MGM tried it with the 1953 musical Kiss Me Kate.
Warners added it to Alfred Hitchcock’s production of 1954’s Dial M for Murder.
Last week in our discussion of 3D films we forgot to mention some BIG titles. That’s possibly because although several A films were shot in 3D, by the time of their release the fad was fading — thanks in part to the looming fashion of wide screen presentation, a la Cinemascope — and the studios just released the films in normal format.
But among the some 60 titles introduced in 3D in the mid-Fifties, there are a few more BIG pictures in the format worth mentioning.
Warner Bros. put John Wayne into a Shane-like western titled Hondo. A lone gunslinger arrives to assist homesteader Geraldine Page fend off various baddies. Director John Farrow went over schedule so John Ford was brought in to film the final scenes.
We are big Jane Russell fans, and take pleasure in viewing her in The French Line as a sexy oil heiress who initiates a steamy affair with Gilbert Roland, an actor we also like. Jane performs a striptease-type dancer number that must have looked especially interesting in 3D.
In a similar vein, it’s hard not to admire Rita Hayworth’s performance in Columbia’s Miss Sadie Thompson, a big screen adaptation of the 1921 Somerset Maugham story about a very shady lady. Also on hand are Aldo Ray and Jose Ferrer.
On the opposite end of the spectrum is United Artists rendition of the 1947 Mickey Spillane opus, I, The Jury. This is film noir at its crustiest, and stars Biff Elliot (a name out of the past) as the author’s favorite private dick, Mike Hammer, a low rent equivalent of Raymond Chandler’s Philip Marlowe.
And let’s not forget the re-teaming of that magical screen pairing — Barbara Stanwyck and Fred MacMurrray of 1944’s Double Indemnity — in another Warner’s western, Moonlighter. Fred plays a bad-guy cattle rustler who reunites with former squeeze Stanwyck after several criminal misadventures.