This happened with the first feature 3-strip film "Becky Sharp," which was criticized for excessive use of blue now that the process could present a real blue; but I think it tapered off later. Although the process was intrinsically contrasty and saturated, Natalie Kalmus (wife of the inventor and often credited "Color Consultant") was a stickler for (her idea of) the appropriate color palette for each scene. There was critical comparison of the Hollywood spectaculars vs. movies like "The Red Shoes" that did not stress color variety so much.Weren't older films often criticized for the oversaturated, candy coated look?
I don't know about that - depends on the context, I think.I mean, typically if something is called "Technicolor" that's not meant as a compliment.
The most recent Kodak print film I liked was the Ektar. In fact, I remember buying quite a few rolls when the stores were closing it out, dirt cheap. A few were expired by a few months, but they always had rich colors regardless.
I tend to think that also.I think the modern style favors more realistic colors.
They have never been as terrible as they are now, though--it is almost like they are trying to make these look like a garish painting or got a little too crazy with the "artistic" filters in Photoshop. (Should have made that clearer when I first wrote it.) Over-saturation is one thing, but these go so far beyond.Postcards and usually calendars also have had unrealistically saturated colors since the 50's or 60's - nothing new there.