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It’s a good thing Billy Wilder released Sunset Blvd. in 1950.  Another three years, and chances are he would have had to have the following sit-down with his producer:

“Now Billy, the guys and I were thinking.  The market being what it is, these kids are coming to the movies expecting certain things out of their movies.  Well, I’ll cut to the chase.  Wouldn’t the ending be all the more spectacular if we could get more of a jump from the audience at certain moments?  Just imagine.  The kids are already on the edge of their seats and then, BOOM, old Norma pops out to within an inch of their face and they all scream, and then she screams: ‘All right, Mr. DeMille, I’m ready for my close-up,’ then we see her stare ya straight in the eye!”

Not a single great film of the 1950′s (a.k.a. Golden Era of 3D) is in 3D.  Great artists for whatever reason chose not to utilize the day’s gimmicks to supplement their already great movies with cheap thrills.

I saw Up in Disney Classic 2D followed a week later by Disney Digital 3D.  It was absolutely breathtaking both times.  3D is never used as a gimmick and is never in the way of the experience.  Nothing ever flaunted the 3D, and there were long stretches during which I stopped even thinking about it.  It maybe took 15 minutes to get used to the slight motion blur inherent in 3D.  (I assume if I were to watch more films in 3D I would eventually cease to notice said motion blur.)

My final conclusion is that it really doesn’t matter how you see a film.  As long as it doesn’t need 3D to support any gags or gasps, then it’s really just one more frill the theater can charge you for.  Undoubtedly, it’s also another subtle way to combat piracy.  If the pirates don’t have 3D cameras, then it’s pretty hard for them to pirate said experience.  At the end of the day, a great artist can create great things.  When movies operate at this level, nothing can stand in their way.  Now let’s give James Cameron a chance to prove me otherwise.

-Paul Brinnel