photographed in very poor color in what appear to be the California hills". Variety summed up the process: "This novelty feature boasts of being the first full-length film in Natural Vision 3D. Although adding backsides to usually flat actors and depth to landscapes, the 3D technique still needs further technical advances." Hollis Alpert of The Saturday Review wrote on March 14, 1953, "It is the worst movie in my rather faltering memory, and my hangover from it was so painful that I immediately went to see a two-dimensional movie for relief. Part of the hangover was undoubtedly induced by the photography process itself. To get all the wondrous effects of the stereoscopic motion picture one has to wear a pair of polaroid glasses, made—so far as I could determine—from tinted cellophane and cardboard. These keep slipping off, hanging from one ear, or sliding down the nose, all the while setting up extraneous tickling sensations. And once you have them adjusted and begin looking at the movie, you find that the tinted cellophane (or whatever it is) darkens the color of the screen, so that everything seems to be happening in late afternoon on a cloudy day. The people seem to have two faces, one receding behind the other; the screen becomes unaccountably small, as though one is peering in at a scene through a window. Everything keeps getting out of proportion. Nigel Bruce will either loom up before you or look like a puppet. Sometimes there is depth and sometimes there isn't. One thing is certain: it was all horribly unreal." In popular culture Life magazine photographer J. R. Eyerman took a series of photos of the audience wearing 3D glasses at the premiere. One of the photos was published as a full page in the magazine and has become iconic. It was also used as the cover of Life, The Second Decade, 1946–1955, a book published in conjunction with an exhibition of photographs from Life held at the International Center of Photography, New York. Another of the photos was used as a symbol of alienation under capitalism, for the American cover of Guy Debord's book The Society of the Spectacle (1973). The photo used for Debord's book shows the audience in "a virtually trance-like state of absorption, their faces grim, their lips pursed". However, in the one chosen by Life, "the spectators are laughing, their expressions of hilarity conveying