Radio City Music Hall

1260 Avenue of the Americas,
New York, NY 10020

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Bill Huelbig
Bill Huelbig on May 24, 2004 at 6:33 pm

Yankee Mike: I don’t know if it was 12 years ago but sometime in the 1990’s, there was a Warner Bros. Classic Film Festival, followed a year later by a Universal Classic Film Festival. I attended the showings of Bonnie and Clyde, The Exorcist, My Fair Lady, Psycho, Jaws, Animal House and The Blues Brothers. Bonnie and Clyde was a Wednesday night show and attracted a fairly good crowd, but all the other shows looked like sellouts to me.

YMike
YMike on May 24, 2004 at 10:55 am

I believe abot twelve years ago they had a classic film series at Radio City. Does anyone remember if it was well attended?

Vito
Vito on May 24, 2004 at 10:45 am

Thanks William, Yes the end off 4-track mag came along with Dolby optical noise reduction prints and then Dolby stereo, although most studios had stop making mag prints available in the early 60s. Even Fox which released all of their films prior to 1960 in 4-track
mag-optical, switched to straight optical mono prints.I can recall the joy of getting a rare post 1960 mag print like “Hello Dolly”, “Star”, “2001” amoung a few others,and then presenting the film in stereo. We would put it on the marguee, presented in 4 track sterophonic sound. As for the Music Hall’s image size I believe you are quite right, it was rather small but the alternative Magnascope added much to much grain and robbed more light, even with carbon arc ,then the Hall could afford to lose.

William
William on May 24, 2004 at 8:02 am

Vito – Two of the last features release with prints in a 4-Track Mag stereo format were “Scarface” and “Yentl” in 1983. Any other titles would have been special ordered or what was still left at the film exchanges.

Before 1952 with the premiere of “This is Cinerama” (2.65:1 ratio) and in 1953 with the debut of “The Robe” in CinemaScope (2.55:1 ratio). All films were projected at 1.37:1 (Standard Academy ratio). The original screen might have had alittle more height too it. But because the Music Hall is a very large theatre and has a very wide proscenium, that might be what audiences saw during the early days at the Music Hall. Most of the times people remember the screens as small as a postage stamp. In the book about the San Francisco Fox Theatre, there is a picture of how small the screen looked when projecting a 1.37:1 ratio picture, before CinemaScope. When using Magnascope / Magnacom type lenses the picture will have more grain because you are blowing up the picture and those type lenses eat alot of light too.

VincentParisi
VincentParisi on May 24, 2004 at 6:26 am

I’ve said somewhere on this site that when I saw Singin in the Rain here in ‘75 the image was surprisingly small and there is an old Hitchcock where there is a chase through the Music Hall during the film presentation and the image is that small. So I guess from when the Music Hall opened to the 50’s people were watching a pretty small screen. So what was that like for the audiences in the second and third mezzanines during this era when the Hall frequently filled up? Their powers of concentration must have been enormous.
Unfortunately when the screen is opened for the Magnascope lenses the image becomes fairly grainy.

joemasher
joemasher on May 23, 2004 at 2:29 pm

The booth is still the same today. In fact, today, Sunday 5/23/04, RCMH is hosting the World Premiere of “Harry Potter and the Prisoner of Azcaban”.

Mike (saps)
Mike (saps) on May 23, 2004 at 12:46 pm

The aspect ratio was correct during Casablanca, but the image was small in relation to the proscenium. When the Music Hall showed films on a regular basis, did they really use so little of the available space?

As to the sound, I did see several movies there during the movie/stage show era, and don’t recall any sound problems.

I think that when theaters aren’t regularly showing films, but do show the occasional movie, when they do play a movie the equipment and the projectionists aren’t always up to speed. If a projectionist comes in and find that the bulb isn’t bright enough, or the speakers aren’t working right, there is very little he or she can do about it.

Vito
Vito on May 23, 2004 at 12:32 pm

The image was true to the original 1.33 ratio which made the picture look small but it was shown the way it was meant to be seen and how it was presented originally. As for the sound I think perhaps you have gotten used to modern day Dolby sound and have forgotten or are too young to remember what is what like back then, Warren, William, Vincent…
any comments?

Mike (saps)
Mike (saps) on May 23, 2004 at 10:18 am

I saw Casablanca here during a film festival a few years ago, and the image seemed small to me, considering the space available, and the sound was terrible. It was all echoes and tinny, and if I didn’t already know the movie so well, I wouldn’t have known what all the Casablanca fuss was about.

Vito
Vito on May 23, 2004 at 4:57 am

Has anyone ben in the Music Halls projection booth lately? I visited the booth several years ago when there were five projectors,
three Simplex 35/70 with Dolby Digital capability as well as magnetic penthouses, and two Simplex XL 35mm with optical capability only. There were no platters, thankfully, although I was told that “Lion King” was presented in 70mm, but not with standard 70mm six track magnetic sound, a seperate 35mm Dolby Digital sound print was interlocked using platters. What is in the booth today?

Vito
Vito on May 23, 2004 at 4:47 am

I was very interested in Williams notes about the Hall’s 70mm presentations. I knew the 35mm prints were made a little lighter because I worked at Deluxe labs in New York during that time. I believe before Dolby came along many 35mm prints were struck with magnetic stereo tracks and although after 1960 such prints were hard to come by, Radio City still played a lot of films in 35mm 4 track magnetic. Anyone know more about this?

VincentParisi
VincentParisi on May 20, 2004 at 8:30 am

But this is the height of the tourist season in July!
Considering how the Music Hall is used now I guess Andrew Stein’s idea of turning it into the NY stock exchange back in the 70’s wasn’t much different.

VincentParisi
VincentParisi on May 20, 2004 at 8:30 am

But this is the height of the tourist season in July!
Considering how the Music Hall is used now I guess Andrew Stein’s idea of turning it into the NY stock exchange back in the 70’s wasn’t much different.

Warren G. Harris
Warren G. Harris on May 20, 2004 at 8:02 am

Basketball can be played anywhere if you have a flat space large enough to accommodate it. During the Depression, many large neighborhood theatres booked basketball games on stage during slow nights of the week.

VincentParisi
VincentParisi on May 20, 2004 at 7:46 am

How do people who make these decisions get their jobs?
I assume they’re recruited from the FBI and the CIA. Nothing else seems to explain such waste and staggering incompetency.

William
William on May 20, 2004 at 7:39 am

The scope screen is 69' x 31' and full ratio 70MM screen is 69' x 34'. I was typing to fast on that post. All three films “Darling Lili”, “Scrooge” and “Tom Sawyer” were all 70MM blow-ups. “Airport” looked fantastic on the big screen.

RobertR
RobertR on May 20, 2004 at 7:26 am

This is another example of NY theatres not being respected. This is one of the most degrading things to ever happen at The Music Hall. ANyways how can basketball be played on a stage>?

Warren G. Harris
Warren G. Harris on May 20, 2004 at 7:03 am

I was saddened by reading that the vast stage of RCMH is being turned into a basketball court for games by the NY Liberty team in July and September…For most of the summer, the theatre will be closed except for “backstage” tours and nine concerts or special events (including the Tony Awards telecast on June 6th, which is not open to the public).

VincentParisi
VincentParisi on May 20, 2004 at 7:02 am

William what is the size of the of the cinemascope screen? From what I remember from seeing 7 Brides there in the late 70’s it is larger than the 70mm screen. Also was Darling Lillie a blow up like Scrooge or real 70mm? Blow-ups never looked good at the Music Hall. Both Scrooge and Tom Sawyer were somewhat grainy and washed out but Airport in Todd AO with those old fashioned glossy Ross Hunter production values looked sensational.

William
William on May 19, 2004 at 1:42 pm

The Music Hall was relatively late in installing 70MM projection equipment because of the necessity of accommodating the stage show that accompanied the film. The Music Hall show always ran between two and three hours including the stage show which varied in length depending on the length of the feature. Since the initial 70MM attractions were all Roadshow presentations, it was felt that they were too long to be played at the Music Hall. Then in 1970 Ross Hunter, the producer of “Airport” insisted that film be shown at the Hall in 70MM. The Music Hall would run two other 70MM featuresthat year “Darling Lili” and “Scrooge”. Since 1970 approximately twenty-two features have had 70MM presentation at the Hall, either as part of the movie.stage show policy or as premieres and special presentations. The screen at the Music Hall is 69 ½' x 34 ½'. The regular 35mm 1.85 ratio use is 48' x 26' and the 70MM Full screen is 69' x 31' and spherical 70MM (1.85 blow-up) is 63' x 34'.
The size of the auditorium presents a number of unique projection problems. Often prints are tailored to the theatre. This usually means printing them a little lighter in density to increse the apparent light on the screen. since the projection throw is about 185' to the screen, if the sound is in sync with the picture at the screen it is four frames out-of-sync at the back of the third mezzanine.

William
William on May 19, 2004 at 1:38 pm

The Music Hall was relatively late in installing 70MM projection equipment because of the necessity of accommodating the stage show that accompanied the film. The Music Hall show always ran between two and three hours including the stage show which varied in length depending on the length of the feature. Since the initial 70MM attractions were all Roadshow presentations, it was felt that they were too long to be played at the Music Hall. Then in 1970 Ross Hunter, the producer of “Airport” insisted that film be shown at the Hall in 70MM. The Music Hall would run two other 70MM featuresthat year “Darling Lili” and “Scrooge”. Since 1970 approximately twenty-two features have had 70MM presentation at the Hall, either as part of the movie.stage show policy or as premieres and special presentations. The screen at the Music Hall is 69 ½' x 34 ½'. The regular 35mm 1.85 ratio use is 48' x 26' and the 70MM Full screen is 69' x 31' and spherical 70MM (1.85 blow-up) is 63' x 34'.
The size of the auditorium presents a number of unique projection problems. Often prints are tailored to the theatre. This usually means printing them a little lighter in density to increse the apparent light on the screen. since the projection throw is about 185' to the screen, if the sound is in sync with the picture at the screen it is four frames out-of-sync at the back of the third mezzanine.

VincentParisi
VincentParisi on May 19, 2004 at 11:52 am

Airport opened at the Music Hall not at the Warner.Except for a few films in the 30’s the Music Hall always opened a film in NY until the mid 70’s.(Though they probably should have taken 2nd run a few roadshow films like Gigi and Millie.)

William
William on May 19, 2004 at 11:17 am

“Airport” was not given a true Roadshow release be Universal. It was one of the last features tobe filmed in 65mm. It got major showcased release.

RobertR
RobertR on May 19, 2004 at 11:03 am

Under the list of Roadshows they list Airport, but this was really a moveover from the Warner Cinerama. Was it really roadshow even at the Warner? Also Didnt Mary Poppins play roadshow except in New York where it opeded at the Music Hall?

Warren G. Harris
Warren G. Harris on May 19, 2004 at 9:18 am

Donald Deskey was the architect and interior designer of Radio City Music Hall. “Roxy” Rothafel was only the theatre’s managing director, though he did oversee the project after persuading Rockefeller Center to pay for it.