The tropics really pop in Jean Renoir’s The River (1951), the first film to be shot in Technicolor in India. The film’s photographic depiction of a wet, verdant Bengal prompted Rumer Godden, author of the novel on which Renoir’s film is based, to complain that the film’s backgrounds had “swamped” its narrative with an “overabundance of Indian life and color.”1 In his memoirs, Renoir refers to scouting locations along the banks of the Hugli with his production designer, Eugène Lourié. There, Lourié discovered a palace that belonged to the maharaja of Gwalior, but its grounds were deemed insufficiently green. The lawn, yellowed somewhat by the summer sun, was torn out and a new one sown. Yet even the freshly grown grass wasn’t green enough for Renoir: on the day of filming, Claude Renoir (the director of photography and the director’s nephew) could be seen splashing the grass with green paint.
Paramount was so nervous about the on-location production of Alfred Hitchcock’s To Catch a Thief (1956) that dailies filmed in the South of France were flown first to London for processing at the Technicolor lab and then to Los Angeles. After executives had reviewed the footage, a cable was dispatched back to France: Hitchcock’s shallow-focus closeups were playing to the weaknesses, rather than the strengths, of the studio’s new and expensive wide-screen format, VistaVision. It fell to the local production manager, C. O. “Doc” Erickson, to mediate the request for wider shots and sharper focus, which would also allow the camera to take in more of what they were all there for: the sunlit French Riviera.