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another question about roadshow films on Blu-ray. when
Cleopatra premiered at this theater June 1963 it was
4 hours. it was cut down to 3hrs. 40 mins. and then
3hrs. 15mins. for its run at neighborhood theaters
around NYC. the Blu-ray is the New York cut as its
known so Fox at least kept the trims. but why are some
companies better at keeping the trims than others?
to Al A.– thanks for the correction as to the length of
Half A Sixpence's roadshow run at the Criterion
which was 11 weeks not 6. but even at 11 weeks
doesn't that make it the shortest roadshow run
in the seven houses I listed?
to vindanpar- the currently available Blu-ray disc of
Cleopatra in terms of richness of the colors
and the crispness, clarity and sharpness of
both the picture and the multi-channel
tracks is he very definition of !WOW! when
Taylor descends from the Sphinx her outfit
is bright shiny gold with a capital G. so
I have no idea what the quote you quoted
is talking about.
again thanks to Al A. for your font of knowledge about the
roadshow policy. of the seven houses the studios used for
their roadshow engagements during the 1952-1972 period
(Criterion, Loews State, RKO Palace, Demille, Warner,Rivoli
Loews Capitol) the shortest roadshow run I can remember
was Half A Sixpence at the Criterion which ran a grand
total of 6 weeks. either Paramount or the management of
the Criterion or both decided to pull the film. my point
being simple- apparently if a roadshow run wasn’t doing
business it would/could be pulled rather quickly. therefore
I assuming that TGSET’s box office at the Warner was in fact
sufficient enough to keep it there 44 weeks otherwise as
HAS demonstrates the theater and or studio would have no
trouble pulling it.
another thought. the blu-rays discs of Hello Dolly and
Cleopatra make those two films truly come alive. anyone
watching these two films for the first time on blu-ray disc
will certainly wonder why they’re considered flops duds, etc…
the answer is simple- they’re considered flops, duds etc….
because they cost too damn much for the dollar value of
their day(June ‘63 and Dec. 69) there was no way they could
possibly break even.
to Al A. as always thanks for your font of knowledge when ‘
it comers to the roadshow policy. another question. I hope
to find it again but a few years I came across a site that
listed Manhattan’s roadshow engagements listed by length of
run with the theater listed. now I saw The Greatest Story
Ever Told twice during its roadshow run “in Cinerama” at
the Warner. I enjoyed it regardless of the reputation the
film has. now the list stated TGSET roadshow run at the Warner
lasted 44 weeks. at the time the film was a big loss for UA
since it cost to damn much for the dollar value of the day to
turn a profit. but if it was a disappointment for UA why in
God’s name did the Warner keep it for 44 weeks? some
roadshow runs that were considered successes didn’t run
to Al A.– as always thanks for the info as you have been
kind enough to do since I discovered this wonderful a few
years ago. a follow up question. a friend of mine in San
Francisco told me an interesting story. UA was able to hook
the Golden Gate into a lengthy enough contract for Man
of La Mancha based on the previous years success with
Fiddler on the Roof. unfortunately for the Golden Gate
lighting didn’t strike twice. so he said week after week
when the theater was playing to smaller and smaller
audiences rather than lose more money they simply closed
the theater. so I was wondering what ways there were
for a theater to get out of a long term contract.
a questions for anyone knowledgeable about the roadshow
exhibition policy. when a theater made a deal with a
company to host the roadshow engagement did they do so for
an agreed period of time and if the film was popular enough
to hold past the original period it was great for the
theater. but what if the film didn’t exactly ignite
the box office was there a way for the theater to get out
of its contract?
to HowardBHaas- unless you have a vested interest in
Milstein Properties(the owner of the building complex
Lincoln Plaza was a part of) I thought your comment was
a tad to frank. I suppose I should have said this- the
fact that the Lincoln Plaza never reopened is by an large
proof that MP’s comment about the theater reopening
after structural work was completed was a big fib. I by
no means meant to interpret Al A. and MarkNYLA’s comment
comments as providing evidence.
for the opening weekend April 26-28 how can I tell if a
showing is in the Dolby Cinema? I figure End Game is the
perfect film to experience the Dolby Cinema for the first
thanks to Al A. and MarkNYLA for the info. so are your
responses a discreet way of saying when the Lincoln
Plaza closed end Jan. 2018 and the management company
said “the theater will reopen when the necessary
structural work is completed” it was one big fat lie?
is this theater ever going to be a regular 1st run house
again. the ads I’ve seen in the Times makes it appear to
only show films after they’ve exhausted they original 1st
what’s all this i hear/read about people paying
astronomical sums to scalpers for opening tickets
to End Game? i just looked at Fandango and none of
the shows for opening weekend i looked at were sold out.
one of my most pleasant experiences of seeing a film
at this theater was the opening day 1st performance of
A Bridge Too Far. aside from from enjoying the film
and getting a nice free brochure guess who was outside
the theater shaking hands and greeting people as they
entered? none other than Joseph E. Levine himself.
in the early 60s I remember going here with friends tosee The Three Stooges Meet Hercules.
looking at the “Today on Stage at….” at the top of the
image i don’t know see how they could have done a personal
appearence at one theater and gotten to the next by the
the building currently at 2319 Westchester Ave. looks
nothing like the building in the picture above. what
building might dave-bronx be referring to?
I find it fascinating how classic Oscar winning films
faired in different markets. for example The Diary of
Anne Frank played here on a two performance a day reserved
seat engagement for was it 6? months. in San Francisco
the film’s sole 1st run engagement was a 2 week one at
the Fox where it ran on a continuous performance basis.
Disney should release this film on a limited edition
Blu-ray so people can see just how racist it allegedly
is the comment “the theater rapidly deteriorated” after
the late80s/early90s renovations referring to the physical
condition of the theater or the to be frank the quality of
before it closed in Sept. 1978 was it still showing
films first run?
in terms of being in continual operation(which includes
being closed for renovations) since the day it opened isn’t
this the oldest movie theater in NYC?
this is a question for people who saw Dumbo at this theater
this past weekend. I don’t like this new trend in dark films
meaning the visuals not the dramatic tone. I saw the film
at the 19th East and found the film as dark as Solo: A Stars
Story and Captain Marvel. I don’t get it. they spend millions
on a film and can’t afford proper lighting? even the scenes
in Dumbo which took place during the day were unusually dark.
what changes if any are they doing to the theater’sauditorium?
is my assumption correct that large movie theaters such
as the Roxy(or the Fox in San Francisco) probably played as
many B or even C movies as they played A movies?
thank you to my fellow posters for their replies to the
darkness issue I started. a question- is it remotely
possible that some directors consciously shot scenes that
are under lit to be artsy?
thanks to stevenj for your thoughts on the darkness issue.
I saw Boy Erased at this theater last Nov. and was disappointed
that a few scenes were rather under lit. so last month when
the Blu-ray came out I bought and guess what? the scenes I had
the dimly lit issue with were the same way on the Blu-ray.