Showing 51 - 75 of 1,403 comments
Bill, that was common practice in the roadshow days. There were many variations but often M-F we would have two a day at 2 and 8 then depending on the run time of the picture on Sat and Sun 3 shows at approximately 2-5-8
Those roadshow engagements were a kick to do not only because they were a heck of a lot of fun but the hours wee magnificent. Weekdays we would go to work at 7 and be done by 11, on top of that we got a premium pay rate. So yup, good times.
Ah Bill if only we could turn back time. As a Universal picture it could easy have played as a roadshow reserved engagement at the Rivoli in 70mm 6 track mag stereo. Overture intermission and exit music and would that have been grand. Also the curtain wold have worked, Sorry, I could not resist throwing that in.
The original name for the theatre was to be the Ilikai Marina Twin but when it was discovered that the name had been reserved by the Ilikai Marina condominium the name became Royal Marina. The projection rooms where each equipped with two 35mm projectors which handled 6K reels running automated in change over reel to reel style. In addition, a platter was installed which enabled presentation of movies shown in both auditoriums simultaneously which is the way the premiere attraction of “Chinatown” was presented. Later the theatre was the first on Oahu to install Dolby stereo in one of the auditoriums, a four track magnetic Dolby stereo system was installed along with the optical stereo. The 4 track mag sound was used for “King Kong” and in a move over run from the Consolidated Waikiki# 3 of “A Star Is Born”. Along the way the second auditorium had Dolby installed for the showing of Disney’s “Pete’s Dragon”. At the time the Marina had one of the best sound systems on the island second only to the Cinerama.
Both auditriums had 70mm capability and occassionally used for Roadshow reserved seat attractions such as “Tora Tora Tora”
Yes Al of course having worked many a NY theatre I am very aware of the policies regarding stagehands. The fact that no one can fix this problem is just incomprehensible to me.
Al, I understand others have tried and failed but perhaps they could call the stagehands union and ask to borrow the folks responsible for keeping the curtains at RCMH humming along so well. Somehow I think they would be up to the challenge to fix the problem once and for all.
Good one Bill I bet you would make a good one. That was actually my first job in the biz, I was curtain puller/reel boy at the Paramount on Staten island.
Sorry Al I am not buying into that, maintaining curtains just simply is not all that hard. In all of my years in this biz I have worked many a theatre with just about every size and shape of curtain it is only recently, as Mark pointed out, have the industry lost the art of presenting movies and no one cares anymore about showmanship. In my day curtains rarely broke down and if they did it was repaired immediately because it was considered a sin to have a bare screen exposed in the theatre. And we used the curtains as a part of the show almost always presenting the movie with a Delux presentation opening and closing them between pre feature film and the feature. Heck we would not even allow the audience to see the masking moving between a flat presentation and a scope one the curtains were used to hide that. Perhaps the folks at the Ziegfeld should go over to Radio City Music Hall and find out just how to properly maintain the curtains. During the days of movies at RCMH have you ever gone into and found the curtain not working? That answer would be NO, and the Music Hall curtains are far more elaborate than the ones at the Ziegfeld and yet they manage to keep them working.
So cut the crap Clearview and get this problem resolved you are embarrassing yourself with the excuses that us ole timers aren’t buying
The use of more film is good to hear, Digital has it’s place to be sure but 35/70mm has a quality all it’s own and cannot be allowed to simply vanish.
Please keep us informed on any develops regarding the use of film at the Music Hall
Ah yes the good ole Empire; in the newspaper ads they used to call it the theatre with the perfect sound what ever that meant :) I wonder what the Liberty site is now?
Thanks for that info, having cut my teeth in the business at that theatre working for Moses in the 50s it means a great deal to me to see the building survive in some capacity or another
How does thr signage outside look marquee etc?
Uncle Vinnie had put tables an chairs in the orchestra level and a small stage is that the same?
Oh my goodness is it that time again already? rcd 55b look forward to your report on how the show is getting ready, changes thus year? how about the 70mm 3-D will that stuill be used? Details and pictures please thanks so much
Oh please… we tried all of that in the 50s, remember Mike Todd’s Scent of Mystery" or William Castle’s “Tingler” What’s next a nurse in the lobby in case you have a heart attack watching a horror movie?….yeah we did that in the 50s as well. It did not work then it ain’t gonna work now.
Tinseltoes thanks so much for that link to the Box-office magazine archives. I have often wished I had saved my original copies. I recall how I would look forward to the new addition and now I can relive those wonderful glory days of movies.
Hey Mark, It’s a sad story I have heard over and over this past year but I thought NA handled the transition well giving all the boys plenty of notice time. I have a hard time accepting the death of film which was a big part of my life for so many years. We sure had fun in the booth did we not, that Amboy booth was quite the adventure. After hiring you for the position at City Center my worries in the booth(s) disappeared you handled it so well. I don’t know if you remember what I said to you after interviewing you for the projection job at City Center, I asked one of the managers to take you on a tour of the four projection booths and said to you “after you see what you are getting yourself into and still want the job it’s yours.” I marveled at how clean and organized you kept those projection rooms and how well you handled moving those prints from booth to booth which was no easy task. Best of luck to you.
Your welcome Bill, I enjoy recalling the good ole days of projection from the 50s when we experenced so many new toys to play with. It seemed every year we had some new improved and fun way to project movies.
Many theatres In 1954 projected GWTW through a 1.66:1 plate, with the cropping occuring at the bottom of the 1.37:1 frame so as not to cut off any heads. Some action scenes with important action occuring in the bottom portion of the frame were cropped at the top of the image and re-centered
In an age when film is all but dead to see a theatre presenting a program like this in 35mm and I assume reel to reel just warms my heart
I recall they had an option for 2013, was it not
as popular as they had hoped?
Cirque du Soleil opens again soon I wondered if it is the same show as last year and is anyone here working on it?
How exciting to see this magnificent theatre on “Smash” Sure brought back many memories, the marquee looks to have been resored and looks magnificent.To think we almost lost this gem but thankfully it was saved I wondered if any one knows what is in the booth these days have the 35mm projectors been removed for spots?
Tinseltoes that House Of Wax 3-D showing was one the few that were done without intermision. The Paramounts four projector booth made that possible.
I absolutly love the new curtain
Perhaps for those of us unable to visit the theatre someone could photograph the curtain opening and closing and post it on You Tube
Simon I would like to point out that although CinemaScope 55 was projected in 35mm we had the advantage of the higher resolution quality from the 35mm reduction prints. Much like VistaVision which Paramount abandoned in 1963 the standard 35mm vertical reduction prints from the horizontal VV negative was rather good. I can only imagine what those images would look today projected thru the much improved Schnieder Isco lenses we have today which are a cut above the Bausch and Lomb.