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i am certain that when the Demille was one of
the premiere roadshow houses in the Times Square
ares they also had “divans” listed as a section
on the ticket order forms.
if i am not mistaken after the roadshow run of
“Fiddle on the Roof” at the Rivoli the fall of
1971 the remaining such engagements to open in
the big Times Square houses were “Nicholas and
Alexandra” at the Criterion Dec. 1971 and “Man
of La Mancha” Dec. 1972 at the Rivoli. also
to be included is the roadshow run of “The
Trojan Women” at the Fines Arts the fall of 1971.
i guess the lackluster receipts for the roadshow
engagements of “Man…..” was the proverbial final
nail in the coffin. the studios subsequently
discontinued the policy.
the exclusive 1st run engagements of “Ryan’s
Daughter” and “Apocalypse Now” were reserved
performance engagements. for people not
familiar with said runs they were similar to
reserved seat engagements in that you could by
tickets ahead of time but what seat you got
was up in the air. for instance if such a film
was quite popular and you got to the theater
five minutes before the film began you were
guaranteed a seat but in might be all the way
in the back in the corner. i’m guessing the
studios thought this type engagement up since
it had way less overhead then a traditional
reserved seat run. for instance you didn’t need
the first such run in Manhattan i can remember
was “Fellini’s Satryricon” which opened March of
1970 at the late but great Little Carnegie.
also to put my two cents in i don’t consider the
special two week engagements of “Dreamgirls” or
“The Princess and the Frog” before they opened
wide true reserved seat runs. so i do believe as
i said in my original post that the theater’s
opening film “Marooned” was the first and only
traditional studio roadshow engagement it has
i likewise enjoyed seeing Les Miz at the
Ziegfeld. speaking of two a day reserved seat
or to use the trade term roadshow engagements.
am i correct that the only old style roadshow
run the theater has had was its opening film-
in reference to Bill H.’s Jan 4th comment about
the “new ticket price of $14”. the price may be
new for the Ziegfeld but the Regal 42 St. and
Union Square multi-plexes have been charging $14
on weekends for some time now.
it interesting even people i know who like the
film if they have any negative comment per se is
that they thought it was a tad long. haven’t
they ever seen a stage production?
also there have been countless films in the past
say 15 years that were huge box office hits and
were longer than “Les Miz”. so if the only negative
comment per se that people have about the film
is its length i find that interesting.
i am totally confused my raysson’s comment.at what theater or theaters are they showing thefilm with overture,intermission and exit music?
its certainly not at the Ziegfeld.
i was looking at back issues of Moving Picture
World on archive.org and happened upon a May issue
which gave the opening date of the theater as
May 20, 1914. it was built to honor star
Maurice Costello. also the article gave a
different address than the own stated at the
top of this page.
i recently watched the new blu-ray hd disc and
its a revelation both visually and audio wise.
in two of the extras-a nice narrated short about
the various ad campagins from its releases and in
the making of doc. it is noted that almost
immediately after its roadshow engagements in the
U.S. started up they was a move to tweak the
film. the reason given was supposed complaints
from theater owners about its length and the
number of showings they could schedule. now i
know it was common practice to tweak a film after
it finished its first run roadshow engagements
and was sent to neighborhood theaters around big
cities. so why were theater owners so antsy
about the film’s length in its original roadshow
engagements when they only ran two shows a
day anyway. i can think of a number of films
released on roadshow runs right before and right after LOA that were almost as long but were not
tweaked till they went to neighborhood theaters.
so why was LOA tweaked almost immediately after
as Al A. states i guess i didn’t phrase the question
correctly. i suppose i should have said what was the
last exclusive 1st run engagement that the Ziegfeld
had of a new film. the last exclusive engagement i
can think of off the top of my head was the Harris/
Katz restoration of “Vertigo” Oct. 1996. but that was
a re-issue not a new film.
i have been thinking about the contradiction
Henderson makes in her book “42 St.”. she herself
acknowledges Hammerstein’s Victoria as one of
the 12 theaters built on 42 ST. between 7th and 8th
Avenues. yet she says the American of 1893 built
close to where the AMC Empire multi-plex is now
was the first of the 12 theaters to be demolished.
but the Victoria was torn down in 1915 to build
the 1st Rialto movie theater which opened in
1916. the bone of contention seems to be whether
the Victoria was completely torn down or if
some part no matter how small was kept.
which prompts my question- does a theater have to
be completely torn down to be referred to as “torn
down”? i’m not quite sure what it was but some element of the Victoria must have been left up
if Henderson lists the American not the Victoria
as the first of the 12 theaters on the block to be “torn down”.
Hello To All-
all the talk about the Ziegfeld having the chance
to host an exclusive open ended engagement of a new
film raises a pertinent question- i am not talking
about the special exclusive two week engagements
before they opened wide of “The Princess and the
Frog” or “Dreamgirls”. what was the last film for
which the Ziegfeld hosted an exclusive 1st run opened
i am totally confused now. i was under the
impression that the reason Jackson shot the
film at the 48 frame per second was so that
even if you didn’t see it in 3-D it would
look far sharper than regular 24f frames per
Hello From NYC-
as in L.A.in Manhattan “The Hobbit” will be
playing in a number of theaters which prompts
a question- will the much hyped 48 frames per
second technology only be seen in the 3-D
showings or will it be seen in the 2-D showings
as well? the reason i ask this is i have seen
very few 3-D films in which the 3-D actually
amounted to much to justify the surcharge.
i have been under the impression for years that
“Goodbye Mr. Chips” was the Palace’s last film.
and that after the film’s roadshow run the Palace
reverted to a legit theater and has stayed that
way since the spring of 1970.
during the many times the Palace operated as
as movie theater the only times i remember going
there to see a film was the June 1969 roadshow
re-release of “Ben-Hur” and the Nov. 1969 roadshow
engagement of “Goodbye Mr. Chips”. while its not
considered one of the great musicals i enjoyed
GMC. i don’t know how long the film’s roadshow
engagement lasted at the Palace but it was the
last film to ever play the Palace. i wonder how
soon after GMC’s run ended that they dismantled
the film projecting equipment etc……
thanks for the info. said info prompts
another question. i always assumed when
a film had a decent run in its original
exclusive reserved seat engagement that
said decent run was prompted by box
office returns rather than any contractual
obligation to run the film for x number
of months regardless of the box office.
therefore i’m hoping that the film’s
6 month run in its original reserved seat
engagement was prompted by the box office.
the reason i asked the question is simple.
assuming i correctly understood what i read
online it appears the film’s sole exclusive
first run engagement in San Francisco wasn’t
even an reserved seat engagement but a two
week run at the S.F.Fox.
Hello From New York City-
its interesting reading the various comments
about the Cinerama Dome’s reserving seats policy.
my question is exactly how does it work? one of comments makes it seem as if you can reserve a
particular seat you like forever and ever. but
i don’t suppose you can actually do that. so
if you find a particular seat just right for
you how can you make sure you get it for every
film you want to see at the Dome? that’s the
part i’m a bit fuzzy about.
also since i;m sure the being able to reserve
a seat costs more how do people feel about that?
regular movies in Manhattan cost $13.50-$14
which is already way to high so who would want
to pay extra?
also do people who use the Dome’s reserved
seating policy do so for every film or only
for films they know will have a line around the
in regards to AL A.’s comment of 11/15/10.
the info in the intro at top is no mistake. the film
“Pandora’s Box” which opened the Regent starred
John Bunny and co-starred Lillian Walker as the
person the title refers to.
Hello to AL A.–
you certainly make a good point in your
last e-mail. i’m sure for sometime after it
opened at the Loew’s Capitol many screenings
of the original 1968 “Plane of the Apes”
especially showings on Fri.,Sat. and Sun.
were close to sold out if not sold out.
this relates to the point in your last
e-mail~ i always wondered how the staff of
the Capitol got the old audience out,
cleaned the theater then got the new audience
in before the next screening all in 18mins.
to AL A.–
thanks for your reply to my post. interesting
way of looking at the scheduling of showings.
now the lack of a concession stand in smaller
art houses could certainly have accommodated
faster turnover hence more showings a day. but
the policy was also used in the larger movie
theaters in the Times Square area. for instance
on the photos page for the Loew’s Capitol there
is a newspaper ad for premiere engagement of
the original “Planet of the Apes” from 1968.
the film is say 1hr.42mins? and the ad states
the showings were scheduled every two hours
starting at 10a.m.
also when “The Godfather” opened March of 1972
at the Loew’s State I and II is was scheduled
every three hours and the film had a running
time of 2hrs.50mins.
in the photos section i was looking at the
newspaper ads for “Marty” when it first opened
in 1955. i noticed something quite interesting.
nowadays theater owners or exhibitors to use
the correct trade term seem to schedule an
inordinately large amount of times between the
showings of a film. thereby getting fewer
shows a day. whereas in the “Marty” ads from
1955 it appears the manager of the Sutton
scheduled showings of the film with as little
time between showings as he figured the staff
could get he old audience out and the new
Hello To C.S.Walczak-
thanks for the info. after posting the note a
thought occurred to me. from its Nov.‘63 opening
to the release of the last “in Cinerama” film
“Krakatoa East of Java” the only theater in the
Hollywood area other than the Dome capable of
showing films “in Cinerama” would have been the
Warner/Pacific up on Hollywood Blvd. so with the
9? single lens Cinerama films released from '63
thru '69 plus re-issues of the original 3-strip
films i figured the Dome didn’t have the time
to host any other reserved seat engagements. this
is especially true since when first built the
Dome could only show single lens “Cinerama” films.
but apparently it did find the time. interesting.
also do you know of a website that lists all the
reserved seat engagements in the L.A. area from
the Oct. 1955 opening of “Oklahoma” to the Dec.
1972 opening of “Man of La Mancha” after which
the studios dropped the policy regardless of what
the film was in(Cinerama,70MM,Panavision,35mm etc.)?
thanks in advance.
Hello Again From NYC-
i thank my fellow posters in L.A. for
replying to my posts. i have a new question
the studios dropped the use of the two a day
reserved seat engagement policy after the
Dec. 1972 release of “Man of La Mancha”. now
the Dome opened Nov. of 1963 with “Its A Mad
Mad Mad Mad World”. so in the 9 years the Dome
existed while the studios were still using
the policy did the theater host any reserved
seat engagements of films other than those
presented “in Cinerama”?
Hello to J. Sittig-
i just watched the blu-ray disc of the restored
remastered “This Is Cinerama”. i quite enjoyed it
and i have two questions-
1.one thing i liked about the restored remastered
blu-ray disc released Sept. of ‘08 of “How The
West Was Won"was that the lines between the panels
were virtually eliminated. yet with TIC that was
not done. might i ask why?
2.after watching the film first without the
commentary i wondered why the Long Island church
choir segment was in sepia rather than Technicolor
as was the rest of the film. when i watched the
film again with the commentary my question was
answered by the fact this scene was not shot
for TIC but was a test scene shot by Waller to
get backing for TIC. of course the sepia isn’t
changeable but couldn’t that scene have been
restored/remastered a bit more so it had the
sharp crisp crystal clear image of the rest of
the and i mean “the problem” is that the Ziegfeld
was built when they still held exclusive runs of new
“big” films either or a reserved seat or continuous
performance basis in one theater. i can remember
many “big” films opening exclusive at the Ziegfeld
with resulting lines around the blocks for weeks.
but once the ear of the multiplex came about the
Ziegfeld has been in a rather dicey situation. i
have everything works out well in the end.