Walloon, my thanks also for the Technicolor link!
I did see The Phantom of the Opera in an undergrad film class, and remember that scene as being very crimson and lurid.
Another film I thought of while reading the list: the French silent film Napoleon. During the sequence where the screen is split into 3 sections, at one point, one section is tinted red and another blue, so that the screen resembles the tricolor flag.
In one of my favorite Calvin & Hobbes Sunday strips, Dad explains to Calvin why old photographs and movies are black and white.
According to Calvin’s dad, it’s because color wasn’t invented yet. So sometime during the 50s, I think, color was invented and then the old films and photographs that had accidently used color film in portions became colored.
As Calvin points out inconsistancies, Dad’s explanation gets more convoluted. Comic Genius. I wish I could find it online.
Lindsay Anderson’s “If…” starring Malcolm McDowell, was shot in color, but would cut to scenes in black & white of Sunday services in the cathedral.
It was very stylistic, every time they cut to a scene in the cathedral, it was in black and white. Very deep. Switching from color to B & W.
However, in an interview I read many years later, he said it was due to using up their budget too soon, so the last scenes shot, (those in the cathedral) were shot on black and white film because they couldn’t afford color at that point.
Needless to say, Broken Blossosm, The Great Train Robbery and even Napoleon don’t really count since they’re not color-processes and are movies that, back then, would’ve likely been completely tinted or toned anyway.
Other examples:
Dixiana (1930) had a Technicolor Mardi Gras finale.
Victoria the Great (1937) had a Technicolor Diamond Jubilee finale.
The last reel of The Moon and Sixpence (1943) was in color.
The Eden sequences in The Private Lives of Adam and Eve (1961) are in color.
Spike Lee’s She’s Gotta Have It (1986) has a music sequence in color.
Wim Wenders’ Wings of Desire (1987) begins largely in B&W but gradually employs more and more color, separating angel life from the “real” world.
Though I haven’t seen them, other films supposed to have color sequences include: The House in the Square (1951), The Solid Gold Cadillac (1956) and
Stanley Donen’s Movie Movie consists of two hour-long films, one in B&W the other in color. The separation of an artist’s life from his work is divided along B&W and color lines in The Mystery of Picasso and Mishima.
Other films with the Oz-like B&W framing devices for color films were The Blue Bird (1940) & Jack and the Beanstalk (1952). Martin, Dead Again and Memento, among others, separate B&W from color sequences for flashbacks or -forwards.
Oliver Stone has also merged B&W and color on several occasions (JFK, Nixon).