Ziegfeld Theatre

ZIEGFELD THEATRE [1969- ]
54TH STREET
NEW YORK, NY
70mm 6-Channel Stereo [1969]
Marooned [1969]
Gone With The Wind (70mm) [1970]
The Bible … In The Beginning [1970]
The Sound of Music [1970]
Doctor Zhivago [1970]
Ryan’s Daughter [1970]
Cleopatra [1971] (186 mins.)
2001 a space odyssey (70mm) [1972]
This Is Cinerama (70mm) [1973]
Earthquake (Sensurround) [1974]
Rollerball [1975]
The Ten Commandments [1975]
Close Encounters of the Third Kind [1977]
Apocalypse Now [1979]
Quest For Fire [1982]
Gandhi [1982]
Brainstorm [1983]
Antarctica [1984]
A Passage To India [1984]
Lawrence of Arabia [1988]
The Abyss [1989]
Spartacus [1991]
My Fair Lady [1994]
Vertigo [1996]

It’s entirely possible and something we’ve been talking about….for now it’s “The Terminal” followed next month by “I, Robot”.

Thanks Vito for the information on the Plainview. Do you remember how many seats the theater had?

In regards to some 70mm films being “flat,” a number of films shot in the 35mm 1.85:1 aspect ratio were blown up to 70mm. Some include “Days Of Heaven,” “Lethal Weapon,” “Empire Of The Sun,” “Who Framed Roger Rabbit,” “Stakeout,” “Adventures In Babysitting,” “Good Morning, Vietnam,” “Batman,” and the list goes on. Tati’s “Play Time” was filmed in 65mm, but masked for 1.85:1 projection.

Many studios, but mostly directors I think, like to shoot safe for eventual television broadcast. This is a phenomenon that has occured for years. Directors like Sidney Pollack have shied away from shooting in widescreen because of their horror of seeing their beautiful compositions ruined on television. But with the long time practice of letterboxing available since the days of Laser Disc and now DVD, there’s no reason why some directors can’t choose widescreen again.

There are numerous reasons for the lack of shooting in 65mm for commercial films. There is a perceived notion that it’s more expensive and cumbersome than shooting in 35mm and now digital. Truth is in the scheme of a movie’s budget, shooting in 65mm isn’t that expensive. And considering that studios are paying for digital intermediates to improve picture quality on Super 35mm films, and that Warner Bros. spent a considerable amount on IMAX DMR prints of “Harry Potter 3,” the arguement against shooting in 65mm is quite ridiculous.

Yes Vincent, it would be great to see “My Fair Lady” and “The Sound Of Music” at the Ziegfeld for their anniversaries. In fact, how about a Todd-AO 50th Anniversary Festival? “The Sound Of Music,” “Hello, Dolly,” and “Those Magnificent Men In Their Flying Machines” have been restored by 20th Century Fox. Heck, I’d even see a 70mm print of “South Pacific.”

70mm does not necessarily mean full widescreen. All 70mm indicates is that the projected film is 70mm wide.

70mm presentations were not just for width. Some directors chose 70mm for better quality 6-channel sound. Coppola’s ONE FROM THE HEART was framed at 1.37 and it had at least one 70mm print.

STAR IS BORN, ALTERED STATES and ET were all 1.85 films.

The first 70mm film I saw at the Ziegfeld was A Star Is Born in 1976. I rememebr being totally upset because WB masked off the film as if it was filmed as a flat.Other films were done the same way Altered States adn ET. The first true 70mm I saw at the Ziegfeld was The Muppet Movie. After that I saw Fame in 70mm. To me if a film is done in 70mm than it should be shown in widescreen not masked off than called 70mm. Anybody else have any other comments on this?

Ken F: Are you familiar with the Century Plainview on Long Island? It ran some 70mm during the ‘70s and I’m curious to find out anymore information about it. There is a Plainview theater listed here on this site, but there’s not much info on it. Thanks.

Indeed, times have changed in regards to getting a “cinematic” experience anymore. Though it’s not totally absent, film presentation quality is subpar these days and has been for a long time now. At least (from my memory), there was greater care in how films were presented in the finer theaters in my area during the 1970s & most of the 1980s.

I could go to an AMC or one of the mall UA theaters in Orange County and be guarenteed that a film would look terrible, sound terrible and the screen would be very tiny. But if I went to the Orange Cinedome, Edwards “Big” Newport and some of the better Edwards theatres, I would usually be given a good-to-great presentation. There were times when the Dolby Stereo soundtrack, advertised as such in the newspaper, wasn’t turned on. There were times when the picture would briefly be out-of-focus, but overall, I kept attending those theatres because of their A) Ability to put on a good show, B) Ability to get either Dolby Stereo or better yet, 70mm prints, and C) Ability to maintain and upgrade their theatres.

Now we’re given hype on how big the screens are nowadays, but in truth, the screens are big for 1.85:1 films, then the masking is brought down on the screen to fit in a 2.39:1 frame. This method truly takes out the scope in ‘scope! Most shows on a Friday or Saturday night are sold-old, even when the film is on five screens (in bigger auditoriums, too). And we’re paying much higher prices at the box office and especially at the snack bar for less presentation-wise.

Now, the Cinedome is gone and the property in sat on for 30 years still remains empty while throngs of teens attend the oversized and sterile AMC and Century (who owned the Cinedome) megaplexes down the street. Big Newport and its chain, Edwards, is now a part of Regal. The Big 1100+ auditorium (I know, nothing compared to the old NYC palaces :)) was refurbished, but the last time I was there, Regal was showing those annoying digital pre-show video ads. And most of the Edwards theaters have gone downhill or have been shuttered.

Just my luck I draw the one who’s cross-eyed.

Too true. The half of Apocalypse Now I saw in focus was a stunning experience.

I worked for Century Theatres in the 60s (I was an usher at the Queens) back in the days of single-screen theatres, union projectionists operating carbon-arc projectors, managers who regularly checked image and sound, and ushers who maintained law & order. Today that sounds like an impossible paradise. The only theatre I’ve been in recently that upholds these standards is Cinestudio in Hartford CT.

I’ve never had much luck with the Ziegfeld. I saw CLOSE ENCOUNTERS there, and every other reel was out of focus. Two years later, I went back to see APOCALYPSE NOW — and every other reel was out of focus. I haven’t been back.

Joe….do you work at the Ziegfeld?? Will there be any special programs coming up like restored epics? classic movies? or will it just be the standard releases?? also are 70MM films that were great at the Ziegfeld now kaput??

Re: Digital projection …I had no idea the Ziegfeld removed their equipment….whic is a good idea, I saw Attack of the Clones in digital there and was extremely unimpressed…Last year I saw Lawrence of Arabia in 70MM and was blown away. The Ziegfeld is one of THE best theaters in the country, I hope they don’t give in to the masses and just play the contemporary crap. It would be great to see some re-releases on that big screen. It’s something to look into. Go to the Astor Plaza discussion and you’ll see what I mean. If the Ziegfeld staged some kind of retro festival…it would do big business…

The Ziegfeld is open—-we’re now showing “The Terminal” and will open “I, Robot” there on 7/14.

I was happy to learn the Ziegfeld is presenting Day after Tommorrow in 35mm film format rather than with Digital projection, which the theatre had installed and recently removed. I want to see movies on film and no other way. Digital projection is ok I guess on a small screen but NOT on the Ziegfeld screen.

Sometimes theatres close when there is a lack of real product or they do maintenance to the theatre before the busy time of the year. Back in the golden days, some of the big Times Square houses closed for short periods of time because of product and maintenance.