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You mean a Co-Op ad?
Well, the conlcusion that I draw is that the Internet is largely unreliable! A first generation source is what is necessary for these sorts of things. In other words, check an Oklahoma City newspaper.
The clue re a 1965 opening is that “The Greatest Story Ever Told” is identified in one of the article photo captions. If the theater opened in ‘67 or '68 as a roadshow house, I’d think they would have debuted with a newer film.
Re the cinerama.topcities link… Date in the spec box at top of page and info in article suggest this opened in 1965 rather than ‘67. Unfortunately, the original publishing date and name of publication of articles posted on the cinerama.topcities site are often not provided.
The Castro is hosting a 70mm festival August 1-11.
Aug. 1 … Vertigo
Aug. 2 … 2001: A Space Odyssey
Aug. 3 … Lawrence Of Arabia
Aug. 4 … The Bridge On The River Kwai
Aug. 5 … Apocalypse Now
Aug. 6 … The Road Warrior
Aug. 7 … Ghostbusters
Aug. 8 … Dragonslayer
Aug. 9 … Tommy
Aug. 10 … Edward Scissorhands
Aug. 11 … Hello, Dolly!
The Dome has shown “2001”…on several occasions.
“The Island” and “Sky High” are scheduled to have Digital Cinema presentations. Are either booked to play digital at the Camelot?
I believe this was the first THX-certified theater in the NYC metro area.
“The Sugarland Express (1974) flat” (Michael Coate, July 6, 2005)
“Actually SUGARLAND EXPRESS was in scope, not 1.85.” (bufffilmbuff, Jul 7, 2005)
I don’t remember typing in “flat”! I certainly know “The Sugarland Express” was scope. I’ve seen it; I’ve reported it as scope in magazine articles and reviews on which I contributed; and, even if I mistyped it, it should be obvious I knew it was scope because in that post’s summary I correctly claimed nine as the number of scope films directed by Spielberg.
So…which Cinema Treasures guy edited my post to make me look bad??!! Or better yet, how ‘bout I use the excuse of my niece messing around on my computer, and she was the one who actually made that Spielberg post and somehow, as if by magic, my name ended up on it!
The nearby Century 25 opened earlier than November 1998, as claimed in the post above. I saw several movies at the Century 25 — “As Good As It Gets,” “The Replacement Killers,” “The Man In The Iron Mask,” “Lost In Space,” “Lethal Weapon 4,” “Small Soldiers” — all of which were released prior to the fall of ‘98.
It’s a shame Century saw fit to close up the Cinedome. I had great moviegoing experiences there, too numerous to count. And I’ll take the stadium seating of the two big domes over each of the tiny 25 screens at the new complex any day. (And don’t you love how “stadium seating” is thought by many to be some recent innovation. The Cinedome had ‘em, dating all the way back to its 1969 opening.)
Syufy, which ran the Century domes, seemed to have a lot of booking muscle, but somehow the Cinema 150, run by UA at the time, ended up with the San Jose/Santa Clara engagement of “Return Of The Jedi.”
That “Star Wars” ad looks like it is from August 1977 after the release expanded to region-wide. The exclusive engagement ads from May reference the Paramus engagement as “RKO/Stanley Warner Triplex Paramus.”
I’d like to make a clarification to an earlier posting of mine.
A couple of posts up I commented on the installation of Dolby Stereo. However, the theater that information applied to is actually a different theater in Totowa, the Cinema 46, which is what I was led to believe was this theater based upon details included in the first two posts in this thread at the top of the page.
I guess I missed Pete Apruzzese’s post about midway through that corrected the claim that this was the Cinema 46. Sorry for any confusion. How many others have been confused by this?
I too enjoy seeing the old newspaper ads, and am in agreement regarding the inability to keep track of recent postings made to existing theater entries. In fact, a couple of weeks ago I emailed the site editors the suggestion of adding a “more comments” link underneath the ten theaters on display in the margin (New Theaters and Updated Theaters have this option, so why not the Recent Comments, especially since the Recent Comments is the most popular of those three categories). This way, a longer list can be viewed which is helpful to those of us who do not live on the site 24/7. One visit a day or even every now and then would provide an opportunity to see what recent comments have been made. The way it is set up now, once a theater’s latest comment becomes the eleventh most recent comment, you’re out of luck.
A couple ways of getting around this: (1) select the email option so that when someone replies you’ll know about it (this applies only to those threads in which you contributed), and (2) go to your own profile (or someone elses) and click the theaters listed in an attempt to see if any new posts have been made.
Re the newspaper ads… Between Bill Kallay and myself we have hundreds of these things, some simply for our collection and most because of some particular form of research. I find it better to make a photocopy rather than simply taking hand-written notes while the microfilm is loaded (though this method is more expensive and results in a space and filing issue). We have ads for every advertised 70mm release over the past 50 years for the New York and Los Angeles regions plus many ads from other special process and roadshow type films and lots of theater grand openings (and scattered ads from other regions).
Bill and I never figured on posting these things, but if there’s sufficient interest…
I’ve never seen “Mediterranean Holiday” but can provide the following that may help you in researching more about the title:
Country of origin: West Germany
Original title: “Traumreise Unter Weissen Segeln"
English-language alternate title: "Flying Clipper"
Original Photography: MCS Superpanorama 70
New York premiere: Dec. 16, 1964
Prior to the 70mm/Cinerama release, this was shown shown briefly in a New Jersey theater in a short-lived multi-panel format called Wonderama.
Generally promoted as a “Cinerama” presentation, though some engagements promoted something called “CineVision.” I do not know if this ever got a conventional 35mm release.
“Century twinned it and later when they were aquired by RKO, it was made into a quad. Later Cineplex Odeon made it an eight-plex” (RobertR, intro)
A couple of clarifications: During the early-to-mid 1980s, this theater was a triplex. RKO Century then turned it into a quad in ‘85 or '86. By '89 it was expanded again to an eightplex, at which time it was operated by Loews not Cineplex Odeon.
Was The Festival ever equipped for 70mm projection?
I’m not trying to be difficult here, but I still think you’re misremembering when the expansion took place.
As I stated earlier, “Dune” played in 70mm at this theater during December 1984, and the newspaper ads had it listed as the Mid Plaza Cinema 6. “Starman” opened the same day and it too was being advertised as the Mid Plaza Cinema 6.
“The Right Stuff” appears to have been the last 70mm presentation at the theater while under the Twin North & South name. “Dune” and “Starman” look like they were the first to play under the new name. So from that, one can conclude that the changeover to six screens, a new owner and new name occured between October 1983 and December 1984.
Are you sure about that year? The 1984 and ‘85 newspaper ads I have for “Dune” and “Silverado” show them playing at “Mid Plaza Cinema 6.” And could it have been “Starman” that played there in 70mm rather than a “Star Trek”?
Twilight Zone: The Movie (1983) – FLAT” (PeterApruzzese)
22 ¼ :)
OK, in adding up Spielberg’s movies, he has actually made more “flat” than “scope…but not by much and hardly worth claiming that "he has filmed very few in scope.” Most of his recent movies, in my opinion, have been disposable in the same way most contemporary movies seem to be. Whereas, when I think of Spielberg, I tend to think of his great movies from the 1970s and early ‘80s, most of which were scope: “Jaws,” “Close Encounters,” Raiders,“ etc.
I’m going to break one of my “rules of looking information up and instead will try this from memory. Chime in if any corrections are necessary.
The Sugarland Express (1974) flat
Jaws (1975) scope
Close Encounters Of The Third Kind (1977) scope
1941 (1979) scope
Raiders Of The Lost Ark (1981) scope
E.T. The Extra-Terrestrial (1982) flat
Indiana Jones And The Temple Of Doom (1984) scope
The Color Purple (1985) flat
Empire Of The Sun (1987) flat
Indiana Jones And The Last Crusade (1989) scope
Always (1989) flat
Hook (1991) scope
Jurassic Park (1993) flat
Schindler’s List (1993) flat
The Lost World (1997) flat
Amistad (1997) flat
Saving Private Ryan (1998) flat
A.I. (2001) flat
Minority Report (2002) scope (super-35 originated)
Catch Me If You Can (2002) flat
The Terminal (2004) flat
War Of The Worlds (2005) flat
List is theatrical films as director. I did not include TV stuff, his segment of “Twilight Zone: The Movie” (which was flat) or stuff he is “recognized” as having directed but is credited as a producer (“Poltergeist,” scope).
“GWTW was shown again at the Rivoli in 70mm in the 70’s.
I saw a late afternoon showing after seeing a matinee of Angela Lansbury in Gypsy at the Winter Garden in I believe ‘73 or '74.” (Vincent, Jul 6, 2005)
The engagement you’re recalling was probably the one that began Oct. 16, 1974. It returned again on Sep. 1, 1976.
Huh? Most of Spielberg’s (note the correct spelling) movies have been scope. It’s just that most of his recent movies have been flat.
“StereoVision was a new attempt at 3D which only required one camera and one projector. The left/right images were on a single 35mm frame, one above the other.” (vito, Jun 22, 2005)
Some StereoVision (and other similar) productions had 70mm prints struck, in which case the images were side-by-side rather than one on top of the other.
Although not advertised as a 70mm presentation in the Boston area newspaper ads at the time, Variety reported that a 70mm print of the X-rated 3-D flick “The Stewardesses” had been prepared for its Music Hall engagement. (The use of a 70mm print in a large screen situation is likely an attempt to recover some of the light loss that occurs during 3-D projection; perhaps this explains the lack of presentation format notations in the ads since its use wasn’t “prestige” or “excellent performance” oriented.)
It’s doubtful that the Rivoli’s engagement of “The Stewardesses” mentioned somewhere in this thread was 70mm since it began prior to the Boston run and the Variety article referenced mentioned x (no pun intended) number of 35mm prints struck plus the one special 70 for Boston.
“It’s probably worth pointing out that the Paris is one of the few remaining theaters in the city equipped for 70MM. ‘Howard’s End’ and Kenneth Branagh’s ‘Hamlet’ were both presented in 70MM at the Paris.” (ErikH, Mar 21, 2005)
During the time of the “Howards End” engagement, the theater was called the Fine Arts.
Shade, you sound bitter.