Since the beginning of Technicolor’s quest to achieve an attractive colored motion picture there have been many people writing about the color that comes across in Technicolor films.
In an article written in 1928, for the movie Red Hair the author talks about the amazing color of Clara Bow’s hair. “Technicolor may become a regular feature of feature picture productions as a result of the precedent set by the directors of ‘Red Hair,’ the new Paramount picture starring Clara Bow.”24
The title to an article written in the New York Times in 1929 claims “Otis Skinner to Make Five Talking Films.”25 In the article the author writes of how the contract isn’t set in stone but that Skinner will work in Technicolor productions.
As interest in Technicolor was decreasing Robert Jones of the New York Times wrote of the problems with colored films. “There is very little real color in these films and almost no color composition as artists know it. Black-and-white thinking still dominates the screen.”26 He goes on to explain that people view colored motion pictures the way the view movies with sound when they first cam out.
A similar readjustment of values took place in the industry when sound was brought to the screen. Only the other day, it seems, we were marveling at the sounds of the first Vitaphone pictures. Today sound is a commonplace of motion pictures. Tomorrow color will have become a commonplace in its turn.27
Technicolor films had their run in the 1930’s and 1940’s when they seemed to have faded away with new colored film technologies that were being developed and introduced to the public. Technicolor films gave the starting point and push for the other technologies to take off.
A memorable Technicolor film is The Wizard of Oz. It was liked by a great lot of people and so the film was remastered several times and is still known today.
In the 1990’s the color that was produced with Technicolor films gained a renewed attentions in the public eye. This was due to the memory of colored films from people’s childhood, like The Wizard of Oz. Scholar Scott Higgins explains that “the rise of digital postproduction has engendered a renewed interest in color design.”28 One film that uses digital color to mimic the technicolor tones of the 30’s and 40’s is Pleasantville (1998).