#Bwana devil poster movie
#Bwana devil poster tv

Colonel Bernier was on the Eisenhower staff during World War II. It wasn't until I met a man named Robert Bernier, a Colonel in the United States Army, that I really felt that I met 3-D in the fullest. From that time on I was very much interested in 3-D. At the time, as soon as I learned that motion pictures started out in three dimensions, great experimenters, including the sainted Edison, had tried to introduce the financiers of the time, who were putting up the money for the nickelodeons in three dimensions. My father bought me one of the early Bell & Howell cameras in Chicago. Q: How far does your own interest in 3-D go back? Once a person has been exposed to three dimensions no matter how badly done, unless their eyeballs are torn out of their sockets by very bad three-dimensional techniques, they want it again and again. Three-dimension is really the natural form. Even then one scans and looks at side objects. Well, you know, in life unless one is born with defects, the average person with two eyes sees in three dimensions from early infancy.

Q: Why would there be great public interest at this time in 3-D? I think it's come back purely for the dollar. I don't think that most of it has come back for love of an art form or because of their concern about the eyeballs of the audience. Three-D is coming back basically because of the eagerness for something called the dollar in Hollywood. The following interview took place in the spring of 1983 at Oboler's home in Studio City, just as a new wave of single-strip 3-D films like Friday the 13th Part III in 3-D, Jaws 3-D, and Metalstorm 3-D were being released.

#Bwana devil poster movie

Oboler's last 3-D movie was Domo Arigato (1974), a travelogue of Japan, which was also shot with Space Vision. Oboler never gave up on 3-D movies and produced The Bubble (1966) AKA Fantastic Invasion of Planet Earth, using Robert Bernier's single-strip alternating-frame 3-D system called Space Vision. It was Oboler's Bwana Devil (1952), an African adventure story filmed with the dual-camera Natural Vision 3-D system, that opened the floodgates for a boom of 3-D film production in Hollywood in 1953.Īfter Bwana Devil, Oboler wrote and directed The Twonky (1953), a bizarre little film starring Hans Conreid, in which a television possessed by a being from the future takes over Conreid's life. Oboler wrote and directed the feature film Five (1951), a post-atomic war thriller filmed in and around Oboler's Frank Lloyd Wright-designed home.

#Bwana devil poster tv

After migrating to Hollywood in the 1940s, Oboler wrote and directed a number of TV shows and feature films. In the 1940s, Arch Oboler was a prolific writer of radio plays and was most famous for his blood-curdling horror stories on the radio program Lights Out. The following is an interview by Ray Zone of Arch Oboler from his book '3-D Filmmakers': '3-D Filmmakers: Conversations with Creators of Stereoscopic Motion Pictures'