:26:00
Think we can get through this crowd?
:26:02
Certainly. After all, who'd pay any
attention to a baritone and a detective?
:26:05
He saw what Arthur Lubin could do,
and in this very dramatic picture,
:26:10
he combined a comedy interest
between the two leading men,
:26:14
between Nelson Eddy and Edgar Barrier.
:26:16
And those little scenes that he did,
where he was injecting comedy,
:26:21
made a great deal of this picture.
:26:24
- After you, monsieur.
- After you, monsieur.
:26:30
Lubin had the challenge
of his first Technicolor production.
:26:33
The Technicolor process as it was,
the three-strip process in those days,
:26:37
involved a special camera which
had three strips of film in register,
:26:43
two in bipack and one
at right angles, and a beam splitter,
:26:46
so you were recording
each of the primary colours.
:26:49
But you used
a tremendous amount of light
:26:53
to be able to really get
a good exposure on this,
:26:56
on these three films
that ran through the camera.
:26:59
The lighting,
it was very hot on the set,
:27:02
and we had to wear heavy make-up.
:27:05
You have a Technicolor adviser.
:27:07
You have the technicolour Natalie
Kalmus, who came with the package.
:27:12
She was advising on colour,
lighting, on fabrics, on sets,
:27:19
and she was generally regarded
as a bit of a pain.
:27:22
Natalie Kalmus was
the head of the company,
:27:26
and was always...
Every day, she was on the set.
:27:30
The directors of photography
were W Howard Greene of Technicolor,
:27:34
and Oscar winner Hal Mohr, familiar with
the Phantom stage since the silent days.
:27:40
Working with Hal Mohr was an experience
:27:42
because he was with you
when he was behind the camera.
:27:47
He was one of the great... Maybe
the greatest cameraman at that time.
:27:53
The incredibly mobile Broadway crane,
which Mohr had codeveloped,
:27:57
provided remarkable views
of the auditorium.