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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.
Galaxy Theatre Corp.
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!
It stays open until the construction is under way, same as the Tenplex. They continue to use the Triplex as a ‘move-over’ house with films from the Tenplex.
The Little Cinema was actually located inside the Willowbrook Mall. I believe the Valleyview/Jerry Lewis was known as the “Ramapo Plaza Adult Cinema” during its x-rated run.
This theatre has been part of the Galaxy Theatre Corp. since January 2001.
I can’t say for cerain Robert, but I believe that UA had it until the late 70s. I have a copies of newspaper ads from 1954 showing it as a Skouras Theatre and from 1966-69 showing it as a UA theatre, so they got it sometime after the mid-50s.
I’m going to spend time this summer at the microfilm reader trying to put together a definitive playlist & history to use for an upcoming event and will post it here when it’s complete.
Director of Film Programming
Big Screen Classics at the Lafayette Theatre
No, the Loew’s Jersey does not have air conditioning.
No, the Loew’s Jersey does not have air consitioning.
First, you’d need to see who holds the USA theatrical rights. Then, they would have to have a 35mm print available. It was originally released by Warner Bros., but I’ll bet their license expired a long time ago.
They’ll be closing those two locations once the new megaplex is built (it’s waiting for final approvals from the towns involved) in the back parking lot area of the Garden State Mall.
Thanks for giving us information about the attendance during the film series held at the Hall. In all of the deal papers we’ve seen from Cablevision, the Hall is never mentioned as being sold off as part of any future plans, so it’s in safe hands for now. I do wish that a programmer with vision (and a budget for the crew!) could coordinate a film series within the Hall’s live event schedule.
It is a DLP-based system. It’s Dolby’s all-in-one solution -hardware, software, automation – for “digital” presentations. It’s used at the Ziegfeld in Manhattan, if the article is correct.
Vito – Thanks for the clarification, that makes it clearer. Otherwise, I’d be asking where I could get 70mm parts for my Century’s for the Lafayette!
Days of Heaven was astounding in 70mm, CConnolly. Even more amazing in that it was a blow-up from 35mm.
I’m sorry Vito, but not all models of 35mm projectors and platter systems are convertible to 70mm, not even close. You also need magnetic sound heads (if the film has mag sound) or, for these new 70mm prints, a dedicated 70mm DTS sound reader. Not to mention different lenses, aperture plates, sprockets, intermittent, pad rollers, guide rollers, platter brains, platter rollers, splicers, etc.
Unless the theatre is always set up to do 35/70 projection, it’s much more involved than just something that can be done during intermission.
No, Bill. Both can share the same space as long as the booth is big enough. They have to keep the film projectors on hand, since the digital shows do have a high number of failures.
If I recall, the Sony Lincoln Square also as 70mm capability in the main auditorium.