I just watched this blu-ray of Vincente Minnelli's biopic about Vincent Van Gogh. The transfer seems to be 2.55 : 1, which is what CInemaScope originally was in 1953 when they were using the smaller "CS" perfs and centering the image on the print, with thin magnetic sound stripes on each side.
The early CinemaScope lenses were rather soft except in bright sunshine stopped down, and the Anscochrome color negative used was also on the softer side.
I had read that Minnelli disliked MGM's switch from 3-strip Technicolor to Anscochrome when he did Lucille Ball's "The Long, Long Trailer" in 1954, feeling that it made women's faces "dirty" (and probably didn't do justice to Ball's red hair) but by the summer of 1955, when Minnelli started shooting "Lust for Life", MGM was switching to Eastmancolor and now Minnelli preferred Anscochrome for that project. From his biography:
"There was one fight we fortunately won. I'd noticed that Eastman
negatives, in which Metro's color pictures were then shot, didn't have
the subdued tones that would be needed in a film about Van Gogh. The
[Eastman] color process had been originally developed for Twentieth
Century Fox's production of The Robe in 1953, and the palette was
straight from the candy box, a brilliant mixture of blues, reds and
yellows that resembled neither life nor art... I insisted the picture be
shot in Ansco film. But that company, having conceded to the popular
taste that the best was the brightest, had stopped producing its line of
color negatives. We badgered, cajoled, wheedled and bullied, and Metro
finally saw it our way. The studio bought 300,000 feet of Ansco film,
the last remaining inventory, and persuaded Ansco to open a special
laboratory to process what we shot. It was to prove to be the most
important victory of the many battles John [Houseman, producer] and I
fought during the making of the picture."
Most of the movie was shot on location by Freddie Young, but some interiors in Hollywood were shot by Russell Harlan. It's hard to know (unless obvious) which interiors were on location and which were done back at MGM, so it's hard to know which were shot by Young vs. Harlan.
The movie is beautifully designed, color-wise, as you'd expect from Minnelli at the top of his game. It starts out in somber browns until Van Gogh gets to Arles.