It’s worth saying a few words about the two films paired today, because they possess differing contradictions.

That seems to be what the studios are parlaying today, because the whole post-rendered 3D nonsense is just a budgeting goosing of otherwise flat productions to extract extra cash at the box office home video is inconsequential unless it’s a major comic franchise. CinemaScope also boasted Stereophonic sound, which some 3D films in fact did possess – the recent restoration of It Came from Outer Space (1953) and the prior DVD release of House of Wax (1953) have stereophonic mixes – but perhaps the studios’ short love affair with 3D over a roughly 2 year period was doomed for the same reason the format kept getting whacked down in the 1970s, 1980s, and 2010s: the films weren’t very good, the glasses were annoying, and the format had an aura of carny tackiness.ĭon’t get me wrong – I actually love 3D, headaches & all – but if the studios are unable to produce compelling works by innovative directors with solid stories, you get premium priced carny gimmickry. When Fox debuted their CinemaScope process in 1953, it was billed as the wonder process ‘without he use of glasses,’ a pretty frank jab at 3D which required the cardboard Polaroid sets to immerse viewers.

Cinescope vs