Movies - List of 70 mm films

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	Movies - List of 70 mm films

The following Hollywood movies were filmed entirely in the 65/70 mm format. The list includes all of the feature-length releases and a sampling of significant short subjects. Titles are followed by the photographic process(es) employed.

This list does not include Hollywood films which were partially filmed in 70 mm, or films which were optically enlarged to 70 mm for deluxe exhibition (such as those advertised in Super Technirama 70). Nor does it include the dozens of 70 mm films made in the Soviet Union and Europe.

Finally, the list does not include films photographed in IMAX, Showscan and other special-venue 70 mm formats.

Early 70 mm releases

These early wide film processes employed a number of different frame sizes and perforations per frame.

1930

Danger Lights
(Natural Vision; also shot simultaneously in 35 mm)
Happy Days (Grandeur; also shot simultaneously in 35 mm)
Song O' My Heart (Grandeur; exhibited only in 35 mm)
Happy Days (Grandeur)
The Big Trail
(Grandeur)
Kismet (Vitascope)
A Soldier's Plaything (Vitascope; exhibited only in 35 mm)
The Lash (Vitascope; also shot simultaneously in 35 mm)
The Bat Whispers (Magnifilm; exhibited only in 35 mm)
Billy the Kid (Realife; exhibited only in 35 mm)

1931

The Great Meadow (Realife; exhibited only in 35 mm)

Standard 65/70 mm releases

Releases produced in Todd-AO, Todd-70, Super Panavision 70, Dimension 150, Panavision System 65 and Arri 765 were photographed with spherical optics on 65 mm film with five perforations per frame, yielding an aspect ratio of 2.20:1. Theater prints were 70 mm wide, with the extra space used to accommodate the magnetic soundtracks.

MGM Camera 65 and UltraPanavision 70 releases employed the same film format, but the use of 1.25X anamorphic optics yielded a super-wide aspect ratio of approximately 2.75:1.

70 mm Cinerama releases were projected with special optics onto a deeply-curved screen in an attempt to mimic the effect of the original 3-strip Cinerama process.

Nearly all of these releases employed six-channel stereophonic sound: five full-range channels (left, left-center, center, right-center and right) arrayed behind the screen, with the sixth channel providing surround effects.

Premiere engagements of Scent of Mystery and its companion short The Tale of Old Whiff (both 1960) were presented in Todd-Belock 8-channel Sound, which used a control signal to "steer" the single surround channel to different parts of the auditorium. These films also featured Smell-O-Vision, which delivered synchronized puffs of scented air to the audience via an elaborate system of tiny tubes.

The 1982 short Symbiosis employed an unusual 12-channel sound system designed for the special Epcot Center theater in which it was shown.

Far and Away (1992), Baraka (1993) and Hamlet (1996) employed a modified arrangement of speakers, with left, center and right channels behind the screen, left and right surround channels and a low-frequency effects channel.

1955

Oklahoma!
(Todd-AO @ 30 frame/s; also shot simultaneously in 35 mm CinemaScope @ 24 frame/s)

1956

The Miracle of Todd-AO (Todd-AO) (short subject)
Around the World in 80 Days (Todd-AO; reportedly shot with two 65 mm cameras running at 30 and 24 frame/s, respectively)
Raintree County
(MGM Camera 65; exhibited only in 35 mm)

1958

South Pacific
(Todd-AO)
The March of Todd-AO (Todd-AO) (short subject)

1959

Ben-Hur
(MGM Camera 65)
Porgy and Bess
(Todd-AO)
The Big Fisherman
(Super Panavision 70)

1960

The Tale of Old Whiff (Todd-70 and Smell-O-Vision) (short subject)
Scent of Mystery (aka Holiday in Spain) (Todd-70 and Smell-O-Vision)
Can-Can (Todd-AO)
The Alamo (Todd-AO)
Exodus (Super Panavision 70)

1961

West Side Story (Super Panavision 70)

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