NORTHWEST TRAIL had its world premiere at the Capitol in late 1945: http://www.boxoffice.com/the_vault/issue_page?issue_id=1946-1-12&page_no=119#page_start
NORTHWEST TRAIL had it’s world premiere at the Capitol in late 1945: http://www.boxoffice.com/the_vault/issue_page?issue_id=1946-1-12&page_no=119#page_start
Seventy years ago, on January 4, 1943, the “Voice that Thrilled Millions” aired the first broadcast of his daily CBS radio show. Only three months earlier, Frank Sinatra had first appeared as a solo artist the week of October 8, 1942 at the Central Theater in Passaic, NJ. He played a return engagement at the Passaic showplace two months later starting the week of December 17, 1942. These are important and represent two significant moments in Frank’s career: On September 8, he made his final appearance with the Tommy Dorsey orchestra, so his first appearance at the Central was only one month into his career as a solo artist.
The December 17 booking is significant because, only two weeks later on December 30, he opened as an “Extra Added Attraction” with Benny Goodman and Peggy Lee at the New York Paramount Theatre. This was the legendary gig with thousands of screaming girls in the audience and Times Square. Sinatra appeared for ten weeks, shattering all records at the 3,664 seat showplace. Billboard noted in their January 9 review, “Boyish appearance and mannerisms all catnip for the ladies.”
While the Paramount engagement is considered his official debut as a solo artist, these two Central Theatre gigs are significant during this transitional point. His life – and career – would never be the same again.
A fabulous presentation at the Jersey tonight for WINGS. The focus was sharp and the changeovers were flawless. Combined with the masterful accompaniment by Bernie Anderson on the organ and the fascinating recollections of William Wellman Jr, it made for a great night of entertainment at this New Jersey showplace.
Congratulations to the projection team for an excellent show!
The Metropolitan was one of two theaters in Washington to play Alfred Hitchcock’s DIAL M FOR MURDER in 2-D, without glasses. I’ve posted an ad for opening day, May 27, 1954.
More information can be found in this article: http://www.3dfilmarchive.com/dial-m-blu-ray-review
The Ambassador was one of two theaters in Washington to play Alfred Hitchcock’s DIAL M FOR MURDER in 2-D, without glasses. I’ve posted an ad for opening day, May 27, 1954.
More information can be found in this article: http://www.3dfilmarchive.com/dial-m-blu-ray-review
One point I forgot to mention. An important and respected film archivist was in the audience last night with his family. We ran into each other in the lobby after the show. He asked if they had considered utilizing a communication system between the auditorium and the booth.
I left the project in 2003 so can not speak for present policy, but I can tell you during the two years that we ran 35mm, there was constant dialogue. I was usually the one on the radio calling up to the booth when there was a problem. In those early days, focus drift was a MAJOR problem with the Kinoton projectors. We had to have communication constantly throughout the show.
Rob: perhaps this is something that should be considered for future presentations?
Thanks, Mark. My problem is that I care too much. I became involved in the fight to save the theater when it was scheduled for demolition. The 16mm shows that I presented in the lobby were not only the most successful, they attracted the most New York press during that crucial time when Hartz Mountain wanted to level the theater for an office building. I spent literally thousands of hours on the project for over a decade and introduced the late Bob Eberenz to the project. It was through Bob and Steve Levy’s tireless efforts and donation of equipment that the 35mm projection capability was restored. When we began working on the booth, it was a stripped pigeon coup. To say that it was a challenge would be an understatement.
At that time, the building had no heat or running water. We worked in the winter with heavy coats and gloves, and had to go to C.H. Martin next door just to clean up. Bob and I were there nearly every Saturday for close to ten years. Bob was a wonderful man and a dear friend and he believed in putting on the best show possible. He had worked in the film industry since 1946.
We were all volunteers. Nobody made a penny. I once asked Bob what he would charge for his time involved. He laughed and said, “They couldn’t afford me.”
For two years between 2001 and 2003, our programs gave the audience their monies worth. We ran shorts, cartoons and trailers with every show. It was not just a movie, it was the Movie Palace Experience. That’s what we believed in and what we tried to present to the audience.
When I see a sloppy show, it really hurts. It doesn’t have to be that way.
Mr. Eberenz should have a plaque in his honor in the building. He did so much not just in the booth, but with the stage lighting, organ lift, the marquee, electrical system, etc. The theater would not be where it is today if it were not for his valuable input and countless hours of volunteer work.
In closing, I have to say that Mr. Eberenz would have really liked you, Rob. You speak the same language. I’m only sorry that you never got to know him.
I should point out that Mitchell Dvoskin, who usually projects on Friday nights, is an attentive operator who frequently checks focus and framing.
If Mitchell is projecting, you are assured of a quality presentation. He knows film and recognizes the art of showmanship. When Bob Eberenz and I first brought 35mm capability back to the Loew’s in the late 1990’s, Mitchell and Bernie Anderson were our two chief projectionists.
It might be good to alert customers as to which projectionist will be working the show.
I went back to the Loew’s last night for the first time in quite a few years. It was good to see old friends again and certain showmanship aspects of the presentation (lights, curtains) were very good to see.
However, the projection was very disappointing. Reels remained out of focus for up to five minutes at a time; framing on one reel was off so badly that heads were getting cut off and it remained that way for nearly ten minutes; a changeover on GOLDFINGER was missed and allowed to run unchecked for about 30 seconds while everybody stared at a white screen. Finally, much to everyone’s frustration, the end credits/music were cut off from GOLDFINGER. It was later confirmed they were on the print which had been delivered to the theater tails out on Thursday.
It was a VERY sloppy presentation that greatly diminished all the hard work of the others doing their work professionally.
Make no mistake, the volunteers have done a GREAT job with the Loew’s. However, there’s no shortage of competent, professional operators in the NYC area. I hope they can get someone to run these shows who is attentive and provides a quality presentation.
Starting in the mid-1950’s, science-fiction double features were popular at all of the Passaic theaters. In fact, they were popular all over the country.
The movie playing in that image posted on January 28 is MONEY FROM HOME with Martin and Lewis. Originally released in 3-D, it opened flat in New York, first at the Paramount and then at Loew’s theaters throughout the five boroughs.
I just got back from Paterson. They are gutting the Fabian. Several entryways are opened (with gates down) and you can look into the cavernous auditorium. The seats are out and they appear to be leveling the floor.
Ironic how the two flagships of the Fabian chain (this and the Montauk in Passaic) survived this long, only to meet their demise simultaneously!
I decided to swing by the Montauk this morning while the crew was there. I met a worker at the entrance gate and had an interesting conversation.
He told me that everything of value (light fixtures, marble, stained glass, etc) was taken by “The State” before demolition began. The crew working now has salvage rights to anything left in the building and that’s why they’re stripping anything and everything that can be sold. I asked who I should contact about buying a light fixture. He said to call the governors office.
I then asked what was to happen to the name on the marquee. He said that somebody already asked about that and anything of value would be removed before getting destroyed.
Here’s where it gets weird. I showed him the article about the organ and he said it was against the back wall on the stage! He said they ripped anything of value out of it and the rest got smashed when the back wall was demolished.
The piano in the pit was still there too and that was pounded to rubble when the roof came down.
At one point, he said all the chandeliers were removed and then later said they were all smashed when the roof went down.
I recently read a comment on-line from a “long time resident of Passaic.” They said the theater was the site of prostitution and other sexual activities, therefore it is an “eyesore and should be torn down.” That’s the kind of mentality you’re facing and it would have made a grassroots campaign to save it VERY difficult. And need I mention the corruption in the cities politics? I believe the last mayor (maybe the one who signed off on the demolition) was brought up on some charges.
NORTHWEST TRAIL had its world premiere at the Capitol in late 1945: http://www.boxoffice.com/the_vault/issue_page?issue_id=1946-1-12&page_no=119#page_start
NORTHWEST TRAIL had it’s world premiere at the Capitol in late 1945: http://www.boxoffice.com/the_vault/issue_page?issue_id=1946-1-12&page_no=119#page_start
If anyone is wondering, the “first run feature picture” on that Central program was PRC’s PRISONER OF JAPAN with Alan Baxter and Gertrude Michael.
Seventy years ago, on January 4, 1943, the “Voice that Thrilled Millions” aired the first broadcast of his daily CBS radio show. Only three months earlier, Frank Sinatra had first appeared as a solo artist the week of October 8, 1942 at the Central Theater in Passaic, NJ. He played a return engagement at the Passaic showplace two months later starting the week of December 17, 1942. These are important and represent two significant moments in Frank’s career: On September 8, he made his final appearance with the Tommy Dorsey orchestra, so his first appearance at the Central was only one month into his career as a solo artist.
The December 17 booking is significant because, only two weeks later on December 30, he opened as an “Extra Added Attraction” with Benny Goodman and Peggy Lee at the New York Paramount Theatre. This was the legendary gig with thousands of screaming girls in the audience and Times Square. Sinatra appeared for ten weeks, shattering all records at the 3,664 seat showplace. Billboard noted in their January 9 review, “Boyish appearance and mannerisms all catnip for the ladies.”
While the Paramount engagement is considered his official debut as a solo artist, these two Central Theatre gigs are significant during this transitional point. His life – and career – would never be the same again.
A fabulous presentation at the Jersey tonight for WINGS. The focus was sharp and the changeovers were flawless. Combined with the masterful accompaniment by Bernie Anderson on the organ and the fascinating recollections of William Wellman Jr, it made for a great night of entertainment at this New Jersey showplace.
Congratulations to the projection team for an excellent show!
The Metropolitan was one of two theaters in Washington to play Alfred Hitchcock’s DIAL M FOR MURDER in 2-D, without glasses. I’ve posted an ad for opening day, May 27, 1954.
More information can be found in this article: http://www.3dfilmarchive.com/dial-m-blu-ray-review
The Ambassador was one of two theaters in Washington to play Alfred Hitchcock’s DIAL M FOR MURDER in 2-D, without glasses. I’ve posted an ad for opening day, May 27, 1954.
More information can be found in this article: http://www.3dfilmarchive.com/dial-m-blu-ray-review
One point I forgot to mention. An important and respected film archivist was in the audience last night with his family. We ran into each other in the lobby after the show. He asked if they had considered utilizing a communication system between the auditorium and the booth.
I left the project in 2003 so can not speak for present policy, but I can tell you during the two years that we ran 35mm, there was constant dialogue. I was usually the one on the radio calling up to the booth when there was a problem. In those early days, focus drift was a MAJOR problem with the Kinoton projectors. We had to have communication constantly throughout the show.
Rob: perhaps this is something that should be considered for future presentations?
Thanks, Mark. My problem is that I care too much. I became involved in the fight to save the theater when it was scheduled for demolition. The 16mm shows that I presented in the lobby were not only the most successful, they attracted the most New York press during that crucial time when Hartz Mountain wanted to level the theater for an office building. I spent literally thousands of hours on the project for over a decade and introduced the late Bob Eberenz to the project. It was through Bob and Steve Levy’s tireless efforts and donation of equipment that the 35mm projection capability was restored. When we began working on the booth, it was a stripped pigeon coup. To say that it was a challenge would be an understatement.
At that time, the building had no heat or running water. We worked in the winter with heavy coats and gloves, and had to go to C.H. Martin next door just to clean up. Bob and I were there nearly every Saturday for close to ten years. Bob was a wonderful man and a dear friend and he believed in putting on the best show possible. He had worked in the film industry since 1946.
We were all volunteers. Nobody made a penny. I once asked Bob what he would charge for his time involved. He laughed and said, “They couldn’t afford me.”
For two years between 2001 and 2003, our programs gave the audience their monies worth. We ran shorts, cartoons and trailers with every show. It was not just a movie, it was the Movie Palace Experience. That’s what we believed in and what we tried to present to the audience.
When I see a sloppy show, it really hurts. It doesn’t have to be that way.
Mr. Eberenz should have a plaque in his honor in the building. He did so much not just in the booth, but with the stage lighting, organ lift, the marquee, electrical system, etc. The theater would not be where it is today if it were not for his valuable input and countless hours of volunteer work.
In closing, I have to say that Mr. Eberenz would have really liked you, Rob. You speak the same language. I’m only sorry that you never got to know him.
Rob: The Loew’s Jersey is indeed fortunate to have you and Mitchell on their projection team. I know that you are fighting an uphill battle!
I should point out that Mitchell Dvoskin, who usually projects on Friday nights, is an attentive operator who frequently checks focus and framing.
If Mitchell is projecting, you are assured of a quality presentation. He knows film and recognizes the art of showmanship. When Bob Eberenz and I first brought 35mm capability back to the Loew’s in the late 1990’s, Mitchell and Bernie Anderson were our two chief projectionists.
It might be good to alert customers as to which projectionist will be working the show.
I went back to the Loew’s last night for the first time in quite a few years. It was good to see old friends again and certain showmanship aspects of the presentation (lights, curtains) were very good to see.
However, the projection was very disappointing. Reels remained out of focus for up to five minutes at a time; framing on one reel was off so badly that heads were getting cut off and it remained that way for nearly ten minutes; a changeover on GOLDFINGER was missed and allowed to run unchecked for about 30 seconds while everybody stared at a white screen. Finally, much to everyone’s frustration, the end credits/music were cut off from GOLDFINGER. It was later confirmed they were on the print which had been delivered to the theater tails out on Thursday.
It was a VERY sloppy presentation that greatly diminished all the hard work of the others doing their work professionally.
Make no mistake, the volunteers have done a GREAT job with the Loew’s. However, there’s no shortage of competent, professional operators in the NYC area. I hope they can get someone to run these shows who is attentive and provides a quality presentation.
Starting in the mid-1950’s, science-fiction double features were popular at all of the Passaic theaters. In fact, they were popular all over the country.
Hmmm, a bit weak in 1950’s content…
On April 22 1953, Film Daily reported on page one that Loew’s was testing various wide screen systems at the Elsmere Theater.
I just added a two part article on the photo page about the opening of this grand theater.
The movie playing in that image posted on January 28 is MONEY FROM HOME with Martin and Lewis. Originally released in 3-D, it opened flat in New York, first at the Paramount and then at Loew’s theaters throughout the five boroughs.
Martin and Lewis on the set of “Money from Home” promote a May, 1953 engagement at the Fox: https://www.youtube.com/watch?v=KlkoUN6LVGw
By the way, that’s a massive 3 strip Technicolor 3-D camera rig on the set. MONEY was one of only two movies filmed with this particular camera.
Here’s a link about the restoration of the murals: http://www.si.edu/mci/english/research/past_projects/alameda_mural.html
I just got back from Paterson. They are gutting the Fabian. Several entryways are opened (with gates down) and you can look into the cavernous auditorium. The seats are out and they appear to be leveling the floor.
Ironic how the two flagships of the Fabian chain (this and the Montauk in Passaic) survived this long, only to meet their demise simultaneously!
I decided to swing by the Montauk this morning while the crew was there. I met a worker at the entrance gate and had an interesting conversation.
He told me that everything of value (light fixtures, marble, stained glass, etc) was taken by “The State” before demolition began. The crew working now has salvage rights to anything left in the building and that’s why they’re stripping anything and everything that can be sold. I asked who I should contact about buying a light fixture. He said to call the governors office.
I then asked what was to happen to the name on the marquee. He said that somebody already asked about that and anything of value would be removed before getting destroyed.
Here’s where it gets weird. I showed him the article about the organ and he said it was against the back wall on the stage! He said they ripped anything of value out of it and the rest got smashed when the back wall was demolished.
The piano in the pit was still there too and that was pounded to rubble when the roof came down.
At one point, he said all the chandeliers were removed and then later said they were all smashed when the roof went down.
I wonder which story is accurate?
The city demanded the theater be torn down?
Something VERY shady about that!
I recently read a comment on-line from a “long time resident of Passaic.” They said the theater was the site of prostitution and other sexual activities, therefore it is an “eyesore and should be torn down.” That’s the kind of mentality you’re facing and it would have made a grassroots campaign to save it VERY difficult. And need I mention the corruption in the cities politics? I believe the last mayor (maybe the one who signed off on the demolition) was brought up on some charges.
I don’t imagine much was left of the Ritz Ballroom after its conversion to a disco?
Here’s a better scan of the Hotel Lincoln postcard:
View link