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Tru-Vue Filmstrips
When it comes to the Tru-Vue filmstrips, there’s much to discuss! The boxes, the titles, the 3D images, the dates. And then there’s the filmstrip itself: the film type, the number of frames, the sprockets … whew! Not to mention ALL the changes in those things over the years.
Hardcore collectors love all the details. Others simply want to know, “How much is this filmstrip worth?” and that’s ok. That simple question is what started us on our collector journey. It’s also why we encourage you to check out these resources if you haven’t already:
Tom Martin’s wealth of filmstrip info, in particular: Tru-Vue Box Identification and Tru-Vue Films Not In Stereo Views
“Stereo’s Missing Link,” John Dennis
Stereo Views - An Illustrated History & Price Guide, 2nd Edition, John Waldsmith
Here’s our addition. Enjoy!
The Original Tru-Vue Filmstrip Box
Red-flap Blue Box
This is the first Tru-Vue filmstrip box and a must-have for any Tru-Vue collector. It’s the only filmstrip box with TWO red flaps, one on each end. The blue boxes that were made later only have a red flap on the bottom. These days, this filmstrip box is very hard to find in A+ condition, meaning clean and intact with the correct film inside that’s also clean and intact. In our collection of over 2,500 boxed Tru-Vue filmstrips, fewer than 10 are an A+ version of this first box. Below you can see all 6 sides of this first Tru-Vue film box.
Major & Minor Tru-Vue Filmstrip Box Designs
There are 7 major box design styles. They’re important to know because they can give a significant clue as to the age and value of the filmstrip inside. We consider a design style change to be “major” if multiple sides of the box have undergone noticeable changes. If changes were less detectable or only made to the top flap, we consider that a minor design style change. Here are the 7 major ones we know of:
Left to right: 1) Blue Box; 2) Red Box; 3) Silver Piano Box; 4) Plain White Box; 5) White Piano Box; 6) Beaverton Box; 7) Stereochrome (Color) Box
Box #1. The "Blue" Box.
Box #1 (variation) - Red is removed to make more room for film title. Remainder of box is completely the same.
Box #1 (variation). You know what would really open up the space? Getting rid of those pesky blue bars.
Box #2. The "Red" Box. Color change. Still stamping the titles.
Box #2 (variation). Typeset title in black.
Box #2 (variation) - Title typeset in red.
Box #2 (variation). The word "SUBJECT" is smaller.
Box #2 (variation). Red area is larger and the word "SUBJECT" is moved into it.
Box #2 (variation). Abandoning the natural buff white box color for bright white. Black serif stamped title.
Box #2 (variation). Bright white with black sans-serif title stamp.
Box #2 (variation). Bright white with title typeset in red.
Box #2 (variation). "SUBJECT" in large type. Title typeset in red.
Box #3. Silver piano. Carrying over the red typeset.
Box #3 (variation). Silver piano with black type but no number.
Box #3 (variation). Introduction of numbering. Most common version of Box #3.
Box #3 (variation). A version of the silver piano box where the red is more orange-ish, and the texture is rougher.
Box #3 (variation). Film number in italic.
Box #3 (variation). No title.
Box #4. Natural all-white box.
Box #4 (variation). Bright all-white box.
Box #5. White piano box. Red typset title. Most common version of Box #5.
Box #5 (variation). Blue typeset serif film number and title.
Box #5 (variation). Blue typeset with number switched to sans-serif.
Box #5 (variation). Blue typeset. Now both the number and title are sans-serif.
Box #5 (variation). "In Color" added to the flap for use with new color filmstrips.
Box #6. Stereochrome color film box with red serif type.
Box #6 (variation). Type is still red but with mixed serif. Title is still serif but number is san-serif.
Box #6 (variation). Mixed serif type in blue.
Box #6 (variation). All sans-serif type in blue.
Box #7. Beaverton Box. Used for a short time after Tru-Vue sale to Sawyer's.
Early, Unnumbered Tru-Vue Filmstrips
The earliest Tru-Vue filmstrips were unnumbered, and many of the first ones had no production date nor photographer's information listed on the filmstrip. Some of the early films have the NRA Blue Eagle membership logo with the slogan “we do our part” on the last frame. NRA stood for the National Recovery Administration (1933-1935). Some film studios displayed the logo to show they were complying with fair labor codes, while others were said to have displayed it only as forced government propaganda.
Some early films had a note on the ending frame: “Films can be used in 35mm still projectors.”
Eventually, many of the early film subjects got a number assigned and remained part of the Tru-Vue library for years. Examples are Animals of the World, Around the World, Arrowhead Springs, Boston, Catalina Island, Budapest, Haiti, Death Valley, Hollywood, Land of the Buccaneers, Los Angeles, New York City, Passion Play, Philadelphia, Pikes Peak, Sally Rand, San Francisco, and Yellowstone.
But other early film subjects stopped being produced after a few years and never became part of the official Tru-Vue numbered catalog. Examples are 1893 Chicago World’s Fair, A Little Bit of Heaven, California Pacific Exposition, Century of Progress World’s Fair, Dam #15, Fashions of 1933, Great Artist, 1933 Tennis Championship, and Tru-Vues from Everywhere. Below we share a few frames from each of these films, including the title frame, ID frame, and any end frames.
All of these early Tru-Vue films are either hard-to-find or positively rare to come across in clean, complete condition. If you’re a collector, you’ll want them in your collection. Even the film subjects that continued to be produced later and became part of the numbered catalog can be collectible if found in an early, unnumbered box, because the images may be different.
Early Unnumbered Filmstrip: Marvels of Plastic Photography
1931, Extremely Rare
This Tru-Vue film is so old that it was made before the Tru-Vue brand arrived in Rock Island. The 1931 copyright date precedes the 1933 date of what were thought to be Tru-Vue’s first films. There is no reference to Rock Island on the film’s title or end frames, as is the case with other Tru-Vue films, and we have not found this film listed in any previously published Tru-Vue film lists. The film, along with the Reel-Vue viewer it was found in, was made in nearby Chicago. We do not know what the box would have looked like or if there even was a box for it.
Photographer: None listed
Edited by: None listed
Production date: None listed
Frames from the Tru-Vue filmstrip "Marvels of Plastic Photography"
Early Unnumbered Filmstrip: 1893 Chicago World's Fair
This fair occurred 40 years before Tru-Vue existed and served as the backdrop for Erik Larsen’s book “The Devil in the White City.” We don’t know how many of these filmstrips were made, but a note on the title frame states, “This film is complimentary and not for resale.” No photographer is listed nor any reference made to where the photos were obtained. No production date for the filmstrip is listed, but the most likely production year is 1933. Photos include The Court of Honor, Chicago Day, Architecture of the Gay ‘90s, and the Palace of Fine Arts Building, which was the only one of the “White City” buildings to be built with a more permanent structure and still stands today as the Museum of Science and Industry (also known as the Rosenwald Museum).
Photographer: None listed
Edited by: None listed
Production date: None listed
Early Unnumbered Series: Century of Progress World’s Fair
1933-34, Chicago, Illinois
Tru-Vue made their big debut at the 1933 Century of Progress World’s Fair that was held in nearby Chicago. They would eventually produce 10 filmstrips covering the fair. First, they produced 4 Century of Progress films and 2 Sally Rand films, which they marketed to the public as early as September 1933. The last 4 C. of P. films were produced in 1934 with the continuation of the fair. The Century of Progress films can only be found in early blue and early red boxes. However, Sally Rand films continued to be produced throughout Tru-Vue’s existence and can be found in a number of box styles.
Photographer: None listed
Edited by: None listed
Production date: None listed
Early Unnumbered Series: Bobby Jones Golf Films
1934, Golf Instruction in 3D
In the 1930s, Tru-Vue issued a special wood & velvet cased set of instructional golf films in 3D featuring golf legend Bobby Jones. This is the first time we see a case insert with holes, designed to hold the individual film rolls without using film boxes. A lightly used, complete set (all six films, the viewer, and the film title insert) is rare. Tru-Vue collectors often have to compete with sports collectors when a complete set comes up for auction. These filmstrips are most desirable when found complete with their individual wrappers and tucked into the holes of the special Bobby Jones case. However, the filmstrips can also be found in early red & white boxes.
Photographer: None listed
Edited by: None listed
Production date: 1934 dates
Early Unnumbered Series: A Little Bit of O’Heaven & The Wishing Buddha
1934
This filmstrip documents a number of the oddities collected by chiropractic pioneer B. J. Palmer. The title "A Little Bit O’ Heaven refers to the garden setting he set up for the rare, ancient 10-foot bronze statue, The Wishing Buddha.
Photographer: LaDare A.S.C.
Edited by: None listed
Production date: 1934
Early Unnumbered Series: California Exposition
1935-36, San Diego, California
Right as the Century of Progress World’s fair was closing out, an entrepreneur had the idea of repurposing some of the exhibits and hosting an international fair down in San Diego, utilizing buildings on Balboa Island that were left over from an earlier event there. The event was pulled together in 10 months, launched in 1935, and was so successful that it ran again in 1936. The films can be found in early blue and early red boxes. Some may have the title “Cal Pac Expo.”
Early Unnumbered Series: Nudes Figure Studies
Nitrate instead of safety film. No Tru-Vue branding. And naked women … excuse us, “figure studies”. What’s going on here? John Waldsmith’s book, “Stereo Views - An Illustrated History & Price Guide,” lists Figure Studies filmstips by Clarence Romrell (a Tru-Vue employee) and others by unknown photographers as actual Tru-Vue products. What you see below are examples of the 35mm stereo filmstrips from the ‘30s/’40s that could be purchased in the back of men’s magazines.
Early Unnumbered Series: Tru-Vues from Everywhere
A Subscription Idea
Originally marketed as “Tru-Vues of Current Events”, these filmstrips were intended to be issued monthly like a magazine. Photos include Dolores Del Rio in her dressing room, Sally Rand, the rear ends of Rae dancing girls backstage at the Orpheum, the Mineral Wells Canyon fire in Los Angeles, th 1933 UCLA football line-up, Marconi & his wife with Francis Lederer, Navy Day in San Pedro, the Boston wharf fire, Charles Chaplin broadcasting over CBS, the closing of Century of Progress 1933 run, and the end of prohibition.
Photographer: None listed
Edited by: J. H. Bennett
Production date: Various 1933 & 1934 dates
Early Unnumbered Filmstrip: A Great Portrait Painter at Work
Leopold Gould Seyffert
This filmstrip takes a behind-the-scenes look at Leopold Seyffert painting a sitting subject.
Photographer: None listed
Edited by: None listed
Production date: 2-27-34
Early Unnumbered Filmstrip: Upper Mississippi River Nine Foot Channel Improvement
Dam No. 15
Lock and Dam No. 15, completed in 1934, was one of the pivotal structures on the Mississippi River designed to help improve navigation. The project was so significant that it became a focal point for one of RIBIW’s early Tru-Vue films. The company’s initial "Locks and Dam No. 15" film, showcasing the construction and operation of this critical infrastructure, was a great example of the educational potential the Tru-Vue offered.
Photographer: None listed
Edited by: None listed
Production date: None listed
Early Unnumbered Filmstrip: 1933 Pacific Southwest Tennis Championship
Los Angeles Tennis Club
The Pacific Southwest Championships started in 1927. It would later be known as the Los Angeles Open and would run until 2012. It was held in Los Angeles, California at the Los Angeles Tennis Club (LATC). This filmstrip covers the event in 1933. U.S. competitors were Lester Stoefen, Alice Marble, John van Ryn, and his wife, Midge Gladman. There’s a great action shot of Van Ryn as well as spectator shots of Charlie Chaplin, Paulette Goddard, Will Rogers, Harold Lloyd, Josef von Sternberg, Gloria Swanson, and Lori Wilson.
Photography: G. H. Phillips
Edited by: J. H. Bennett
Production date: None listed
Early Unnumbered Filmstrip: Fashion Forecast Fall 1933
This filmstrip is all about the women’s apparel, accessories, and fashion styles that were must-haves for the Fall of 1933. We learn that earrings — clip, ball, and drop styles — were appropriate for day and evening, and pins, brooches, and tailored bags were all the rage.
Photographer: None listed
Edited by: J. H. Bennett
Production date: 10-31-1933
Depth Photography
Enduring Across Box Styles
As a collector, a fun challenge is to find a single film subject in as many different box styles as possible. This is difficult because many early, blue-box film subjects were discontinued and cannot be found in later box styles. However, as we mentioned earlier, there are at least 20 early subjects from 1933-34 that continued. One of them is the Depth Photography filmstrip. Unlike others, this filmstrip never received a number. It serves as a type of general “demonstration” film that shows examples of what’s possible with 3D photography. It was produced across almost the entire existence of Tru-Vue. In fact, on the first red-flap blue box, it was titled “Demonstration” even though the filmstrip itself was titled Depth Photography.
Other Hard-to-Find Films
Some black & white Tru-Vue films didn’t appear until later in the life of the company and can only be found in the red & white piano boxes, and most often in the boxes with blue, san-serif type. You can see from the three examples below that the title frame information is combined with an image more often than in previous films, and the ID frame carries a patent number, and sometimes, the new, post-Sawyer’s location of Beaverton, Oregon.
Same Film, Different Box Title
Does Sally Rand have a Nude Ranch or a Dude Ranch? The filmstrip is the same in each but the first version with "Nude" on the box is very hard to find.
Every version we have has the "D" in Dude crossed out in the title frame.
The images on the films are the same but after Will Rogers passed, Tru-Vue put his name on the box.
Although the images on the films are the same, the title frames are different. In this early version, production date in 1938, the paragraph about Will Rogers is second.
In this later version of the film, production date in 1943, the paragraph referencing Will Rogers is first.
"Century of Progress Series Number 2" was eventually shortened to "C. of P. -2"
Eventually the box titles for the "Scenic Colorado" series were changed to reflect the title shown on the filmstrip.
The box titles for the Historic Virginia series were eventually changed to be more specific and reflect the filmstrip title.
Film 220 can be found with a few different box titles.
The "Cal. Pac. Exp" title was changed to "California Exposition"
Same Box Title, Different Film
1306 Gypsy Rose Lee
This box could contain one of two different Gypsy Rose Lee films. The most common is “The Difference Between a Strip-Tease and a Tease.” The less common one is “A Personal Appearance”. You can’t tell from the outside of the box which film is inside.
Different Title & Different Film
602 Hoover Dam
602 and 603 are examples of where Tru-Vue kept the number but switched out the film and the title. Boulder Dam 2 & 3 became Hoover Dam 1 & 2. The films are not the same as the original 602 and 603.
Blue Base / Purple Films
Setting the Mood
Black & white films were sometimes tinted to create a certain mood or vibe for the viewer. Don’t be surprised if you come across a Sally Rand Fan Dance or Bubble Dance film and it’s blue/purple. There’s nothing wrong with the film — that was intentional.
Color Films — “Stereochromes”
To stay competitive against View-Master, Tru-Vue finally began producing color filmstrips called “Stereochromes,” a pursuit that had been delayed by the war. For a brief time, the color films were put into the same white piano box as the black & white films but with the addition of the words “In Color” on the box flap. But soon a new, brightly colored yellow, red, and blue box was designed for the color films. Ansco color film was used and unfortunately, the color has faded from almost all of the filmstrips. To save costs, Tru-Vue shortened the length of their filmstrips, first by putting 2 pictures in one frame, and then, when that didn’t sit well with the public, reducing the number of frames from 14 to 10. Most of the color films and a few of the later versions of the black & white films have only 10 frames.
Half-Frame Color Films
Below are examples of the color filmstrip “Captain Marvel” (C111). The first image shows the half-frame version with 2 images in one frame. This made each image smaller so we can see why this wasn’t appealing to buyers. The second image shows the full-frame version of the same film. Both have suffered a tremendous amount of color fading over the past 75 years, but there’s still a bit of detectable color. If you’re a “completist” type of collector, you’ll want to have both the full-frame and half-frame versions.
Half-frame Captain Marvel filmstrip
Full-frame Captain Marvel filmstrip
Disney Color Films Retained the Most Color
Of all the mass-produced Tru-Vue color filmstrips, the four Disney films retained their color the best, in particular Alice in Wonderland. Other color cartoon films have also retained some color.
Test Color Strip
Depth Photography
We have several color Depth Photography filmstrips in our collection, but this one is unique. It didn’t come in a box and it appears to have never been in one, as it doesn’t have the tight coil of other boxed filmstrips. And unlike the other color Depth Photography films in our collection, this one has retained its vivid color.
Commercial Films
Tru-Vue for Industrial Use
The above image shows a some of the commercial films in our collection. Commercial films appear in all 7 major box designs, proving that commercial films were a pursuit of Tru-Vue from the very beginning.
Box Errors
At their peak, Tru-Vue was producing hundreds of thousands of viewers every year and millions of filmstrips. With that kind of output, it’s inevitable that some production errors would happen and that a few of those errors would make it out into the wild. Here are a few we’ve come across:
This box has been cut incorrectly but still got folded into a filmstrip box.
These boxes accidentally had "FRAGILE" stamped all over them but still got folded into filmstrip boxes.
The red/white "China" box is incorrectly numbered as 1508, but ghe filmstrip inside the box says 1542 which is the correct number for the China filmstrip. 1508 is the number for the Columbia filmstrip.
Tips for Sellers
Coming soon.
Continue to explore our Tru-Vue collection:
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