Another pitfall: only one Parisian movie theater, the Parnasse Studio, showed the film, for which the adverts announced "Widescreen film, the cinema of tomorrow". However, by the time Construire un feu was released in 1929, cinema had started producing talking pictures, and the film's run was a failure. In France, the filmmaker Claude Autant-Lara produced a film using Hypergonar: Construire un feu (To Light a Fire), based on the book by Jack London, with tallscreen and widescreen images.įilming was complicated, scenes in the snow presented unforeseen difficulties, but Autant-Lara managed to finish the film with the support of the Éclair laboratories.
The firm seemed enthusiastic, but in the end did not follow through. Barely a year later, on October 15, 1928, in New York, Chrétien presented the invention to Paramount. The STOP company (Société Technique d’Optique et de Photographie -Technological Optics and Photography Company) was formed in November for its manufacture. The trademark Hypergonar (from the greek huper, beyond, and gônia, angle) was registered on June 9, 1927. He even proposed a screen in the form of a Greek cross, allowing images to be projected either horizontally or vertically. In certain parts of the film, three projectors were used at the same time either showing different scenes in a triptych sequence, or three images joined together to form a panorama, an idea that Cinerama would reuse in 1952.Ĭhrétien reacted quickly: on April 29, he took out a patent for a filming device capable of producing anamorphic images that could be corrected by a projection lens into a panoramic format on a screen. On April 7, 1927, at the Paris Opera, Chrétien attended the premier of Napoléon by Abel Gance.
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