

Careful handling was needed for customers showing up with vision handicaps that rendered impossible their enjoyment of 3-D. Employees had to be trained to tactfully approach those with crossed eyes, one eye, and/or other myopias. One showman had an optician friend who informed him that only twenty percent of the population possessed equal vision in each eye, suggesting a possible tie-in that encouraged those who couldn’t fully enjoy 3-D to arrange appointments with his office following the show. Be sure you analyze the matter of such values as exist in “negative” advertising cooperation --- attempting to make the ad copy read to the picture’s advantage --- before going in for optical tie-ups, was that exhibitor’s warning to the wise.

Even those eagle-eyed among patrons were challenged by oft-too-dark projection. You really had to pour light on 3-D for it to register properly. Some estimated a sixty to seventy percent loss of illumination between the projector’s output and what viewers saw. Souping up the arc  could generate excessive heat in the aperture area, causing damage to the machinery and the film. Traditional style black masking around the picture would distort as well. Everything was happening so fast with this fad as to make it difficult to address problems in an orderly manner or get trained help needed to correct them.

Boosting projection equipment up to speed proved insurmountable for many theatres. Belief that accessories needed to present 3-D could be readily had from their usual suppliers left management unprepared when harsher realities became clear. Projector bases had to be moved in many instances so that larger magazines could be installed to hold oversized reels used for Natural-Vision. Running two machines at once for synchronization of left and right prints required more electrical power to generate amperage needed. Special wiring was essential and that meant bringing in licensed electrical contractors. This led to compliance issues with power companies and various city ordinances.

A screen congenial to 3-D required buying one new (estimate: $450 minimum) or retrofitting what you had. The latter required a delicate spray-painting job. Done right, it might work. Bungled, as these rush efforts often were, made 3-D and conventional shows look worse for the "upgrade" ... all this and more such disruption for the privilege of running the one available depth feature, Bwana Devil, albeit with a promise of more, but how many … and when? Exhibitors as of January 1953 had to wonder if they were being led down the garden path to a three-dimensional briar patch.

More 3-D to (eventually) come, including the House Of Wax sensation.