Blast from the Past: The Future of 3-D Films

The latest news to be brought to the attention of readers of The Vault is this: a decades-old fad may soon be coming to a theaters everywhere. On October 1, Disney, Fox, Paramount, Universal and Lionsgate signed a deal with Regal Cinemas, AMC and Cinemark to cover "the majority of the costs" to upgrade their cinemas with new digital systems. Roughly 14,000 locations will be affected by this agreement, which will take three years to fully enact. While the main benefit is that films can now be transferred to venues "over a phone line" instead of in physical reels, studios are licking their chops about an intended side effect: these 14,000 screens will now be ready to play 3-D pictures. The contract is the newest manifestation of what seems to be a growing interest in this format, as evidenced by its use over the last year in the films Beowulf and Journey to the Center of the Earth. Disney announced in September that it is developing sixteen three-dimensional movies, including the nearly completed Bolt, which is scheduled to release in November. The prominent animation company is not the only one diving headfirst into this niche in the market. Given that this style of filmmaking has often been much maligned, it may be surprising to some that the technology is being invested in so wholeheartedly. But the revelation that the three-dimensional version of Journey to the Center of the Earth sold three times as many tickets as the standard version has many rethinking their past criticisms. It is my opinion that a combination of poor content and inadequate projection capabilities has been largely responsible for the failure of 3-D to gain traction. Both of these obstacles appear to be well on their way to being conquered, making the format a viable medium for the future.

As I just mentioned, a large hurdle preventing the proliferation of 3-D films has long been the technology itself. In his article on the history of three-dimensional effects, Andy Rose of Movie Maker discusses how early products created "severe eye strain after short periods of time" or required the head to be held at a precise angle for the effect to work. This is certainly not an experience that will garner repeat business. But today, companies such as RealD 3D have resolved many of these problems through such innovations as digital projection and polarized glasses that allow freedom of movement and prevent physical pain. RealD has even made it possible for those who are color-blind to view three-dimensional pictures. Not everything is completely solved, however, as filmmakers are still discovering the best way to handle the new medium. When Journey to the Center of the Earth was screened for test audiences, they showed a dislike for the rapid cuts inherent in an action movie and instead wanted longer sequences that would allow a full appreciation of the depth of the image before them. This may mean that the three-dimensional method should not be used for fast-paced adventure films and instead be reserved for more contemplative pieces that allow for longer camera shots. Like all new techniques, it will take some time for a total understanding of 3-D to be realized, but this should not discourage its use altogether.

The process of 3-D is hardly new and innovative. Jeremy Kay at The Guardian explains that it is actually over a century old. It gained popularity during the 1950s as studios tried to compete with television by providing an experience that could only be found in theaters. But the craze died out, aside from a few sporadic releases over the next few decades. Why? A good portion of the blame can be charged to poor storylines that most likely would have failed even without the added projection "gimmick." By examining a list of 3-D movies during the 1950s (scroll down to find the relevant section) one can discover such gem titles as Cat Women of the Moon, Revenge of the Creature and Jesse James vs. the Daltons. Admittedly, some, like Kiss Me, Kate and Hondo, were of quality content, but by and large these were overshadowed by the plethora of cheaply made horror and fantasy flicks. Films in later decades were hardly better; Jaws 3D is a prime example. With the future of 3-D resting on the above-mentioned material, it is little wonder that studios saw small promise in the format. But the pictures that are slated for development seem to be aiming for a higher level of excellence overall. For instance, Disney's Pixar, which has turned out one hit movie after another, will release all of its future products in 3-D according to the announcement I referenced earlier in this post. Studios with solid credentials such as these can hopefully be trusted not to sacrifice elements like plot when putting this new technology to work.

Some, including none other than prominent film critic Roger Ebert, believe that 3-D detracts too much from the story itself; Ebert goes so far as to say he will view Journey again in standard form "to see the movie inside the distracting technique." I concede that, for a long time, his criticism has held true. As Ebert points out, viewers of many 1950s movies were unable to become engrossed in the plots since they were continuously being startled by "thrown" objects. But 3-D was a novelty several decades ago and as such, the studios could not resist showing it off. Today's audiences are much more familiar with the process and are already accepting of how the film is being presented, allowing them to enjoy the experience as a whole. I recently had the opportunity to view Hondo in a restored three-dimensional print. Although the Western was not devoid of spears hurled towards the camera, the intimate feeling it created, akin to watching a stage show, albeit on a large scale, impressed me. The screening proved that 3-D can enhance a performance by being an adornment that aids in the overall production, not the key idea around which a film is constructed. The technology will most likely continued to be perfected to render the clearest picture possibles. It is up to the artists of the cinema world to make the most of it.