Alfred Hitchcock‘s Jamaica Inn (’39), his last British-produced film before moving to Hollywood, was shot in immaculate black-and-white by Bernard Knowles (The 39 Steps, Sabotage, Secret Agent) and Harry Stradling (Suspicion, The Picture of Dorian Gray, A Streetcar Named Desire).
And yet this colorized version isn’t altogether offensive. Because it has a certain beige-like, semi-drained quality — colors that appear soft, honey-toned, tea-tinted, amber-ish — that was not uncommon in the early days of color. Or so I’ve been told.