Up First from NPR - Hollywood’s Love Affair with VistaVision

Episode Date: February 22, 2026

Two of this year’s top contenders for the Academy Awards were filmed using a technology from the 1950s: VistaVision. Filmmakers are reviving this visually stunning yet finicky film format at a time when movie theaters are struggling to get audiences back into theaters. Today on The Sunday Story, NPR’s culture correspondent Mandalit Del Barco tells the story of the changing movie industry through the lens of VistaVision technology.Learn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

I'm Aisha Roscoe, and this is the Sunday story from Up First, where we go beyond the news to bring you one big story. Two of the nominees for Best Picture at this year's Academy Awards are especially beautiful to watch on the big screen. This is Bob Ferguson. I was a part of the French 75. In one battle after another, Leonardo DiCaprio plays a washed-up revolutionary, trying to outrun his past.

In Bagonia, we see Emma Stone as a high-powered executive who gets kidnapped. Her captors shave her bald and slather her head and face with white antihistamine cream. Where is my hair? Your hair has been destroyed. To prevent you from contacting your ship. What ship? Your mother's ship. The filmmakers of both of these movies made a very deliberate artistic choice.

to use a once obsolete technology from the 1950s. It's called VistaVision. VistaVision, the ultimate in film presentation that will thrill all your senses, touch all your emotions with its unbelievable clarity, sharpness. Films shot in VistaVision are made for large, wide screens, the ones you find only at theaters.

Today on the Sunday story, VistaVision, and what it can tell us about Hollywood's path, and in some ways it's future. I feel like I'm living in some crazy weird alternate reality where people are interested in this weird format that I like. Stay with us. We're back with The Sunday Story. I'm Aisha Roscoe, and joining me today is NPR Culture Correspondent, Mandelaide, Del Barco.

Mandelaide is here to talk to us about VistaVision, a vintage movie format and its unusual comeback. So, Mondalit, I got to be honest. I don't get to the movies much. I'm usually with my kids, and so it's just easier to stream a little bit at home, and I can barely get to do that. So help me understand the appeal of this kind of old school film technique in this modern age. Yeah, so Aisha, I'm sure you know that most streaming shows these days are digital creations. And the same goes for a lot of films, too.

That look is very clear, very precise. maybe a little too clean. But VistaVision is kind of different. It's a special widescreen format that uses 35 millimeter film, and it really turns the viewer's experience up a notch or two. It can be visually exhilarating

with a big widescreen image. You might feel some of that watching on your TV, but to get to the full experience, you really have to go to a movie theater, and that's part of what's driving the VistaVision comeback. I mean, obviously, I know that theaters have been

struggling, right? Is this kind of like a gimmick to renew interest and go into the movies? Well, I wouldn't quite call it a gimmick, but yeah, the idea is in part to get people back to cinemas. You know, movie theaters have been in really bad shape since the COVID-19 pandemic shut them down, and they still haven't fully recovered. Plus, Aisha, in this age of streaming, people have gotten used to watching movies on their TVs or even their cell phones. But filmmakers like Paul Thomas Anderson, who made one battle after another, and Jorgos Lanthamos of Bagonia, they're betting that VistaVision will attract people back to the movie theaters. Well, I know that both of these movies have gotten a lot of praise. And, you know, as you say,

like, they're up for awards, so something is working. But take us back. Like, was VistaVision a big deal? Like, did it make a big splash when it came out in the 50s? It really did. Yeah, in 1954 Paramount Pictures introduced audiences to its first VistaVision movie, White Christmas. A wonderful story that will warm your hearts, just as the breathtaking scope of a new screen wonder will widen your eyes. White Christmas in Vista Vision. From all accounts, the premiere at Radio City Music Hall in New York was a hit. But the interesting thing is it was developed in part to address, that very familiar problem.

Back then, movie theaters were also feeling threatened by the growing popularity of television. I Love Lucy was a hugely successful TV show, so were shows like The Honeymooners. And at the time, people watched those shows on tiny old black and white TVs before color came along. So, I mean, did it work? Like, beyond White Christmas, was VistaVision like a real draw? Yeah, I was really wondering about that, too. So I decided to dive into the history of this format. So I drove over to the Paramount Pictures lot in Hollywood to visit Charlotte Barker.

She's the studio's director of film restoration and preservation. My whole office is nothing but Vistavision items and a camera. It is a Vistivision museum of sorts. She's also writing a book about VistaVision, and she says she's pleasantly surprised it's become so timely. I feel like I'm living in some crazy, weird, alternate reality where people are interested in this weird format that I like. So Barker says VistaVision arrived at a really innovative time in movie history. It was part of a widescreen movie craze in the 1950s.

It started with Cinerama. This is Cinerama. Cinerama was the three screens, three projector system. And when that came out, everyone in Hollywood said, we need to do a widescreen system. It was a different image three times. And those were put together to make one panoramic image. The problem was it had these visible seams where the images were joined, so they could never really get rid of that. That's what Cinerama was.

Okay. So it sounds like those seams could be annoying. People might not want to see them. Yeah, you know, but, you know, despite that, seeing movies in widescreen was considered pretty neat. It was so new and different. But Cinerama was soon upstage. Barker says 20th Century Fox introduced another format called Cinemascope. They figured out it would do it with one lens, one anamorphic lens, which would squeeze an image onto regular 35 millimeter film whenever they shot it.

And then whenever it was projected, it would unsquease it and make it a wide screen image. But by doing that, that added a lot of film grade to the image. And the edges of the image were distorted. So actors didn't want to go to the edge of the lens because their face started to look a little funny. They called it the mumps. Okay. And, you know, a Hollywood actor is not going to want their faces to be distorted. That's their money makers.

What about VistaVision? Like, did it fix these problems? Yeah, well, VistaVision was really an improvement. There was no stretching of the images, no distortion. Like the other formats, it also uses 35-millimeter film. But instead of running the film through the camera vertically, it feeds through horizontally like a still camera. And Barker says this meant the image could be a lot larger, in fact, twice as large.

There's no grain. And the image clarity is beautiful. It showed the full view of your eye, like what your vision sees, in your peripherals. That was the scope of VistaVision. But how is it different from like other widescreen formats, like IMAX film? Well, IMAX wasn't around in the 50s, but it's true we now have IMAX and interactive formats. 4DX experiences and other theater formats. The cinematographers I interviewed told me those are much more expensive than VistaVision, and they sometimes require special projectors and special theaters. And so who was behind VistaVision? Like, was somebody who loved movies just tinkering in their garage or who developed it?

Well, actually, way back in the 1920s when motion pictures were just getting started, Paramount Pictures held a patent for a widescreen format, but it wasn't developed until the 1950s as VistaVision when two guys from Paramount, the sound director and the chief engineer and head of the studio's camera departments, developed it. Their technical achievements earned them Academy Awards. And Aisha really quickly, some of the top filmmakers of the day started using VistaVision. Filmmaker Sussle B. Demel used Vista Vision for the 1956 week. remake of his biblical epic, The Ten Commandments. That film had the biggest sets ever constructed. And with the huge scope of the camera, you could see Charlton Heston as Moses parting the Red Sea. You could watch all those movie extras dramatically getting swept away.

That's the big moment with the Red Sea. Yeah, very dramatic. You know, director Alfred Hitchcock also famously used Vist Division cameras to shoot many of his iconic films. In Vertigo, the VistaVision cameras captured Kim Novak's character jumping off the Golden Gate Bridge and Jimmy Stewart's character losing it. That is quite the screams. Yeah, it's haunting. You know, Hitchcock made other Vistivision movies, too. In North by Northwest, the wide-angle shots of Mount Rushmore added to the suspense of the story

about a man on the run in a case of mistaken identity, Carrie Grant plays him, and there's that famous scene of a prop plane chasing him through an open field. And one more example, Aisha, in To Catch a Thief, which stars Grace Kelly and Carrie Grant again, the VistaVision cameras captured the magnificent panoramic vistas of the French Riviera, Nice, and Monaco. No one but Hitchcock could create such relentless excitement, filling the screen with fireworks as he matches the blazing talents of these two great stars in the love affair of the year. So what happened? I mean, you had all these classics made using VistaVision. Did filmmakers keep using this format for a while? Or did something newer and shinier come along?

Well, Vistavision fell out of fashion once the company Panavision created better wide-angle lenses. Paramount released its last Vistivision film, One Eye Jax, in 1961. Here's Charlotte Barker again. After that, they just couldn't justify spending the extra money, especially for the amount of film that had to be used in the camera because think about it, it was twice the amount of film cost. That might have been the end of it all, but thanks to another film, it wasn't. So it sounds like we'll have more on that when we come back. We're back with The Sunday Story. I'm Ayesha Roscoe talking to NPR cultural correspondent Mandelaide, Dale Barko, about an old movie technology that's become hot again. VistaVision.

So what happened to all those special VistaVision movie cameras after that last VistaVision film was made in the early 1960s? Well, they got Mothballed for about a decade. And then Vistavision found a new hope in the 1970s. Okay, everybody knows that one. Star Wars. Yeah, George Lucas's team at Industrial Light and Magic used Vistavision to shoot the special effects

of Star Wars. George wanted a realistic representation of space travel. That's John Dykstra. He led the team creating visual effects in the movie. He says they pulled out some old VistaVision cameras and customized them. We built more than one. I can't remember how many, but we did modifications on existing VistaVision cameras. They were basically legacy devices.

They were big, clunky. Okay, so they modify these clunky old VistaVision cameras. to make it look like spaceships really were traveling through space. Were they happy with the results? They sure were. Dykstra won the 1978 Oscar for Best Visual Effects. He says the bigger images from the modified cameras kept the quality high when the images had to be processed and layered.

That's something you have to do again and again for stop motion animation. Dennis Muran was also on the crew. George, bless him. He was trying something different. And John said, I think we can do this. Muran became a visual effects supervisor at Lucasfilm for 40 years, and he was also creative director for ILM. You know, we build equipment to do all the maneuvering of the spaceships.

This better format, this bigger film aspect ratio, they should be more consistent with the live-action photography, so they look real. So the shots look like you're out in space, you're actually shooting real objects flying around. This division continued to be. used on animated films until digital cameras became mainstream. But for decades, it wasn't at all used to shoot live-action films. So what brought it back? Well, one of the first people to bring it

back was director Brady Corbett. He decided to try it for his film The Brutalist. The cinematographer for The Brutalist was Lowell Crawley, and Aisha in 2025, he won the cinematography Oscar for his work. When I interviewed him, he gave a lot of credit to Corbett for choosing to use VistaVision. Brady was intrigued by the idea of using a camera system from that era, given that a large section of the Brutelist takes place, post-Second World War in the sort of 50s in America. So he thought that was a nice idea to shoot with that system.

Crawley also says it was a beautiful format. The Vista Vision camera enabled us to shoot these incredible, you know, high-resolution images and avoid this sort of distortion of wider angle lens. So the architecture, the marble quarries and the landscapes that Crawley shot in Hungary and Italy were gorgeous. But he says the vintage Beaumont Vista Vision camera he used was as finicky as a classic car. You've got to be gentle with them. It's kind of like, I will roll with the punches with these cameras because they're just beautiful pieces of machinery, you know, and you have to forgive them, their failings. Their failings? So what's wrong with these cameras?

Well, these cameras are kind of divas. They're larger than life and very noisy. I can't think of anything more off-putting than trying to give this very nuanced, sensitive, quiet performance with this, you know, with this camera rattling away at you, you know. So sometimes we just had to put up with it. It's kind of like starting up a lawnmower. It's like, uh-huh. Michael Bauman was the director of photographer. feet for one battle after another. He says they used three VistaVision cameras.

All of a sudden, the camera would just go, and just stop. All right, we got a jam. Let's figure it out. Sometimes film would come flying out. Sometimes the magazine that holds the film would just be dead. Belman says throughout the shoot,

he was constantly tweaking the cameras. You know, you're trying to resurrect a great format back from the dead. And it can be frustrating at times. But the visual value of what we were getting was well worth the pain and misery at the time, you know. And Aisha, you can see the payoff in the dramatic climax of one battle after another.

Bauman and his crew strapped a VistaVision camera to the front bumpers of a car for a chase through a rolling desert landscape. So we could get the camera just a few inches off the surface of the road, which provides that super dynamic image of the wide lens of going over the hills what we call the River of Hills.

It's an incredibly powerful sequence. What's interesting is that filmmakers are doing something that Alfred Hitchcock did to muzzle the camera noise. They're covering the cameras with soundproof cases called blimps. Blimps. That's quite the name. Yeah, blimps.

They're especially useful for recording scenes with lots of close-up conversation, like in Bagonia. Can we have a dialogue, please? Don't call them dialogue. This isn't death of a salesman. Okay, can we talk?

Bagonia's director, Jorgas Lentemos, says he wanted the wide-angle look, even though much of the film is set in a cramped basement. It could feel counterintuitive, like you'd normally use a larger format if you had, like, really impressive vistas, or as the name itself says, or, you know, wide shots and landscapes and things like that. But I felt the juxtaposition of filming close-ups. of faces in a very limited space with that kind of format. Kind of made them iconic.

It's almost like the photography portraiture. And it kind of focuses on the characters even more. Lenthalo's first experimented with Vistavision in 2021 for a scene in his film Poor Things. He had a cinematographer Robbie Ryan film a scene where Emma Stone's character is reanimated. It's the first time in Poor Things where the film goes to color.

So it's this crazy technical or like explosion that hits you, and it's all in VistaVision. So it's a really brilliant sequence. Ryan told me he used VistaVision again to shoot Bologna. I got a little bit traumatized when the whole shoot was going on a daily basis. But, you know, I loved it because it was a really, it's a massive camera. And because the magazines are horizontal, you could almost put your cup of tea on it, you know, so it was great.

Ryan says they were able to work out some of the kinks. It's called VistaVision, so you think you're going to get all this landscape photography, but the landscape in Bougonia is the face. You know, just looking at the iconic bald Emma Stone with antihistamine cream all over helped kind of like make that even more sort of like super real. It sings off the screen and the results are so gorgeous. It sounds like a lot of work went into shooting with this format. Have you seen one of these VistaVision cameras? Yeah, actually a few of them, in fact. And my editor and I were lucky enough to be invited to visit actor Giovanni Ribisi at his home in Los Angeles.

Remember, he starred in Avatar and other films. He was on the TV show Friends. Ribisi also happens to be a very passionate enthusiast about this division. He even fired up his refurbished camera for us. Get ready. And here we go. Okay, so there's that sound we've been hearing about. Yeah, it's the same camera here.

he lent to Paul Thomas Anderson to shoot one battle after another. You know, it's rather small, the size of a toaster maybe, not like the big cameras that Hitchcock used, but it does have the horizontal magazines, the canisters holding the film. And Ribisi said his camera was probably made in the 1990s for the visual effects of one of the Spider-Man movies. He Frankensteined it together with different lenses,

a different viewfinder and other parts, and he told us a funny story about how he tracked down and bought this camera. It was kind of like a almost like a back alley drug deal where I went with a bag of cash and we traded. You know, we were only going to be at his house to record the sound of the camera, but Ribisi was so excited that we spent hours. And he even used his camera to shoot a bit of footage of me interviewing him next to his swimming pool. I had a lot of questions. So what's so great about VistaVision? Why do you want to use this format?

You know, honestly, I think that this is something that. is very emotional about it when you watch it. It has this sort of analog feel to it that there's just nothing else is like it. Is it like listening to a vinyl record as opposed to something? You could make that analogy. And if you want to talk about nostalgia,

this is one of the things that kind of breaks my heart because people don't really know how to build these things anymore. Do you think the nostalgia factor and the beauty, of this format is enough to bring people back to the theaters? Well, that's really hard to say. I don't know. Many theaters are continuing to fight for their survival, and they're just trying all sorts of things to try to get people back. Many of them host live events and retrospectives and film festivals.

Some cinemas have pickleball courts or huge video arcades and bars in the lobbies. They have specially made popcorn buckets to match the movies, and they have those comfy recliner seats in the theaters where you can order food and drinks, the industry seems to be doing whatever it can to survive to compete not just with home streaming, but with TikTok and other social media apps and every other way that people are being entertained. So, I mean, it's a gamble. Yeah, we'll have to see. But probably those cinefiles who, like old tech, will appreciate VistaVision, there's that nostalgia factor.

And, you know, even though most people in the audience won't even realize a movie there, watching was made in VistaVision, they might feel that it was shot with a lot of thought. And now Aisha Vistavision films, they just keep getting made. There's a new movie out right now that was made with the format, Wuthering Heights, the romance starring Margo Robbie and Jacob Alorty. Greta Gerwig also shot her new movie Narnia in Vist Division, and Alejandro Gonzálezinelli through cinematographer shot the new Tom Cruise movie in Vist Division. I mean, it makes me think about, you know, the craft of movie making.

Like, even though, you know, you may not know all the moving pieces, what transports you is the art and the craft of movie making. And it seems like there are a lot of people who are trying not to lose that, that there is something special about being in the theater, that there is something special about that experience. Yeah, it's true. This is about people who respect. the craft of movie making and they relish the experience of going to the movies with an audience.

I know I do. And, you know, Aisha, I wanted to leave you with this idea, something that every one of the cinematographers I talked to said, and that is that they have a real appreciation for shooting movies on film, not digital. I think back to what Lowell Crawley told me about what it feels like to record on film. There's something about the fact that every frame is different, is made up of a different collection of silver halides, you know, like there's something very analog and organic about this process that for me is a magical process that creates better images for me, you know. It's that magic of the silver screen. That's in PR culture correspondent, Mandelaide, Del Barco.

Thank you so much for bringing us a story. Thank you. And a big happy birthday to Mandelaide. is today. You can also see Mandelaide in VistaVision. As Mandelaide mentioned, the actor Giovanni Ribisi used his camera to shoot a bit of footage of Mandelaide interviewing him. You can find that video, part of NPR's Top Talk series on NPR's Instagram and TikTok accounts. This episode of the Sunday story was produced by Raina Cohen and edited by Junie Schmidt. It was fact-checked by Will Chase, The engineer for this episode was Jimmy Keely.

The rest of the Sunday Story team includes Justine Yan, Andrew Wombo, and Leanna Simstrom. Irene Noguchi is our executive producer. I'm Aisha Roscoe. Up First is back tomorrow with all the news you need to start your week. Until then, have a great rest of your weekend. Want to hear this podcast without sponsor breaks? Amazon Prime members can listen to Up First sponsor-free through Amazon Music. Or you can also support NPR's vital journalism and get upfirst plus at plus.npr.org. That's plus.npr.org.