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Cameraman Joseph Biroc, Robert Stack, Arch Oboler (dark glasses), and Nigel Bruce (seated) on location,
standing in front of a NaturalVision camera (American Cinematographer, August 1952, page 337)
The 3D enthusiasm would last barely two years, much less than other novelties of the period:
Cinerama, a new three projector, ultra widescreen process had been launched that same year,
and was playing to sold-out theatres, to the exhibitors´ delight. CinemaScope was about to enter
the scene in September of the next year (another interesting adventure, involving a French
astronomer who received an Oscar for his invention. But that´s a different story).

The best thing that the 1950s 3D craze has left us is a string of interesting, sometimes amazing
pictures, and a few diamonds. Kiss Me Kate is probably the most outstanding one, but House of
Wax, I the Jury, Hondo, Dial M for Murder and Man in the Dark are fine examples of a technique
that would often be associated with Science Fiction films.

From varied genres, some better and some worst, these movies can best be enjoyed with a pair
of 3D glasses, although they could also be
screened in the usual two dimension format.
Its drawback was the expensive adaptation
which theatres had to undergo for the
adaptation of the 3D projectors for
synchronization. This could amount up to
$1,200 (a substantial amount of money back
then). However, it was still much cheaper
than Cinerama, as the screen area need not
be enlarged, although the screen had to be
replaced with a special non-depolarising
surfaced screen.

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