The version of “Looking for Trouble” with all the long shots was the re-cut in order to get a Seal. The original 3-D prints had many close-ups of JR during the song, and a spoken part that was racy with her describing the kind of man she wants.
I should also mention that it is VERY well photographed with zero eyestrain and a minimum (maybe 2) gimmick shots in the whole film. JR in 3D was all it needed!
THE FRENCH LINE had a very extensive 3-D release throughout the country. However some theaters, like the Criterion in New York, switched to flat near the end of the run.
You’re right Vito. For the most part, the films of the 1950’s were high quality studio productions with decent budgets, good photography and respectful use of the stereo window. Sorry to burst some bubbles, but AVATAR was not the first quality 3-D film!
3D Movies were “cheesy” exploitation films with lower string talent?
Here’s a partial list of some big stars that appeared in front of the 3-D camera: John Wayne, Rita Hayworth, Kathryn Grayson, Howard Keel, Bob Fosse, Robert Mitchum, Linda Darnell, Jack Palance, Edward G. Robinson, Dean Martin, Jerry Lewis, Jane Russell, Ray Milland, Grace Kelly, Victor Mature, Robert Stack, Jose Ferrer, Vincent Price, Joan Fontaine, Phil Silvers, Randolph Scott, Charles Bronson, Karl Malden, Ernest Borgnine, Rhonda Fleming, Robert Ryan, Lee Marvin, Virginia Mayo, Lee J. Cobb, Fred MacMurray, Barbara Stanwyck, Rock Hudson, etc. Not a shabby list of talent there!
Great directors and cinematographers worked on these films, including John Alton, Raoul Walsh, Douglas Sirk, Roy Baker, George Sidney, William Cameron Menzies, Jack Arnold, Budd Boetticher, Charles Roscher, Hal Wallis, Alfred Hitchcock and many more.
3D Movies of the 1950’s were loaded with gimmicks to show off the process
Not true. For the most part, the filmmakers respected the “stereo window” and did not resort to gimmicks in order to enhance the process. The only studio guilty of excessive exploitation would have been Columbia, and more specifically the William Castle/Sam Katzman productions. However, for every film that was guilty of throwing an over abundance of objects at the camera (FORT TI, CHARGE AT FEATHER RIVER, MAN IN THE DARK, SPOOKS) there were many, many others which utilized great restraint in their use of the process. Check out the superb cinematography on HONDO, SECOND CHANCE, I THE JURY, INFERNO, MISS SADIE THOMPSON, TAZA-SON OF COCHISE and THE GLASS WEB for some excellent examples of the dimensional process.
The often-cited paddleball sequence in HOUSE OF WAX was there for a very specific reason: that sequence was immediately following the intermission point. Director Andre deToth felt the barker was an effective way to bring the audience back into the story. In fact, in the following scene Vincent Price comments, “We won’t need him once we’re established.” How true!
The overuse of gimmicks became commonplace in the 1970’s and 1980’s with movies such as COMIN' AT YA, TREASURE OF THE FOUR CROWNS, FRIDAY THE 13TH 3-D and ANDY WARHOL’S FRANKENSTEIN.
Too many bad 3D movies killed off 3D in 1950s?
Not true. There were exactly 50 movies made (in English) in 3D during the Golden Age of 3D. While there were certainly some bad and mediocre films in this group (ROBOT MONSTER, CAT-WOMEN OF THE MOON, and HANNAH LEE, to name a few), there was also: KISS ME KATE, HOUSE OF WAX, DIAL M FOR MURDER, CREATURE FROM THE BLACK LAGOON, and so on. The 3D movies of the Golden Age were no better or worse than any other group of films.
The Montauk was the first theater in Passaic to present full color, dual-strip Polaroid 3-D. On Friday, February 27 1953, BWANA DEVIL opened to capacity crowds. At that time, most first run movies played the Passaic theaters for 6 days. BWANA did so well it was held over a second week, closing on March 10.
The Montauk went on to present more 3-D classics to the filmgoers of Passaic, including HOUSE OF WAX, SANGAREE, CHARGE AT FEATHER RIVER, SECOND CHANCE, HONDO, KISS ME KATE, CEASE FIRE and PHANTOM OF THE RUE MORGUE.
On July 20 1954, the Montauk presented Passaic’s first “All 3-D Feature Film Show” with a re-issue double feature of IT CAME FROM OUTER SPACE and WINGS OF THE HAWK.
These were all shown in Polaroid 3-D (not red/blue anaglyph) which is very high quality and similar to the popular 3-D movies of today.
Of the 50 domestic 3-D features produced in 1953/1954, none were shown in red/blue anaglyph. They were all presented theatrically in dual-strip Polaroid, very similar to the glasses in use today.
Anaglyph conversions of some films (It Came from Outer Space, Creature from the Black Lagoon, The Mad Magician, etc) were created in the 1970’s for re-issue on a single strip of film.
For the record, the ONLY red/blue 3-D releases in the 1950’s were a handful of Lippert shorts and some burlesque shorts.
The only art deco elements to the Montauk are some of the light fixtures which were changed in the mid-1930’s. The original design and architecture is definitely Adamesque.
I was one of several people instrumental in saving the Loew’s Jersey in Jersey City. It was a LOT of hard work and literally thousands of volunteer hours. The first thing you … See Moreneed to do is raise community awareness; hit the streets and get signatures on petitions; get the local media involved and explain why the theater is important and how it can be an asset to the community; try to get access to the building and present shows in order to create awareness of the space and its potential.
With the Loew’s, we were fighting a corporate giant (Hartz Mountain) that wanted the theater demolished. Here you have a theater owned by the City and they want to tear it down, so support from the local politicians will be difficult. In Jersey City, we were able to get members of the City Council on our side, but the effort there took years before the Jersey was saved.
Personally, I think a school on Main Street in the heart of downtown is ridiculous. But there seems to be little to no interest in that town for any kind of historical preservation. The Central was MUCH more significant (historically speaking) than the Montauk based on the legends who played there (including Glenn Miller’s final U.S. appearance) and they allowed that fabulous showplace to be demolished for a McDonalds!
Tony, I don’t remember that sign. However, my Passaic memories only go back about 40 years. I’ll ask my older brothers and relatives if that rings a bell.
Even in the time I’ve known downtown, it has changed so drastically. I can only imagine the Passaic my parents knew in the 40’s and 50’s. It must have been quite a place!
It’s nearly 100 years old and in excellent condition too.
But, downtown Passaic is NOT the kind of place you want to spend time in. After dark, the gates all come down (every store has one) and the place becomes a ghost town. Hardly anyone speaks English and many of the signs are in Spanish. It’s like being in another country.
The theater, hotel, stores and houses behind it are all marked for demolition. They are going to level the entire block and put a school into the middle of a busy downtown business section.
THE STEWARDESSES was produced for about $100,000 and grossed over $27,000,000 1970 dollars (that’s $120,000,000 to $375,000,000 in 2010 depending on economic reference), it is STILL the most successful 3D film EVER based on cost/gross ratio (including AVATAR).
“House of Wax” presented properly in dual-strip 35mm Polarized 3-D has much greater depth and resolution than current digital systems. The Real-D digital system is constantly out of phase and once you’ve noticed it, can be terribly annoying.
Tinseltoes: You certainly come up with some AMAZING material. Thank you!
I have also been there for a show and it’s a FABULOUS place with a good presentation and nice people.
It truly is a National Historic Landmark!
He was not appearing on stage. That was a listing for a 1929 Vitaphone short with Reisman.
Here’s amazing rare footage of Laurel and Hardy on stage, circa 1940! http://www.youtube.com/watch?v=ti5EK_c5-Iw
The version of “Looking for Trouble” with all the long shots was the re-cut in order to get a Seal. The original 3-D prints had many close-ups of JR during the song, and a spoken part that was racy with her describing the kind of man she wants.
I should also mention that it is VERY well photographed with zero eyestrain and a minimum (maybe 2) gimmick shots in the whole film. JR in 3D was all it needed!
THE FRENCH LINE had a very extensive 3-D release throughout the country. However some theaters, like the Criterion in New York, switched to flat near the end of the run.
You’re right Vito. For the most part, the films of the 1950’s were high quality studio productions with decent budgets, good photography and respectful use of the stereo window. Sorry to burst some bubbles, but AVATAR was not the first quality 3-D film!
Not at all, I thought it was pretty lame!
3D Movies were “cheesy” exploitation films with lower string talent?
Here’s a partial list of some big stars that appeared in front of the 3-D camera: John Wayne, Rita Hayworth, Kathryn Grayson, Howard Keel, Bob Fosse, Robert Mitchum, Linda Darnell, Jack Palance, Edward G. Robinson, Dean Martin, Jerry Lewis, Jane Russell, Ray Milland, Grace Kelly, Victor Mature, Robert Stack, Jose Ferrer, Vincent Price, Joan Fontaine, Phil Silvers, Randolph Scott, Charles Bronson, Karl Malden, Ernest Borgnine, Rhonda Fleming, Robert Ryan, Lee Marvin, Virginia Mayo, Lee J. Cobb, Fred MacMurray, Barbara Stanwyck, Rock Hudson, etc. Not a shabby list of talent there!
Great directors and cinematographers worked on these films, including John Alton, Raoul Walsh, Douglas Sirk, Roy Baker, George Sidney, William Cameron Menzies, Jack Arnold, Budd Boetticher, Charles Roscher, Hal Wallis, Alfred Hitchcock and many more.
3D Movies of the 1950’s were loaded with gimmicks to show off the process
Not true. For the most part, the filmmakers respected the “stereo window” and did not resort to gimmicks in order to enhance the process. The only studio guilty of excessive exploitation would have been Columbia, and more specifically the William Castle/Sam Katzman productions. However, for every film that was guilty of throwing an over abundance of objects at the camera (FORT TI, CHARGE AT FEATHER RIVER, MAN IN THE DARK, SPOOKS) there were many, many others which utilized great restraint in their use of the process. Check out the superb cinematography on HONDO, SECOND CHANCE, I THE JURY, INFERNO, MISS SADIE THOMPSON, TAZA-SON OF COCHISE and THE GLASS WEB for some excellent examples of the dimensional process.
The often-cited paddleball sequence in HOUSE OF WAX was there for a very specific reason: that sequence was immediately following the intermission point. Director Andre deToth felt the barker was an effective way to bring the audience back into the story. In fact, in the following scene Vincent Price comments, “We won’t need him once we’re established.” How true!
The overuse of gimmicks became commonplace in the 1970’s and 1980’s with movies such as COMIN' AT YA, TREASURE OF THE FOUR CROWNS, FRIDAY THE 13TH 3-D and ANDY WARHOL’S FRANKENSTEIN.
Too many bad 3D movies killed off 3D in 1950s?
Not true. There were exactly 50 movies made (in English) in 3D during the Golden Age of 3D. While there were certainly some bad and mediocre films in this group (ROBOT MONSTER, CAT-WOMEN OF THE MOON, and HANNAH LEE, to name a few), there was also: KISS ME KATE, HOUSE OF WAX, DIAL M FOR MURDER, CREATURE FROM THE BLACK LAGOON, and so on. The 3D movies of the Golden Age were no better or worse than any other group of films.
The Montauk was the first theater in Passaic to present full color, dual-strip Polaroid 3-D. On Friday, February 27 1953, BWANA DEVIL opened to capacity crowds. At that time, most first run movies played the Passaic theaters for 6 days. BWANA did so well it was held over a second week, closing on March 10.
View link
The Montauk went on to present more 3-D classics to the filmgoers of Passaic, including HOUSE OF WAX, SANGAREE, CHARGE AT FEATHER RIVER, SECOND CHANCE, HONDO, KISS ME KATE, CEASE FIRE and PHANTOM OF THE RUE MORGUE.
On July 20 1954, the Montauk presented Passaic’s first “All 3-D Feature Film Show” with a re-issue double feature of IT CAME FROM OUTER SPACE and WINGS OF THE HAWK.
These were all shown in Polaroid 3-D (not red/blue anaglyph) which is very high quality and similar to the popular 3-D movies of today.
Newt: You might find the following ACCURATE information about 3-D useful for your next video:
http://www.3dfilmpf.org/info-top-10-3D-myths.html
Of the 50 domestic 3-D features produced in 1953/1954, none were shown in red/blue anaglyph. They were all presented theatrically in dual-strip Polaroid, very similar to the glasses in use today.
Anaglyph conversions of some films (It Came from Outer Space, Creature from the Black Lagoon, The Mad Magician, etc) were created in the 1970’s for re-issue on a single strip of film.
For the record, the ONLY red/blue 3-D releases in the 1950’s were a handful of Lippert shorts and some burlesque shorts.
The only art deco elements to the Montauk are some of the light fixtures which were changed in the mid-1930’s. The original design and architecture is definitely Adamesque.
I was one of several people instrumental in saving the Loew’s Jersey in Jersey City. It was a LOT of hard work and literally thousands of volunteer hours. The first thing you … See Moreneed to do is raise community awareness; hit the streets and get signatures on petitions; get the local media involved and explain why the theater is important and how it can be an asset to the community; try to get access to the building and present shows in order to create awareness of the space and its potential.
With the Loew’s, we were fighting a corporate giant (Hartz Mountain) that wanted the theater demolished. Here you have a theater owned by the City and they want to tear it down, so support from the local politicians will be difficult. In Jersey City, we were able to get members of the City Council on our side, but the effort there took years before the Jersey was saved.
Personally, I think a school on Main Street in the heart of downtown is ridiculous. But there seems to be little to no interest in that town for any kind of historical preservation. The Central was MUCH more significant (historically speaking) than the Montauk based on the legends who played there (including Glenn Miller’s final U.S. appearance) and they allowed that fabulous showplace to be demolished for a McDonalds!
Tony, I don’t remember that sign. However, my Passaic memories only go back about 40 years. I’ll ask my older brothers and relatives if that rings a bell.
Even in the time I’ve known downtown, it has changed so drastically. I can only imagine the Passaic my parents knew in the 40’s and 50’s. It must have been quite a place!
I agree Tony, plus most residents with any memory of the Montauk will only know it from the 30+ years it spent as a porno palace.
It’s nearly 100 years old and in excellent condition too.
But, downtown Passaic is NOT the kind of place you want to spend time in. After dark, the gates all come down (every store has one) and the place becomes a ghost town. Hardly anyone speaks English and many of the signs are in Spanish. It’s like being in another country.
The theater, hotel, stores and houses behind it are all marked for demolition. They are going to level the entire block and put a school into the middle of a busy downtown business section.
Yeah, that makes sense!
THE STEWARDESSES was produced for about $100,000 and grossed over $27,000,000 1970 dollars (that’s $120,000,000 to $375,000,000 in 2010 depending on economic reference), it is STILL the most successful 3D film EVER based on cost/gross ratio (including AVATAR).
And it’s equally curious that it opened in Newark at the 2037 seat Adams Theater and not the 2589 seat Loew’s on Broad Street!
Thank you SO much for this excellent piece of research. It is very much appreciated!
Thanks for that info on the Central’s brief run as a rock venue. Would you mind posting that info on the Central’s page?
Allow me to make one correction. The Central was never part of the Keith vaudeville circuit. It was an independent in it’s early 40’s, big band days.
“House of Wax” presented properly in dual-strip 35mm Polarized 3-D has much greater depth and resolution than current digital systems. The Real-D digital system is constantly out of phase and once you’ve noticed it, can be terribly annoying.
Loew’s Lexington closed on April 3, 1960.
“The Carpetbaggers” was the final regular screen attraction and closed after a 5 week run on Tuesday, August 4, 1964.
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Boy, it’s amazing the liberties that were taken with that “restoration!”