"When the rise of television threatened movie attendance in the 1950s, Hollywood responded by introducing several new exhibition formats designed to bring people back to theaters with the promise of widescreen images and stereophonic sound. CinemaScope, Cinerama, and VistaVision were just a few of these processes, which dazzled audiences and yielded films like "The Robe," "The Bridge on the River Kwai," and "Around the World in 80 Days," attracting customers in droves."
"Now, director Paul Thomas Anderson has not only filmed but is releasing " One Battle After Another" in VistaVision, with a handful of venues projecting the movie in a format that hasn't been seen by audiences of a new release film since Marlon Brando's "One-Eyed Jacks" in 1961. (Lucky viewers at this year's TCM Film Festival did get to see revivals of "We're No Angels" and "Gunfight at the O.K. Corral" in true VistaVision.)"
Widescreen exhibition formats in the 1950s—like CinemaScope, Cinerama, and VistaVision—were developed to counter television by offering larger images and stereophonic sound that drew audiences back to theaters. VistaVision used a horizontally run negative about twice the area of standard 35mm, producing higher resolution imagery. The format has recently seen a revival: Brady Corbet shot The Brutalist in the format and showed it in 70mm, and Paul Thomas Anderson filmed and is releasing One Battle After Another in VistaVision with select 70mm screenings. The revival highlights renewed interest in premium film presentation to entice theatergoers.
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