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An early picture of the theatre, as Allen’s Danforth, probably taken not long after its opening in 1919:
After doing some additional research, I am just about convinced that there were two Odeon Theatres on Queen Street West at different times.
This picture of an Odeon Theatre from 1919 is from the Toronto Archives:
According to the information there, the address was 1558 Queen Street West. (However the number above the door at the left of the photograph appears to be 158; perhaps street re-numbering later occurred).
However according to both Enrightâ€™s and Rivestâ€™s listings for the Lakeshore/Odeon (which Rivest says opened in 1931) the address was 1473 Queen Street West which would put it probably at least ten blocks away and on the other side of the street.
Looking at the 1919 picture, the building looks rather small to me to have housed 752 seats which is what Enright and Rivest both state was the capacity of the Lakeshore/Odeon. I am guessing that this 1919 Odeon (which looks like a nickelodeon theatre) was gone by the time the Lakeshore/Odeon opened.
After some additional reserach, it turns out that the Queen Street Odeon eventually changed its name to the Lakeshore Theater in 1965 and remained as such until 1980 when it closed. One wonders if it was pressured to do so by the Odeon chain? Because of that fact, the entry for for the Queen Street Odeon would have to appear as the Lakeshore here on Cinema Treasures as it was its most recent name; the name Odeon will be listed as an aka.
The Odeon Theater shown in the 1919 picture was on Queen Street West whereas the Odeon Danforth was on Danforth. I doubt very much that the 1919 Odeon was ever operated by the Odeon (Canada) Corporation which did not even exist until the early 1940s, I believe. The name is is probably just a coincidence. The 1919 Odeon should have a separate entry.
An artist’s impression of the Federal Theater is here:
and an article about closed Denver theaters that mentions the Federal’s history after closing as a theater is here:
This website contains a 2006 article about Denver’s lost and decaying movie theaters; it includes some history about the Federal:
A picture of the Fairlawn can be found here:
Interesting; what was underneath Cinema 1’s floor?
Both Mike Rivest’s listings for Denver and its entry on CinemaTour show to have been at 3830 Federal. There’s a picture of it on the CinemaTour site that says it was taken in 2006. Rivest information indicates a closing year of 1975.
Picture of the Upper Lobby during its Imperial 6 Days:
Three pictures of the Canon as the Imperial 6 can be found on the lower half of this page; one is of the Yonge Street entrance, one is of the Lower Lobby, and one is of the largest theater, essentially the former balcony.
Looking at the theater now, in its splendid restored condition, it’s hard to believe it was once made to look so garish and “modern”.
A picture of the Embassy can be seen here:
It’s one of those films that one either likes or doesn’t; I think romantic souls tend to and realists don’t. I happen to like it, implausible story line and all, but then I love Mackinac Island.
I had an interesting experience once viewing the film in 1993; I was attending a conference held at what was then Mission Point Resort on the island. It had formerly been a small religiously-oriented college at the south end of the island. The hotel used the college’s former main building for conference facilities; these included a lecture/hall auditorium. A scene in the film was shot in this lecture hall, the one where Christopher Reeve’s character talks to a professor about whether time travel is possible. (Other scenes in the film were filmed at some of the other former college facilities which included a soundstage intended for religious broadcasting).
During the conference, the topic of the film came up and a number of people said they had never seen it, so the hotel arranged to have it
shown for the participants one evening – in that very lecture hall, on a good sized screen. It was the oddest sensation, when that scene came up, to realize that you were sitting in the room that you were looking into. A number of people felt a bit disoriented, including myself. Nothing had changed since the filming – same furniture, layout, paint job. It was a bit eerie.
Some people liked the film; others thought it was stupid.
You can find an excellent summary and comparison of the various aspect ratios using both 35mm anamorphic and 70mm processes at this page of the Widescreen Museum website:
shows the facade of the former theater as it looks today.
Actually, thereâ€™s another picture of the Liberty on the same site that you cited earlier;
where, if one looks to the right, a set of framed exhibition photos for the film showing at the theater next door and what appears to be a neon letter ’S' on top of what is undoubtedly a marquee can be seen. Considering also the streetcar tracks in front of the theaters, I donâ€™t think thereâ€™s any doubt about the location being St. Charles Street circa 1950.
Some pictures of the Poche/Civic Theater:
From the stage:
The Mike Rivest website lists only one Liberty Theater in New Orleans, locating it at 420 St. Charles and further indicates that the operator was RKO from 1950-55. “Tarzan and the Leopard Woman” was re-released by RKO in 1950 (originally released in 1946).
CinemaTour, though, puts this theater on Canal Street (no number indicated). The picture matches, but I doubt that it was on Canal.
Based on Dave-Bronx’s earlier comment (above) the first theater you refer to could well be the Oriental.
Dave-Bronx: Sorry to replicate much of what you said; it llks like we must have submitting right around the same time as yours wasn’t up when I was writing mine.
This is an area I know well from my childhood and I think I can help sort this out or least shed some light on why there may be confusion. The address for the theater is most likely incorrect or may have been changed.The theater is actually on the corner of East 152nd Street and McCauley Avenue, exactly at the point where East 152nd Street ends; it should have a an address on E. 152nd Street. From the west, Lakeshore Boulevard makes a ninety-degree turn to the left at exactly that point. So,if one is walking in front of the theater, one only has to walk straight across McCauley (which is just a side street) to go from walking on E. 152nd St. to walking on Lakeshore Blvd.; the same thing happens when one crosses E. 152nd in front of the theater. I remember that when one looked in the movie directory in the Cleveland Plain Dealer or the Cleveland Press in the 1950s and 60s, the address for the Commodore read either"East 152nd St. at Lakeshore Bl.“ or "Lakeshore Blvd. at E. 152nd St.”
St. Jerome is on Lakeshore, facing Lakeshore, just before the turn; it certainly would have a Lakeshore Boulevard address. The Food Mart, a former 7-Eleven, is almost exactly on the corner of McCauley and Lakeshore, across from the left side of the theater; but it’s just after the turn, so it too should have a Lakeshore Boulevard address. Perhaps the Post Office allowed or assigned a Lakeshore Boulevard address to the theater after St. Jerome acquired the theater for Bingo so as to better associate the building with the rest of the St. Jerome’s complex right across 152nd St. The theater would be, after all, in the elbow of the turn and giving it an even-numbered Lakeshore Boulevard address between that of St. Jerome and the Food Mart wouldn’t be illogical.
I used to work at a Lawson’s on Lakeshore which would have been just a few doors further north from the Food Mart.
I don’t know if here are any promotions unique to this Regal Theater but Regal offers (on its website) two types of “VIP Tickets”. The cheaper one is valid after a film’s opening period (usually about two weeks) and the more expensive one is valid anytime. These tickets are also available through AAA and possibly through other sources such as those “Entertainment” books.
I suppose this level of interest in the Uptown is, in its way, good news after all the years of aborted efforts to save and preserve it, but I am also somewhat disappointed that its future (if it really has one) probably lies in becoming a so-called “concert venue”. I think about what has happened to the Riviera in Chicago, the Palms-State in Detroit, and the Warfield in San Francisco, and while I am glad they are still around, their architectural integrity has been seriously violated. If it eventually becomes another Fox (Detroit), (which I think is best described as mixed use facility) I say terrific, but if it becomes just another mosh pit, I don’t think much will be gained.
“2001, A Space Odyssey” played here in 70mm Cinerama on a reserved seat basis in Cinema 1 when the theater was known as Cinema 1, 2, 3. I think it was originally built and operated by General Cinema as its architecture was similar to many theaters they built and operated in the 1960s.
The article I cited above does not make “a big mistake by assuming that this first Natural Vision process is 3D”. Although the whole article is about 3D, in the section referring to the first use of the term Natural Vision, it clearly indicates that when Spoor and Bergren first announced that they were working on it, it was “alleged” to be a 3D process, but the article also explicitly states that when the first feature length film presented in it was shown (at the State-Lake – “Danger Lights”), it had become a name for a wide-gauge film process promoted by RKO.
There are a number of brief references to this first use of Natural Vision in a book by John Belton called “Widescreen Cinema” published in 1992 by Harvard University. (A book that also is not error free). Belton quotes some ad copy for RKO used for “Danger Lights” that strongly implies that Natural Vision produced a 3D-like effect, however that term is not actually used.
Apparently, there was a period of experimentation in the 1920s with wide-gauge film by several studios; RKO was promoting this Natural Vision, Fox had a 70mm process called Grandeur, Paramount had something called Magnafilm. According to Belton, nothing much came of these primarily because of the relatively high conversion costs for theater owners who, by the end of the decade, were installing sound equipment at considerable expense, and because of an agreement with the Hays Office to limit the exhibition of these experimental widescreen films and processes to just ten cities. This fact limited the intial audience exposure to widescreen, and provided little challenge to standard 35mm presentation. Wide screen would not come into wide use until the 1950s when the introduction of Cinerama and the challenge of television forced studios and theaters to take another look at these processes and invent some new ones.
If you go this website: http://widescreenmovies.org/WSM11/3D.htm
you will find an article from “Widescreen Movies” magazine. In “The 1900s” section, this 63mm process is credited to a George K. Spoor and Paul J. Bergren.