(1930) and The Great Meadow (1931), as they had no theaters equipped to show them. Grandeur used non-standard perforations, but another format developed at around this time, by Ralph Fear of Cinema Equipment Company, used 65 mm film with standard perforations, the frame being 5 perforations high. Although these formats proved that widescreen film could be successful commercially, the deepening Great Depression and lack of theaters equipped with widescreen projection, as well as the inability of the five big studios to agree on a size for the widescreen format, doomed the format for a couple of decades. Although these formats failed to be supported at the time, the 65mm and 70mm widescreen film size and the 65mm and 70mm cameras built to use it were to form the basis of the camera format for the rebirth of the widescreen 70 mm formats introduced in the 1950s. In 1948, a U.S. Supreme Court decision forced movie studios to divest themselves of their profitable theater chains. The loss of these theaters and the competitive pressure of television caused significant financial distress for many American motion picture studios. In 1952, the launch of Cinerama was a public sensation and suggested a way to bring studios back from the financial brink, but the triple 35mm camera systems used for this widescreen presentation were heavy, bulky, and difficult to use. Installing Cinerama in a theater was no simple matter either, as the system required three projectors, each in its own projection booth, as well as an elaborate 7-channel sound system and a special large, deeply curved screen. MGM, in common with other studios, regarded Cinerama as being too difficult and expensive for regular movie theaters and therefore began working on a widescreen format that would work with existing theater equipment. They seemingly had forgotten or overlooked that they still had their 1930 widescreen Grandeur 70mm cameras packed away in storage. In 1953, the studio developed a process that captured images sideways on standard 35 mm film. It called the process Arnoldscope, after John Arnold, the head of MGM's photography department. Arnoldscope was similar to Paramount's VistaVision, except that it used an image ten perforations wide, rather than the eight of VistaVision. Paramount apparently also had forgotten about their 1930 widescreen venture utilizing 65mm Fearless Super Cameras. Unlike VistaVision, which had some limited use both as a camera format and as a print format, Arnoldscope was