Showing 26 - 50 of 473 comments
As to the previous comment by “Hhhh” posted on 6/14/17, while the events may be accurate I believe that he has this location mixed up with another theater, or really two other theaters.
Bestoink Dooley, real name George Ellis, did run an art house in the mid to late 60’s, but it was the Festival on Walton Street. When he left it became the Gay Paree and it has this page on CT:
George moved out to Ansley Mall and took over the Ansley Mall Mini Cinema and renamed it Film Forum. This was the place the Lonesome Cowboy episode referred to above took place although that was still during its Mini Cinema days before Ellis took over. The solicitor had tipped off the news media about the raid and film of the people exiting the theater, clearly recognizable to anyone who knew them, was shown on the 11PM news that night. The Film Forum has this page on CT:
As to the theater on this page, the Central, I was never inside. I did walk past it several times on the way to the Citizens Jewelry Company next door. In those pre Best Buy days, Citizens was the place to go for electronics at prices that beat Rich’s and Davison’s. I came to Atlanta in 1967 and by that time the programming here was as described by Jesse Brantley in the first comment on this page.
Everyone, I have enjoyed this back and forth on the showtimes and lineups as we try to puzzle out the way things were done in those good old days. That ad is hard to read but to me it says:
Jaws at noon 2:15 4:30 6:45 9 and 11:15
Benji at 12:15 1:55 3:40 5:25 7 8:55 10:25
Wind And The Lion 7:05 9:15 and 11:30
All of these showtimes would fit into a single screen schedule although I am glad I was not the manager trying to pack those Jaws sellouts in with only 15 minutes intermission.
As a former manager there are several things about this that interest me. First, to Joe’s point, I have been involved in two openings where one theater did not open on grand opening day. Once was because it was not ready and like here they decided to advertise only night shows to give them the rest of the day. It still was not ready but they opened anyway with only half the seats in. In the other case the movie that theater was set to open with did not start until the next week. Both of these explanations could be the case here.
Or, they could have left the fourth theater unbooked and interlocked Jaws on two screens which would account for there not being two sets of show times. They might also have interlocked Benji in the afternoon and run Wind And The Lion only at night. I think that unlikely since at least in my part of the country Benji opened in the summer of ‘74 so it might have just been something for the kids.
Of course Michael has seen the ad in the paper that has Wind And The Lion on two screens and I have never known him to be wrong on something like this. If all four theaters were ready, and knowing the way business was done in those days, if I had to bet I would say that Jaws ran interlocked in two houses, Benji in one, and Wind And The Lion in one, maybe even giving up its afternoon slots for Jaws to be triple locked although I doubt that.
Michael, does your research show this to be an exclusive Jaws engagement for Tucson? If not and they were only contracted for one house maybe they were trying to boost their gross by playing it in two and trying to fake everyone out by falsifying the ad. In a small city like this I am sure someone would have noticed but I have seen that done many times in those days.
Perhaps the most simple explanation is the correct one. Either only three screens were ready and the third on not until that night or the fourth one was waiting for its opening attraction at a later date.
Thanks for those pictures. They brought back a lot of memories. Based on the names of the managers listed under the logo for each theater, I can date the first Kiddie Camp flyer to 1985. I was at Northlake that summer and business was so busy that we used all three houses. Since Northlake was the only reel to reel GCC theater we were not able to interlock so we biked the reels from house to house starting shows every 30 minutes.
As for the movies themselves, Neverending Story was a big hit and I think we ran it every year. Annie was also very popular but it did not run as often because it was over 2 hours long. The bulk of the business for most of the theaters was from day care centers who would bring kids in by the bus load and more than 2 hours, especially at Northlake where the last show started at 11, caused them to get out too late.
Charlotte’s Web was another big hit. I think that the only thing that kept them from running it every year was print availability. Every projectionist dreaded the arrival of these prints, as well as the midnight show ones because the condition of the prints so poor. Sometimes it would take hours to inspect and repair a print and you had to do it since you were finished if you had a print break while running interlock especially at Akers Mill which had a very primitive, heavily modified interlock system. (Remember, this was in the day before the arrival of the polyester / mylar prints starting in 1996. Those were unbreakable which brought about its own set of problems, but that is another story.)Since GCC ran this program circuitwide, there were not always enough prints to go around even though they staggered the order and rotated the prints around the country.
The second Kiddie Show flyer is sometime after 1988 since it includes Hairston 8. Hairston was the citywide champ for kiddie show business. I worked there several times even after they did not use union operators regularly since the manager did not trust his staff projectionist to run it. They ran shows at 10, 12, and 2. At 10 we would interlock 7 of the eight houses, all the system would allow. At noon they would cancel the first show on four movies and run the kiddie show in the four large houses. At 2PM they would cancel another show of whatever adult movie they had and run it in the two big houses. All of this required a lot of print shifting and I think that my all time high was 17 print moves in one day before all of the regular movies were back where they belonged.
Like so much about this business, that was a time and experience that will never happen again.
It is hard to believe that I have been commenting on this site for 12 years, but in June 2005 I made my first comment on this theater. In it I lamented the fact that there were no known pictures of the auditorium in its original Ultravision configuration. This link:
is to a picture of the Plaza Theater in Columbus Ga. ABC built some wonderful looking Ultravision theaters in the late 60’s. Some like the Plaza were free standing and had a very impressive and distinctive look while others like Phipps were built in malls. The auditoriums however, except for size, were identical as they had to be to use the Ultravision process.
This picture is exactly what the Phipps auditorium looked like. Imagine dark red seats and deep gold curtains and you get the idea. The picture was floor to ceiling and if you look closely you can make out where the edge of the screen was, one floodlight inside the exit doors. The curtain, when opened, did not bunch up at the edge but disappeared behind the wall drape between the screen and the exit door. At the edge of the screen on each side was a bank of vertical floods. Whenever a movie with an overture played the house lights could be darkened and the vertical screen floods used until the end of the overture and the opening of the curtain.
Great looking presentation in these houses second only in my experience to the old Martin Cinerama / Atlanta Theater downtown which had a deeper curve and ribbon screen.
It is possible that Oscar statue was for the theater, not the star. The Ultravision projection process was awarded a technical achievement Academy Award and most if not all of the ABC theaters noted this with a plaque mounted on the outside near the entrance doors. When it was properly adjusted, the Ultravision process greatly enhanced the quality of the picture. 35MM used the entire height of the screen for flat, and the scopes looked magnificent on the big curve. The single 70MM screening I was fortunate enough to see was the finest looking film presentation I have ever seen.
The 500 seat twins created when they split the original auditorium. You can only imagine how nice and wide the 860 seat house was before they built the wall. The top picture is #1, on the left side of the lobby. The bottom is #2 with the curtain opened to flat. This house has the seat and drape color of the original house.
Main entrance to the downstairs Phipps Plaza Theatre which opened in 1969 and closed in 1990. The box office was originally located to the left of that column on the left but was moved to the center when the nice 860 seat auditorium was split in 1975. The best looking of the 1965-1980 era theaters built in Atlanta and until it was twinned, the very best place to see a movie due to its ultravision projection system.
This is the Phipps Penthouse Theater which by the time this photo was made had lost its identity and was just lumped in with the downstairs theaters. Note the lettering of the word PLAZA and you can tell from the spacing that a longer word, PENTHOUSE, was once there. At one time there was a round open air boxoffice about where you can see the doors open. The 550 seat auditorium was unchanged during the entire 17 year life of this house. It opened on 12/26/1973 with The Exorcist.
I never saw this theater of course, but from the comments above I know exactly what it looked like. All GCC builds from 1968-78 had that same bleak red white and pale blue look. Couple that with those two position seats, long thin center aisle auditoriums with windowboxed screens and you had the ultimate in bland movie going experience.
Since most of these were new builds, often in free standing buildings I could never understand why they insisted on long, thin houses that had the center aisle taking up the prime seating / viewing area. Why not put the seats in the middle and run the aisles down the sides? The fake drape sound absorbing walls were painted light grey instead of dark and always resulted in a distracting reflective glare. Those awful seats always made me feel like I needed to brace myself against the seat in front to keep from sliding forward. And, I can not recall how many times someone rang the booth to tell me that the picture was off. The public, not knowing the difference between flat and scope was always complaining about the flat picture on that unmasked scope screen thinking that I was not showing the entire image.
The larger auditoriums, like the #1 house here apparently, which had a center seating section, were soon ruined by twinning which resulted in even worse looking theaters with terrible presentation. I never saw exposed front speakers (when Dolby was added they at least got our three placed behind the screen) but the surround speakers were a waste of time since all they added was noise. The houses were far too long and thin for proper stereo. And of course the worst sin of all, being a Pepsi bottler, they served Pepsi products. I had to bring my own Cokes to work with me.
I never could understand why a company with all that money and designing theaters from a clean sheet of paper could to come up with a better product.
I never saw a movie at this theater but was inside once, 2000. Place was still open then and looked much like other theaters of the same vintage. I was told that the world premiere of “Spencer’s Mountain” was held here.
As far as the question of four or six screens goes, they did the same thing with their Starlight Drive In here in Atlanta. The cost of converting to digital is so high, to say nothing of the ongoing maintenance costs that they probably decided that four was enough. I can recall several times when all six fields were full but that was often because the cars from one blockbuster spilled over into the adjacent field. I imagine that their research showed that the cost of those other two projectors would not be returned.
There is a private commercial directory published in 1965 that lists the Auto Movies No. 1. It does not give a street, only Bessemer Super Highway, but it does list the owner as a Louis Worthington of Bessemer. This link:
will take you to the Birmingham Rewound “This Month In History” page for August 1967. Scroll down to the movie section and you will see an ad for the Auto Movies. It is just a small one column, one inch ad, between Divorce American Style and Gnome Mobile. This ad, and the one above it for the THC Drive In ran for years in the Birmingham paper.
This location must have done pretty well in this industrial working class area which was dependent on the mining of TCI and the steel mills. In 1966, another drive in, the Bama opened just down the highway, and a modern indoor, the Midfield just up the road across from the new Western Hills Mall.
The Bama Drive In was probably opened in 1966. It is not in the 1965 phone book but does show up in the one for 1967. This link:
will take you to the Birmingham Rewound “This Month In History” page for August 1967. Half way down, in the movie section are a couple of ads for the Bama grouping it with other drive ins operated by the Newman Waters Theater Company. A year or so later, Waters locations were taken over by the R.C. Cobb company.
Brighton is one of the many small towns located along an arc that runs from SW to NE above Birmingham starting with Bessemer and ending in Irondale that owe their existence to the mining and steel industry that was beginning to fade out by the mid 60’s. Many of them are still incorporated and given the growth of Birmingham and especially Bessemer, which is right next door to Brighton, it is hard to tell when you are leaving one city and entering another.
About a mile up US 11 / Bessemer Super Highway, was the much older Auto Movies #1, and just beyond that another mid 60’s build, the Midfield indoor theater. From the looks of the overhead, the trailer park next door is still there, now nicely covered in trees.
Thank you for your interesting comment. Information like that makes wading through all of the clutter on this site worthwhile. A privately published Birmingham commercial directory from 1965 lists the THC drive in and shows the owners to be Jack and Mary Borders. Do those names ring a bell?
This is a link to an article on the career of Bob Endres, the long time lead projectionist at RCMH and contributor to this page. Lots of interesting stories for projectionists as well as Music Hall buffs. Well worth taking a few minutes to read. Thanks Bob.
PS: I have been to the Lake Theater.
Consolidated Theaters opened this location in competition to the four year old Hoover Twin which was built by ABC and was by then operated by Cobb. According to the hsvmovies.com website the opening features were The Toy, 48 Hours, American Gigolo, Ridgemont High, and Dragonslayer. That is only five so maybe they interlocked one of them. Cobb responded to this by opening their own 6 in the Hoover Square Shopping Center the next June.
Again, according to hsv, Carmike bought Consolidated out around 1991. By 1997 they had expanded this location to 10 screens and Cobb had closed the Hoover Square. At the moment this still seems to be a discount second run location.
This is a link to an article about the career of Bob Endres, the long time head projectionist at Radio City Music Hall. It includes a picture of Bob in the booth of the Lake Theater taken when his family was vacationing in Clear Lake from their home in Chicago. It is a good article for anyone interested in the projection end of the theater business.
I have been to this theater while attending the Winter Dance Party on Buddy Holly weekend at the Surf Ballroom. 1999 I think. A nice looking small town theater so much more welcoming that the 24 screen megaplexes that I avoid in Atlanta. Very nice people too.
This location was opened by Cobb Theaters as the Festival 12 on May 24, 1989 as a replacement for the Eastwood Mall Twin and the Village East Twin which were closed on the same day. The Village East was just a bare bones strip shopping center twin and was no loss. Eastwood despite being twinned in the mid 70’s was still a class location and a reminder of better days both for this business and the mall itself, and it was a loss. However, its part of Eastwood Mall was about to be torn down anyway so it would have been lost regardless.
On March 23, 1994, the six screen addition that Scott referred to was opened. On August 1, 1997, Regal took over the Cobb operations. Although Regal went to the trouble and expense of installing stadium seating the theater was closed in May 2006.
From 1968 until 1977, ABC built the best theaters of any company in this region. Their Ultravision locations were the best movie going experiences to be had, at least until they started twinning them. In the mid 70’s they started building very nice twins with three section seating, big screens and that amazing new Dolby sound system which gave you the pleasure of stereo sound without the hassle of a magnetic print. Three identical examples of this were the Columbia in Augusta, Ga., the Stonemont in Atlanta, and the Eastmont in Montgomery. All three, which have pages on CT, opened in the summer of 1976.
This location, which opened 18 months later was slightly smaller with only 350 seats per house instead of 500, but it was still nicely designed. It’s location in this fast growing, affluent suburb of Birmingham was excellent since all of the other first run locations were either downtown or in the northern arc from Eastwood Mall around to Bessemer. Cobb’s Homewood 4 (later 6) located in the old Brunswick Lanes and the Cobb Vestavia single screen were mostly second run.
However, the days when a twin was a viable business model were fast coming to a close. In 1982, Consolidated Theaters opened a six (later taken over by Carmike and expanded to 10) one block south at the intersection of Lorna Road and Rocky Ridge, and the next summer Cobb opened its Hoover 6 and probably closed this twin the same day.
Looking at the website and the facebook page, it seems that they are only running 6 movies. With the expense of converting to digital I guess they wanted to make sure this place would work before converting all 12. Or, maybe they decided that there never would be enough product to justify 12.
When the Starlight Drive In on Moreland converted to digital they only did 4 out of 6 screens.
I waded down to the bottom of their Facebook page and found this article on the reopening of the theater:
The company seems to consist of two theaters in Florida plus this one. It would be interesting to find out just how they settled on this location and what brought it to their attention. Who knows, maybe they will give the old Magic Johnson over at Greenbriar a try next.
For 25 years South DeKalb was a destination theater which had the entire area of DeKalb County south of Covington Highway all the way out to Conyers to draw from. Now, the AMC Stonecrest 15 sits only four exits down I-20 which pretty much makes SD a neighborhood theater. I think that this is the fourth operator to give this a try since the Duffy expansion. There have been at least three attempts to make the old Cineplex location at Panola and 12 work.
With the start of the multiplex era the cost of equipping a theater and projection booth was too much for anyone other than a national or at least regional company. The wave of theater bankruptcies and resultant lease breakings in the late 90’s produced a good number of completely equipped theaters available for movie buffs and well meaning amateurs to make their dream of running their own theater possible. Most of these fell victim to the realities of trying to compete against AMC and Regal, but a few located in just the right spot managed to make it although few managed to afford the conversion to digital projection.
This Satellite outfit obviously has some money behind it since they were able to convert the booth, rebrand all of the signage, and give the place a good cleanup. Hopefully they will be the exception to the rule and survive.
Theater owners who were used to getting three, four, five, and even as much as six thousand hours from a xenon bulb in the film days are having a hard time facing the fact that with at least some of the digital projectors, the light starts to degrade after only a thousand hours and needs to be replaced at the two thousand hour mark.
I am speaking from a very narrow experience with digital projectors but they also require more than the once or twice a year visit from a booth tech to maintain good picture quality.
I guess that after decades of trying to get rid of us pesky projectionists, some owners are having trouble facing the fact that now that it has happened they still have to pay at least some money to make the booth run right.
Yes, that would be the old Peachtree Art Theater at 13th Street. It changed hands in 1970 and reopened as the Weis Cinema in the summer of 1971.
Here is its page on CT where it is listed as Peachtrtee Art:
In those days at least, GCC had a strong relationship with Columbia so we ran a lot of their stuff. Our Christmas ‘85 feature was White Nights, another mediocre draw. I mean we even ran Ishtar, so that may account for G'busters. They also had that and Gremlins at Southlake where I did a couple of turns covering vacations that summer. I well remember one rainy Sunday where G'busters sold out every show except the last one. That may have been the last good summer since Northlake 8 soon took over. I looked up my record, and when I started in October the features were Razor’s Edge, Little Drummer Girl, and Broad Street.
One thing I forgot to mention in my previous comment was the conversion of the booth to platters around 1988. I did not even know that had been done until I was called in to work one day of relief. Since the manager was covering the booth Monday – Wednesdays, they did that to cut down on the missed changeovers. That is why they were able to send platters to Perimeter when Northlake closed.
For the record, the intro to this theater should say 1200 seats (three houses at 400 seats each), opened in 1976, and closed in 1992. Perimeter Mall opened in 1973 and was the first GCC in Atlanta. Northlake followed in 1976, Akers Mill in 1977, and Southlake in 1978. After that it was Gwinnett Place in 1984, Merchants Walk in 1986, Parkside (later renamed Sandy Springs) in 1987 and Hairston in 1988.
By no means was this the first GCC theater I worked in, but it was the first one that I had a “permanent” position in. In the fall of 1984, the new GCC Gwinnett Place 6 opened and the two projectionists from Northlake were picked as the opening duo there. To replace them the company chose one of the projectionists from Southlake who was looking for a shorter commute, and me. I had worked a lot of relief in GCC booths but I was happy to finally have a regular job.
I was also happy to be at Northlake. When I had worked there as floor staff it had been a huge moneymaker since it opened in 1976 with Murder By Death. That Christmas Goodbye Girl was another massive hit with countless sellouts for what seemed like weekend after weekend. I did not work there after 1979 and lost track of things, but I know that they were one of the theaters to get ET in the summer of 1982. I thought I had it made working in a good first run theater for a big company and pulling in what seemed like a fine living at $7.50 per hour.
But, things are not always as they seem. In May of 1984 AMC had opened their Northlake Festival 8 almost across the street and GCC Northlake had become a ghost town. The big movies we ran that fall were Give My Regards To Broad Street, Razors Edge, and something called Windy City which often played to empty houses and drew all of 12 people on Thanksgiving Day. You know your theater is in trouble when your big Christmas pictures are Mickey and Maude and Johnny Dangerously.
The next summer things improved a little with Cocoon, Silverado, and European Vacation. However, the duds far outnumbered even these modest hits, and in the fall of 1986, GCC cut the booth hours down to one projectionist and dumped the rest of the hours on the manager, at no extra pay of course. I was off to Akers Mill until they did the same thing there in fall of 1987 and then to Perimeter Mall where they did the same thing in the spring of 1988.
I decided to give another company a try and that went well until 1995 when I came back to GCC and an opening at the new Parkside 8. For the next 5 years I split my time between there and Perimeter until GCC finally closed up in 2000. However, I did continue to work Parkside for the new owner, George Lefont, from 2004 until they went digital a couple of years ago.
As for Northlake, I loved working the booth there. It was the last theater in Atlanta built with reel to reel operation, 2 35MM Century projectors per screen with the old push button Dolby in the #1 house. However, the presentation was terrible with the long 400 seat shoebox theaters, fixed masking which left the sides of the flat picture raw, and those awful two position seats that some GCC people are so fond of. The most fun I had there was running the kiddie shows which did so well we used all three houses. We would use the 20 minute reels and start the shows 30 minutes apart, walking, or biking as they used to call it, the print from house to house to house one reel at a time. Even though there were no carbons, it really gave me the feel of running an old time booth.
One other note on the booth. It was equipped with the Cinemation Mark 3 pegboard automation system. This great piece of equipment, hated and feared by those who would not take the time or trouble to learn what it could do for them was the best automation system I ever worked with. If you put the pegs in the right hole and the tape in the right spot it never missed a cue. When Northlake was closed and demolished in 1992, four of the six projectors and two of the platters were sent to Perimeter Mall to replace the very poor conditioned projectors there and to get the booth to an all platter operation. So, for five years I got to run some of my old equipment even though the old Northlake was long gone to the landfill.