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Glorious Technicolor (1998)

The history of color photography in motion pictures, in particular the Technicolor company's work.


Peter Jones


Peter Jones, Fred Basten (based on the book by)


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Cast overview, first billed only:
Angela Lansbury ... Narrator (voice)
Esther Williams ... Herself
Arlene Dahl ... Herself
Evelyn Keyes ... Herself
John Alton ... Himself - Cinematographer (archive footage)
Jack Cardiff ... Himself - Cinematographer
Vittorio Storaro ... Himself - Cinematographer
Eugen Sandow Eugen Sandow ... Himself (archive footage)
Annabelle Moore ... Herself - Dancer (archive footage) (as Annabelle)
Cammie King Conlon ... Herself - Step-daughter of Dr. Herbert Kalmus
Richard J. Goldberg Richard J. Goldberg ... Himself - Dr., Technicolor research scientist 1953-65
Robert Gitt Robert Gitt ... Himself - Preservationist, UCLA Film and Television Archive (voice)
Fred Basten Fred Basten ... Himself - Author of 'Glorious Technicolor'
Douglas Fairbanks ... Himself (archive footage)
Ron Jarvis Ron Jarvis ... Himself - President, Technicolor Worldwide Filmgroup


The history of color photography in motion pictures, in particular the Technicolor company's work.

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Release Date:

7 December 1998 (USA) See more »

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Technical Specs


Sound Mix:


Aspect Ratio:

1.33 : 1
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Did You Know?


Released on the 2003 DVD of The Adventures of Robin Hood (1938). See more »


The documentation neglects to mentioned that Suspiria was the last film to use the 3-strip Technicolor process. See more »


Features Queen Christina (1933) See more »

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User Reviews

detailed historical analysis of the process
8 January 2005 | by didi-5See all my reviews

Now available on DVD, this documentary looks at the ups and downs of Technicolor and the importance of film milestones such as 'Snow White and the Seven Dwarfs'; 'Becky Sharp'; 'The Black Pirate'; and 'Gone With The Wind'. It shows how colour in films grew from experiments in two-strip and three-strip bits to full-length mistakes, travelogues and total triumphs.

It makes interesting points about the fear of actresses that colour would remove their mystique (until Dietrich and 'The Garden of Allah' that is); about the constant interference of Natalie Kalmus ('creative consultant' on all Technicolor films); and about the eventual acceptance of the process as industry standard worldwide. The examples shown prove that the colour palette available to films in their heyday enhanced the 'golden age' - later films in Eastmancolor and the like look washed-out in comparison.

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