Showing 101 - 125 of 1,077 comments
to crunchocky- thanks for the info. I still think it looks
like a pumpkin threw up. as I have said before a colorblind
person would have chosen a better color.
I should think The Guns of Navarone had ROADSHOW written
all over it. I’m highly surprised Columbia didn’t do so.
to Howard B. thanks for your reply. for me more advertising
doesn’t make a theater “better maintained”. so I would
greatly appreciate it if xbs2034 could reply as to their
meaning of “better maintained then in the City Cinemas days”.
for me the Paris has always been the best maintained movie theater in Manhattan so I am intrigued as to what exactly
in my original post discussing Manhattan’s roadshow
houses during the prime period of Sept. 1952 to Dec.
1972 as opposed to Seattle’s I listed the 7 that were
“regularly” used. though they are/were fine theaters
the Royale, Sutton, Coronet etc….. were not “regularly”
used as roadshow houses.
also to Mike(saps)– you are correct in that the Liberty
(which is now used as an event space for the adjacent Hilton
Hotel) was used for the roadshow run of The Birth of
a Nation Feb. 1915 it doesn’t fall into the time period
Hello From NYC-
it seems developers in S.F. don’t have anymore love for
historic theater buildings than developers in NYC. the
Clay is a small theater how can the lot be used for
also at least S.F. has something neither NYC or L.A. have.2 movie theaters build before the advent of WW I. the Vogueand the 4 Star.
since I was talking about the fate of the prime roadshow
houses in New York as opposed to Seattle I think it was
a valid comment to make.
to Mike(saps)– many thanks for your reply. Boys Scouts Honor
the first two times I tried only 5 theaters ever showed up.
I have no idea what I clicked on. speaking of Seattle. its
interesting none of the 7 theaters the studios used for their
roadshow engagements in Manhattan(Criterion, Loews State,
RKO Palace, Demille, Warner, Rivoli and Loews Capitol ever
wound up showing “adult” films. that apparently is not the
case in other cities.
Hello from NYC-
to MSC77. NYC is a big city comprised of five boroughs.
but if one eliminates all the neighborhood theaters in the
other four boroughs Manhattan alone had countless theaters.
but if we narrow our search to just the 1st run theaters
that have existed in Manhattan that’s still a hell of a
lot of theaters. my question being simple. when I clicked
om “all theaters” for Seattle all that comes up is five
theaters. you mean in the entire history OF Seattle
there have only been 5 movie theaters?
being a lifelong film buff I am still a tad confused
as to what the term “grindhouse” means. if I am not
mistaken this theater played several studio releases
after TSON ran here. for instance Apocalypse Now played
here after its run at the Ziegfeld.
since they’re spending a truckload of $$$ why not just
renovate back into a legitimate theater?
I thank everyone for their replies about Grimm. an
additional question which I should have asked to begin
with. would someone who knows the technical side of
remastering for a Blu-ray disc explain why a HD transfer
can’t be made from the 3 panel print shown at the
Dome. if it was in damn good enough condition to show
why not? thanks in advance.
based on the intro at top this theater which opened as
the Strand in 1914 retained its original interior décor
till it was converted to Cinerama in 1953?
I thank everyone for the info about the 3 panel Grimm
print shown at the Dome in Hollywood. I’m guessing a
number of older films released on dvd or Blu-ray were
mastered from the best quality print of the film that’s
available. so if the 3 panel print shown at the Dome
is in damn good condition I don’t see why a Blu-ray
can’t be mastered from it.
if the Dome showed a 3 panel print in 2012 can’t they
remaster a Blu-ray disc of it? I’m assuming if the print
was in good enough condition to be shown commercially
its in good enough condition to use for an HD transfer.
to Ed S.– thanks for your reply. my point was simple.
I had always been told the 3-panel negative was water
damaged beyond repair end of story. but apparently
that’s not the case. so the problem so to speak is
not the condition of the negative but Warner Home
Video spending the $$$ to properly restore it as they'
did HTWWW. that’s what I was trying to point out.
speaking of theatrical exhibition. what print was
shown at a Cinerama Festival at the Dome in Hollywood
a few years back. or for that matter how is
Turner Classic Movies able to air it?
after Warner Home Video’s immaculate restoration and HDtransfer of How The West Was Won I was eagerly awaitingthe same for The Wonderful World of the Brothers Grimm.
after a few years and zippo I did some inquiries and was
told the 3 Panel negative had suffered water damage that
was beyond repair. but is it? in the trivia section on the
IMDB pg. for the film it paints an entirely different
picture as to how “damaged” the 3 panel negative is.
to xbs2034- prior to its August 2019 closing i thought
theater was always well maintained, helpful staff, clean
men’s room etc…… baring this in mind could you
please be specific as to what you mean by “looked to be
better maintained than its City Cinemas days”?
to markp- I thank you for your reply since I know
you have personal knowledge in the area. but to reiterate
my original comment I think not properly masking
screens is a sign of poor showmanship pure and simple.
I’m in my 60s and have been an avid moviegoer virtually
since I could walk. to which the non-masking of screens
is a relatively recent event. so if it was done for
all these years why stop now.
I know Ryan’s Daughter is this theater’s longest runningfilm. so how long was the roadshow run of Marooned?
to markp- who have been most helpful in answering
questions about the technical side of movie exhibition
so here goes with a new one. why did theaters come to
the decision to stop masking screens? whether a film
is shown in the 1.85.1 ratio or the 2.35.1 ratio to
see white bars on the top and bottom or at the sides I
find distracting. I would say its poor showmanship
for theaters to not properly mask screens.
to Al A.– as you said in a previous post Kennedy’s book
begins with a negative slant so I shouldn’t be surprised
by what he says in the book. in your last post you say
“in that he is right”. well kind of if you’re talking
strictly about box office returns maybe.after The Sound of
Music finished its record run at this theater the studios
released Oliver, Funny Girl and Fiddler on the Roof all
on roadshow engagements. for instance many people consider
FOTR the greatest musical ever made.
the link to the interview with Kennedy doesn’t seem to work
but I did read the interview when the link was first posted.
it seems just that he book was going to have a negative
viewpoint. his statement referring to Hello Dolly as a
“well dressed dinosaur” is the epitome of a left handed compliment. granted Streisand should have been twice the age
she was but in terms of her performance Streisand WAS
every inch Dolly Levi. I still don’t get the comments
about “over produced” musical numbers. one of the
things I liked about the film was its lush production
numbers. to criticize a film version of Hello Dolly for
“over produced” numbers is just plain bizarre.
also in the interview Kennedy refers to Doctor Dolittle
as an “ugly bomb”. I always liked the film. plus the
recent restord/remastered Blu-ray disc from Twilight Time
is A++. people who have never seen the film and are just
aware of its somewhat off reputation after viewing the
Blu-ray disc will wonder what all the naysayers were
during the exclusive first run of Old Ironsides in 1926
not only did they have a live orchestra playing the score
but they had people behind the screen doing sound effects
during the battles scenes.
I had tickets for a matinee of the Ben-Hur rerelease the
day after Judy Garland died. when you entered the lobby
right before the theater proper they had portraits of all
the great stars that had played the Palace. Garland’s
had a black wreath around it.
to vindanpar- does Kennedy’s book discuss musical
roadshows only of the ‘60s? for me the modern era of roadshows
started with Oklahoma(Oct. 1955) to Man of La Mancha
(Dec. 1972). while there were many musicals released
during the 60s I’m hedging the bet more were released
on a continuous performance basis to use an old term
rather than on a roadshow basis. in other words if
Kennedy sticks to only roadshow musicals of the '60s
it must be a shorter book.