Page 10 - RD_2024-09

On September 27, 1922, the
Fairall process of
stereoscopic motion pictures
was demonstrated at Los
Angeles’ Ambassador
Theatre. Stereoscopic views
of the Yosemite Valley were
followed by a full-length
three-dimensional feature
set in the nineteenth century,
The Power of Love. Both films
were produced by the Los
Angeles based Perfect
Pictures, using an anaglyphic
process developed by Harry K
Fairall.

Motion Picture News, Octo-
ber 1922, p. 2088 reported. “Viewing the projected picture through the red and green specta-
cles, the viewer sees a black and white stereoscopic motion picture. The tinting of the film and
the wearing of glasses, of course reduces the brightness of the picture and at the same time
destroys much of the sharpness possible in the ordinary black and white film. What is lost in the
dimness is more than made up in the depth given to the views. (...) “ The Power of Love ” (...)
differs from the usual (features) of today in that there is almost an absolute lacking of close-ups
and the action is slow (...). The process is not wholly perfected, as is indicated by the demonstra-
tion films, for there are some scenes which do not seem to be in clear focus and there is also a
slight eye strain”

To emphasize the novelty, the viewer could choose between two different endings (one
dramatic, the other happy) depending whether they looked through the red or green lens.

Left:
Gance’s three camera Polyvision rig
was used to film the spectacular
final scenes of Napoleon, when the
image became three screens, with
three projectors – pre-dating
Cinerama by twenty-five years

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