When film fans dream of old movies, they dream in black and white. They think of Lillian Gish's Scarlet Letter emblazoned in gray. For them the true colors of Red River, Blue Denim, Golden Boy and Green Pastures are those shades of pearl and ivory determined by the films' cinematographers. And when Bogie says, "Here's looking at you, kid," movie lovers gaze at Ingrid Bergman in glorious monochrome.
But who cares about the visual integrity of Hollywood movies when there is a buck to be made? Not the studios or the TV networks. For them the golden oldies are either profitable...
To continue reading:
or
Log-In
