Yeah, it’s cooler here in the hills of East Tennessee. Those cotton fields get steamy. Though, that’s sort of the whole point of a drive in, isn’t it? Actually, back on topic, what’s the story behind a brand new drive in? There’re aren’t many people expecting to make a living on any single screen anything, let alone a drive in.
Randall, thanks for the correction. I was drawing on the Junchen “Illustrated History” but must have confused the list. Easy to blame the darn bifocals. Having played a couple of services at Central Methodist I’ve found the Moller to be a truely uninspired instrument despite having something around 60 ranks. I wouldn’t call it orchestral in the least. The oral history I heard was that the Wurlitzer went there after WWII, but it doesn’t surprise me that it was earlier. I agree with you 100% on the Tennessee Wurlitzer being a fine example of an updated original installation.
Google Earth has a nice photo of the River Breeze site (see address above). Though the screen is long gone, the parking lot and its curved rows are still clearly visible. The entrance drive is also clearly visible, though some newer buildings seem to have been constructed across it. Or is that the box office? Is that the projection/concessions building still standing in the middle of the site? I’ve never been to the flea market even just to poke around looking for drive-in artifacts.
The site of the Knoxville Drive-In was cleared and a shopping center built there in the mid-1990’s. The shopping center now stands almost completely empty with no anchor and only one or two small store-front tenants. There is a commemorative plaque mentioning the drive-in and the brick yard which preceded it.
The drive-in’s south edge bordered the busy Southern Railroad main line. Wonder what it was like to be sitting in the back seat of an un-airconditioned 1955 Chevy, not watching the movie, as a mile of heavily laden coal cars thundered past every half hour?
Bob, There is a red-brick 1950’s era colonial house still standing on the River Breeze property. Was this part of the screen tower? I’ve seen a couple of designs (in old trade journals) where the screen tower sort of grew out of the house. The house would be where the manager and his family lived. It was one twisted architect that came up with that idea!
There’s a great book waiting to be written about growing up living in the base of the drive-in movie theatre screen.
The Riviera was Knoxville’s finest purpose-built movie theatre between 1920 and 1928. It was only superceded when the palacial Tennessee Theatre opened a block away.
In its last years, the Riviera had a large mural of Charlie Chaplin painted on the exterior rear wall which was visible from the business loop road that ran behind the theatre.
After the Riviera was torn down, the site was used as a parking lot. Nearing completion on this site is the new Regal Riviera Stadium 8: a completely new, 2000 seat facility with very consious nods to movie palace design. The Regal Riviera is set to open in the late summer or early fall of 2007.
There were two Wurlitzer organs in the old Riviera. The first was a style E-X (2-manuals, seven ranks, in two chambers) opus 355 dated October 14, 1920. The 2nd was another style E-X, opus 1357, dated June 9 1926. Reflecting on the considerable cost of even a small Wurlitzer, it seems odd that the Riviera’s owners saw fit to replace their 6 year old organ with another of the same design. The “why’s and what-fors” of that story are likely lost to time.
Opus 1357 remained in the theatre until just after World War II when it was given to Central Methodist Church, Knoxville. The Methodists kept the organ until 1960 when it was replaced by a (forgetable IMHO) Moller church organ. It was Moller’s practice when replacing an organ, that the older instrument’s pipes would be taken back to Hagerstown MD and melted down for the pipe metal. The wooden parts would be sent to the dump. Moller wanted no competition from used organs on the market.
Interesting that the Lyric Theatre (q.v.) operated at 109 West Vine some years previously. Looking at the Sanborne Fire maps of the area, these both appear to have been small storefronts.
Celloman, the Robert Morton is under the able care of John Hiltonsmith of Memphis. The management company is VERY supportive of the organ, knows its history and value and fully intends to maintain the organ in as close to original form as possible. That said, the economics involved in just getting the building open again are considerable. Word from John (who is also staff organist at the Memphis Orpheum and an award winning, multi-faceted, professional musician) is that the flood damage was minimal – confined to the blower and lower half of the console. The chambers were untouched – see my note from November 29 2005 above. The console suffered less damage than would be expected, it can be rebuilt rather than replaced. Obviously we can’t fault them for not tackling the organ project before the venue itself is repaired.
The cashier at the Malco (Orpheum) a half-block south was killed by a gun man around the time of the 1968 riots. I never heard anything about a murder at the Princess, but it certainly isn’t beyond the relm of possibility.
LM, yes that is the place, even says so in the realestate listing. If I’m not mistaken, the vertical sign is visible in the photo all the way to the right. However, a capacity of 485 must be a typo. I’d expect it to be more in the neighborhood of 1000.
Tim, do I remember correctly that Knoxville’s Bijou was also closed (temporarily)when the Tennessee opened? Was the Bijou also controlled by Paramount-Publix at the time? How many other halls closed in the wake of the Tennessee’s opening? Publix all but had a monopoly on the theatres in Knoxville didn’t they?
Dear D30678
Only the nouveau riche sit closer than Orchestra Center, row C. Which has had me resting my chin on the foot lights at many shows. I’ll take row B balcony any day. Avoid row A balcony if you’re over four feet tall. The stage is 50+ feet wide and you just can’t see it all if you’re right up on it.
Lee, THANK YOU for writing. Please write in with ANY memory of what the Princess looked like. Same for the Suzore. Thus far, no photos or descriptions have turned up for either hall. Sometimes childhood memories can be vivid.
If you were downtown during the early ‘50’s surely you went to the Strand, the two Loew’s theatres and the Malco. Hope you’ll reminisce about all of them.
WHW, thank you. I had completely forgotten about the collage behind the concession stand. It realy was the only decorative element in any MALCO hall that I ever visited and it was WELL done.
The organ was Wurlitzer’s opus 372 which had been built for the Capitol Theatre in Macon Georgia (q.v.) in 1920. It was relocated to the York in December 1925. It was a model 135a, which is 4 ranks of pipes (Trumpet, Salicional, Flute, Vox Humana), tuned percussions, traps, sound effects and piano.
Seems Chattanooga had 4 Wurlitzers: the York/Cameo, the State, the Tivoli and St Elmo’s Methodist, an original Wurlitzer church installation.
Interesting! I have been talking to the owner of a disassembled ‘F’ and his story is that it was removed from a Coconut Grove theatre in the early 1960’s. It has been in storage ever since. I’ve been reading David Junchen’s/Jeff Weiler’s “Wurlitzer, A Pictoral History” and infer that when some theatres defaulted on their payments, the organs were never actually removed as the cost of removal and storage would be higher than the resale cost.
Thanks for the tip on the possible original location.
The Wurlitzer factory records show that a Style ‘F’ organ, opus 1322 (2 manuals, 8 ranks, divided between 2 chambers)was shipped to the “New Theatre” in Coconut Grove FL in April 1926. Was that THIS theatre? Was “new theatre” just a generic name used at the factory or was this (or another hall in Coconut Grove) actually called the “New Theatre?”
Chuck, thanks for the exceptional photo. I had to laugh, because it makes the building seem very big. I remember standing on the sidewalk and resting both hands on the edge of the marquee: it must not be much over 7'-6" above the pavement. When I last saw the Ritz, it was being used as a vending machine storage warehouse. All the doors were unlocked and no one was around, so I made myself at home. Everything from the theatre days was still in place, including the seats, but there were various coin-op machines in the aisles, on the stage, in the lobby, in the balcony etc.
Jack, excellent photos! What’s even more amazing is that not only the theatre was torn down, but the 11 story ArtDeco office building was taken down too. Just before it was demolished (1987), I talked with the developer (long story) who was planning to take down the theatre and the Warner Building. I then walked the theatre with the maintenance man who had worked at the theatre for almost its entire existance. Both of them were absolutely convenced that neither could be economically renovated. The main reason they gave for demolishing the Warner Building was that it couldn’t be air conditioned because the floor to floor height was too close: not enough room for ductwork. I now know for certain that THAT was drivel. The Tennessee Theatre, of course hadn’t been used for about 8 years at that point. It was looking pretty dusty and time worn, but was still completely intact. When I saw it last, the seats and light fixtures were still in place.
Two big strikes against the Tennessee were its stage and its stage. The proscenium was only about 40 feet wide, narrow for concerts or touring shows. Not TOO narrow, but pushing it. Likewise, the stage depth was shallow, if it was 25 feet from the foot lights to the back wall I’d be surprized. Again, workable, but not good for trying to use the hall in a modern setting. Also, due to the fall of the land, the stage’s loading doors were about two stories above the sidewalk. (Interestingly exactly the same as the Tennessee Theatre in Knoxville). It can be made to work, but it takes dedication and committment, neither of which anyone in Nashville was willing to apply to this handsome hall.
The auditorium was indeed interesting. The arches that crossed the auditorium from side to side had 3 different colored lighting circuits- blue, red and white. The murals on the auditorium’s side walls had black lights on the to make them glow in the dark. The main curtain and valance were reddish orange and “warmed” by the stage’s foot lights.
The Tennessee’s 2-story tall lobby walls were veneered in an almost-orange marble. All this orange obviously chosen by a University of Tennessee sports fan.
The auditorium was exceptionally long and narrow though. If I remember correctly, the last orchestra row was HH, making 32 rows (figuring omitting rows I and O as usual). Likewise, the balcony was very deep. While that was acceptible for movies, it is far from ideal for use in a modern stage-oriented theatre.
NOT that I’m defending the Tennessee’s destruction, only pointing out that had it been saved, we’d still have a hall that faced serious challenges for contemporary use. The greater loss by far was Nashville’s Paramount.
The building that stands on the Tennessee’s site now is fairly forgetable. It is taller than the Warner was, has air conditioning and is mostly residential (I believe). At least it isn’t a parking lot as is the case with the Paramount site.
The Commons 6 was a nice hall as suburban halls went, which it did as soon as Carmike opened the 17 screen Windsong 17 the street. The building was torn down and a completely new retail store was built on the site. When in Knoxville do visit the former site of the Commons 6 as one of the best Asian restaurants is right next door. “Taste of Tai” is worth the trip to Knoxville.
Lou, looking forward to the book. Sounds like a jewel. My mom (age 80) grew up in Nashville and so maybe those “of a certain age” never called it the Vendome, but when she talks about the Loew’s in downtown Nashville, she always means the Loew’s Cresent. And you know, mother is NEVER wrong. Just ask her.
Yeah, it’s cooler here in the hills of East Tennessee. Those cotton fields get steamy. Though, that’s sort of the whole point of a drive in, isn’t it? Actually, back on topic, what’s the story behind a brand new drive in? There’re aren’t many people expecting to make a living on any single screen anything, let alone a drive in.
Randall, thanks for the correction. I was drawing on the Junchen “Illustrated History” but must have confused the list. Easy to blame the darn bifocals. Having played a couple of services at Central Methodist I’ve found the Moller to be a truely uninspired instrument despite having something around 60 ranks. I wouldn’t call it orchestral in the least. The oral history I heard was that the Wurlitzer went there after WWII, but it doesn’t surprise me that it was earlier. I agree with you 100% on the Tennessee Wurlitzer being a fine example of an updated original installation.
Google Earth has a nice photo of the River Breeze site (see address above). Though the screen is long gone, the parking lot and its curved rows are still clearly visible. The entrance drive is also clearly visible, though some newer buildings seem to have been constructed across it. Or is that the box office? Is that the projection/concessions building still standing in the middle of the site? I’ve never been to the flea market even just to poke around looking for drive-in artifacts.
The site of the Knoxville Drive-In was cleared and a shopping center built there in the mid-1990’s. The shopping center now stands almost completely empty with no anchor and only one or two small store-front tenants. There is a commemorative plaque mentioning the drive-in and the brick yard which preceded it.
The drive-in’s south edge bordered the busy Southern Railroad main line. Wonder what it was like to be sitting in the back seat of an un-airconditioned 1955 Chevy, not watching the movie, as a mile of heavily laden coal cars thundered past every half hour?
Bob, There is a red-brick 1950’s era colonial house still standing on the River Breeze property. Was this part of the screen tower? I’ve seen a couple of designs (in old trade journals) where the screen tower sort of grew out of the house. The house would be where the manager and his family lived. It was one twisted architect that came up with that idea!
There’s a great book waiting to be written about growing up living in the base of the drive-in movie theatre screen.
The Riviera was Knoxville’s finest purpose-built movie theatre between 1920 and 1928. It was only superceded when the palacial Tennessee Theatre opened a block away.
In its last years, the Riviera had a large mural of Charlie Chaplin painted on the exterior rear wall which was visible from the business loop road that ran behind the theatre.
After the Riviera was torn down, the site was used as a parking lot. Nearing completion on this site is the new Regal Riviera Stadium 8: a completely new, 2000 seat facility with very consious nods to movie palace design. The Regal Riviera is set to open in the late summer or early fall of 2007.
There were two Wurlitzer organs in the old Riviera. The first was a style E-X (2-manuals, seven ranks, in two chambers) opus 355 dated October 14, 1920. The 2nd was another style E-X, opus 1357, dated June 9 1926. Reflecting on the considerable cost of even a small Wurlitzer, it seems odd that the Riviera’s owners saw fit to replace their 6 year old organ with another of the same design. The “why’s and what-fors” of that story are likely lost to time.
Opus 1357 remained in the theatre until just after World War II when it was given to Central Methodist Church, Knoxville. The Methodists kept the organ until 1960 when it was replaced by a (forgetable IMHO) Moller church organ. It was Moller’s practice when replacing an organ, that the older instrument’s pipes would be taken back to Hagerstown MD and melted down for the pipe metal. The wooden parts would be sent to the dump. Moller wanted no competition from used organs on the market.
Interesting that the Lyric Theatre (q.v.) operated at 109 West Vine some years previously. Looking at the Sanborne Fire maps of the area, these both appear to have been small storefronts.
Celloman, the Robert Morton is under the able care of John Hiltonsmith of Memphis. The management company is VERY supportive of the organ, knows its history and value and fully intends to maintain the organ in as close to original form as possible. That said, the economics involved in just getting the building open again are considerable. Word from John (who is also staff organist at the Memphis Orpheum and an award winning, multi-faceted, professional musician) is that the flood damage was minimal – confined to the blower and lower half of the console. The chambers were untouched – see my note from November 29 2005 above. The console suffered less damage than would be expected, it can be rebuilt rather than replaced. Obviously we can’t fault them for not tackling the organ project before the venue itself is repaired.
The cashier at the Malco (Orpheum) a half-block south was killed by a gun man around the time of the 1968 riots. I never heard anything about a murder at the Princess, but it certainly isn’t beyond the relm of possibility.
LM, yes that is the place, even says so in the realestate listing. If I’m not mistaken, the vertical sign is visible in the photo all the way to the right. However, a capacity of 485 must be a typo. I’d expect it to be more in the neighborhood of 1000.
Tim, do I remember correctly that Knoxville’s Bijou was also closed (temporarily)when the Tennessee opened? Was the Bijou also controlled by Paramount-Publix at the time? How many other halls closed in the wake of the Tennessee’s opening? Publix all but had a monopoly on the theatres in Knoxville didn’t they?
Dear D30678
Only the nouveau riche sit closer than Orchestra Center, row C. Which has had me resting my chin on the foot lights at many shows. I’ll take row B balcony any day. Avoid row A balcony if you’re over four feet tall. The stage is 50+ feet wide and you just can’t see it all if you’re right up on it.
Cheers!
Lee, THANK YOU for writing. Please write in with ANY memory of what the Princess looked like. Same for the Suzore. Thus far, no photos or descriptions have turned up for either hall. Sometimes childhood memories can be vivid.
If you were downtown during the early ‘50’s surely you went to the Strand, the two Loew’s theatres and the Malco. Hope you’ll reminisce about all of them.
WHW, thank you. I had completely forgotten about the collage behind the concession stand. It realy was the only decorative element in any MALCO hall that I ever visited and it was WELL done.
The organ was Wurlitzer’s opus 372 which had been built for the Capitol Theatre in Macon Georgia (q.v.) in 1920. It was relocated to the York in December 1925. It was a model 135a, which is 4 ranks of pipes (Trumpet, Salicional, Flute, Vox Humana), tuned percussions, traps, sound effects and piano.
Seems Chattanooga had 4 Wurlitzers: the York/Cameo, the State, the Tivoli and St Elmo’s Methodist, an original Wurlitzer church installation.
LM, I don’t find a listing for Brue’s New Theater on CT. Is there another, later name?
Interesting! I have been talking to the owner of a disassembled ‘F’ and his story is that it was removed from a Coconut Grove theatre in the early 1960’s. It has been in storage ever since. I’ve been reading David Junchen’s/Jeff Weiler’s “Wurlitzer, A Pictoral History” and infer that when some theatres defaulted on their payments, the organs were never actually removed as the cost of removal and storage would be higher than the resale cost.
Thanks for the tip on the possible original location.
The Wurlitzer factory records show that a Style ‘F’ organ, opus 1322 (2 manuals, 8 ranks, divided between 2 chambers)was shipped to the “New Theatre” in Coconut Grove FL in April 1926. Was that THIS theatre? Was “new theatre” just a generic name used at the factory or was this (or another hall in Coconut Grove) actually called the “New Theatre?”
Chuck, thanks for the exceptional photo. I had to laugh, because it makes the building seem very big. I remember standing on the sidewalk and resting both hands on the edge of the marquee: it must not be much over 7'-6" above the pavement. When I last saw the Ritz, it was being used as a vending machine storage warehouse. All the doors were unlocked and no one was around, so I made myself at home. Everything from the theatre days was still in place, including the seats, but there were various coin-op machines in the aisles, on the stage, in the lobby, in the balcony etc.
Jack, excellent photos! What’s even more amazing is that not only the theatre was torn down, but the 11 story ArtDeco office building was taken down too. Just before it was demolished (1987), I talked with the developer (long story) who was planning to take down the theatre and the Warner Building. I then walked the theatre with the maintenance man who had worked at the theatre for almost its entire existance. Both of them were absolutely convenced that neither could be economically renovated. The main reason they gave for demolishing the Warner Building was that it couldn’t be air conditioned because the floor to floor height was too close: not enough room for ductwork. I now know for certain that THAT was drivel. The Tennessee Theatre, of course hadn’t been used for about 8 years at that point. It was looking pretty dusty and time worn, but was still completely intact. When I saw it last, the seats and light fixtures were still in place.
Two big strikes against the Tennessee were its stage and its stage. The proscenium was only about 40 feet wide, narrow for concerts or touring shows. Not TOO narrow, but pushing it. Likewise, the stage depth was shallow, if it was 25 feet from the foot lights to the back wall I’d be surprized. Again, workable, but not good for trying to use the hall in a modern setting. Also, due to the fall of the land, the stage’s loading doors were about two stories above the sidewalk. (Interestingly exactly the same as the Tennessee Theatre in Knoxville). It can be made to work, but it takes dedication and committment, neither of which anyone in Nashville was willing to apply to this handsome hall.
The auditorium was indeed interesting. The arches that crossed the auditorium from side to side had 3 different colored lighting circuits- blue, red and white. The murals on the auditorium’s side walls had black lights on the to make them glow in the dark. The main curtain and valance were reddish orange and “warmed” by the stage’s foot lights.
The Tennessee’s 2-story tall lobby walls were veneered in an almost-orange marble. All this orange obviously chosen by a University of Tennessee sports fan.
The auditorium was exceptionally long and narrow though. If I remember correctly, the last orchestra row was HH, making 32 rows (figuring omitting rows I and O as usual). Likewise, the balcony was very deep. While that was acceptible for movies, it is far from ideal for use in a modern stage-oriented theatre.
NOT that I’m defending the Tennessee’s destruction, only pointing out that had it been saved, we’d still have a hall that faced serious challenges for contemporary use. The greater loss by far was Nashville’s Paramount.
The building that stands on the Tennessee’s site now is fairly forgetable. It is taller than the Warner was, has air conditioning and is mostly residential (I believe). At least it isn’t a parking lot as is the case with the Paramount site.
This is the same theatre as the Commons 6 (q.v.).
No, that theatre was a free standing facility that was torn down. It was gone by the time I moved to Knoxville in 1993.
The Commons 6 was a nice hall as suburban halls went, which it did as soon as Carmike opened the 17 screen Windsong 17 the street. The building was torn down and a completely new retail store was built on the site. When in Knoxville do visit the former site of the Commons 6 as one of the best Asian restaurants is right next door. “Taste of Tai” is worth the trip to Knoxville.
This space has been converted to retail use – a Dollar General I believe. Ironic, since when I was kid, the old Princess was the Dollar General store.
Lou, looking forward to the book. Sounds like a jewel. My mom (age 80) grew up in Nashville and so maybe those “of a certain age” never called it the Vendome, but when she talks about the Loew’s in downtown Nashville, she always means the Loew’s Cresent. And you know, mother is NEVER wrong. Just ask her.
Got a projected publishing date for the book?