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That blocking system would be illegal in the United States as the laws currently stand. Many theatres do not have auditorium paging systems – I’ve never heard one in all my years of going to and working in theatres.
From what I understood, the organ always used to be amplified – the microphones were embedded in the outer edges of the chambers. Once when the interior was repainted, the microphones were painted over and ruined and then never used again. As of now, it’s difficult to hear the organ when there’s a large crowd.
UPDATE for those who’ve asked regarding the print quality for the festival, I’ve inspected and run the following:
Abbott & Costello Meet Captain Kidd looks excellent, sharp as a tack with very good color (compared to the ever-so-slightly soft look of the SuperCineColor original). The print itself appears flawless and new.
Doctor X is a slightly older print – mid-90s – but also looks great. The odd two-color Technicolor look is maintained in this printing and it makes the movie even creepier than I remembered.
The Big Parade is brand spanking new, right out of the lab and never run, it appears. It’s the full-length version complete with color tints.
A Star is Born, again a beautiful-looking UCLA preservation of the Technicolor original. The print itself appears flawless.
I saw the 3-D Follies prints 18 months ago and they are uniformly excellent. The only other print I’m waiting for is the Hell’s Angels, but Universal assured me it would be their best copy.
Director of Film Programming
Big Screen Classics at the Lafayette Theatre
That double-feature showing would shown the films converted to the anaglyph (red & blue glasses) format in 16mm rather than the original 35mm polarized dual-strip projection format. That’s why the rear projection worked with them (as well as anaglyph can work, which is barely acceptable).
S.O.P. for advance studio screenings – the writer must not go to many of them if this seemed unusual.
The SALUTE TO FILM PRESERVATION coming November 12 & 13!
An incredible two-day festival honoring the heroic efforts made by film archives around the world to preserve our motion picture heritage. Rare features and vintage short subjects will be showing, highlighting films photographed in black & white, two-color & three-strip Technicolor, SuperCineColor and 3-D!
SATURDAY, NOVEMBER 12
12:45 pm – ABBOTT AND COSTELLO MEET CAPTAIN KIDD
(1952, directed by Charles Lamont, starring Bud Abbott, Lou Costello and Charles Laughton) The East Coast Premiere of the newly created UCLA Film & Television Archive print from the original SuperCineColor elements along with rare Bud & Lou coming attraction trailers and film footage. Featuring a personal appearance and Q & A with Louâ€™s daughter Chris Costello, moderated by Bob Furmanek & Ron Palumbo (authors of â€œAbbott and Costello in Hollywoodâ€), in cooperation with the Fort Lee Film Commission.
3:30 pm – DOCTOR X
(1932, directed by Michael Curtiz, starring Lionel Atwill & Fay Wray)
Presented in Warner Bros. vault print created from the two-color Technicolor materials.
7:15 pm – THE BIG PARADE
(1925, silent, directed by King Vidor, starring John Gilbert)
Presented in a new restored print from Warner Bros. with live accompaniment by John Baratta on the Lafayette Theatreâ€™s Mighty Wurlitzer Theatre Pipe Organ.
SUNDAY, NOVEMBER 13
1:30 pm – Bob Furmanek presents 3-D FOLLIES
A selection of unique and rare short subjects preserved by the 3-D Film Archive and introduced by 3-D film historian Bob Furmanek. Presented in the miracle of perfected polarized 3-D.
3:30 pm – A STAR IS BORN
(1937, directed by William A. Wellman, starring Fredric March and Janet Gaynor) Presented in a restored print courtesy of the UCLA Film & Television Archive created from the original 3-strip Technicolor negatives.
7:15 pm – Howard Hughesâ€™ HELLâ€™S ANGELS
(1930, directed by Howard Hughes, starring Jean Harlow)
Presented in its full-length original version – complete with color sequences – with a restored print courtesy of Universal Pictures.
More information at the website: http://www.bigscreenclassics.com/preservation.htm
Don’t forget the big HORRORTHON this weekend, October 22 & 23:
Universal horror, Hammer Horror, silent horror, modern horror, and House of Wax in double-system polarized 3-D!
See ya' there!
You should make it up to my shows at the Lafayette in Suffern. A Hollywood classic every Saturday and the big HorrorThon this weekend.
The producer/studio would not let him – via the budget – film Dr. Z in SuperPanavision, he certainly wanted to do it that way.
I was at the first show on what was (I think) the final day of the engagement at the Cinema One. The presentation was spectacular and the film was very good (contrary to the critics' opinions). The audience applauded at the end. The next day, Rex Reed’s column said that he was at that same showing and that the audience booed the film and walked out, both statements patently untrue. Pauline Kael was at that show also, sitting in the back row and drinking heavily from airplane-style booze bottles.
JNZ – We have long-term leases at both locations. The landlord of the Sparta Theatre building wants to sell the property (and has been trying for some time), but that does not mean the theatre would close if that ever happens. The Newton Theatre building is not for sale as far as we know.
Mikey – Regarding the Hudson Street Cinemas, the location was never profitable – and never would be. We chose not to renew our lease and stayed there after it expired to allow time for the landlord to find another tenant and convert it to regular retail space.
Galaxy Theatre Corp.
That’s been floated from time to time. The latest proponent of it is Mark Cuban, who owns the Landmark Theatres chain well as High Def satellite services and other things. It’s a foolish idea and most likely won’t happen with mainstream films, but for some of the lower-level art films it might happen.
This is not true.
Subtract payment to the film company (approx. 75%) and they’d be left with $436,590 – subtract payroll, utilities, taxes, etc. and I’d guess they’d lose money at the end of the week, especially since there is no way they’d sell out 4 shows a day with the current studio release patterns.
The Bergen Record has ads featuring the Lafayette. I’m going to put together some time over the remainder of the summer at the the Hackensack Library going through the microfilms.
My memory might be off, but I believe the entrance was on Route 46 Eastbound, across the highway from the where the Totowa Cinema was and right about where the “The Lantern” char-broil used to be.
Wow – that’s embarrasing! I wonder if the print came in too late to pre-screen or at least inspect before the show.
23 films: 14 flat – 9 scope. He hasn’t used Panavision since 1991; Minority Report was Super 35 and so poorly photographed it wouldn’t matter if it was Cinerama.
War of the Worlds (2005) – FLAT
The Terminal (2004) – FLAT
Catch Me If You Can (2002) – FLAT
Minority Report (2002) – SCOPE (Super 35)
Artificial Intelligence: AI (2001) – FLAT
Saving Private Ryan – FLAT
Amistad (1997) – FLAT
The Lost World: Jurassic Park (1997) – FLAT
Schindler’s List (1993) – FLAT
Jurassic Park (1993) – FLAT
Hook (1991) – SCOPE (Panavision)
Always (1989) – FLAT
Indiana Jones and the Last Crusade (1989) – SCOPE (Panavision)
Empire of the Sun (1987) – FLAT
The Color Purple (1985) – FLAT
Indiana Jones and the Temple of Doom – SCOPE (Panavision)
Twilight Zone: The Movie (1983) – FLAT
E.T. the Extra-Terrestrial (1982) – FLAT
Raiders of the Lost Ark (1981) – SCOPE (Panavision)
1941 (1979) – SCOPE (Panavision)
Close Encounters of the Third Kind (1977) – SCOPE (Panavision)
Jaws (1975) – SCOPE (Panavision)
The Sugarland Express (1974) – SCOPE (Panavision)
Sadly, I was never in there when it was a single.
Small screen size is no deterrent to running 70mm, you just don’t get the same benefit of the large format image on a small screen, but you do get the 6-channel sound – which, in the pre-digital-sound days, was a big selling point.
When it was twinned, they put a wall right down the middle – each side had orchestra and balcony seating. The auditoriums were then very narrow and the screens were on the small side if you wanted to sit in the rear. I know for certain that at least one side had 70mm capability.
TC – Since the Big Screen Classics series at the Lafayette is on hiatus until September, one of my projects over the summer is to update all of the web pages for the Galaxy chain.
No, they are still part of the Galaxy Theatres chain.
Michael – it is a CompUSA store, but a lot of the building was changed so it’s not really recognizable as a theatre any longer.
The Totowa Cinema – ¼ mile up the road – is now an Office Max store and is similarly unrecognizable.
Yes, that’s where it was – I worked there as an assistant manager in 1982, the summer of Poltergeist in 70mm!