Showing 126 - 150 of 274 comments
no the senior home parking lot is not the right place
the exact LUNA theatre bldg site was in fact where the walgreens building is now. mind you i said walgreens building, not walgreens parking lot. the building per se is at the southwest corner of belmont and keating, and that’s just where the luna once stood
p.s.: the alleyway behind cicero used to go fully to belmont (between the luna theatre and the luna lounge mentioned above) but when walgreens opened and built their parking lot they gobbled up that end of the alley, unfair to their neighbors and the public in general
ok, but i’m a little surprised re. HTWWW in IB 3-strip, since so much of it was lensed 70mm and then optically divided
as for this’s cinerama i’d seen a faded eastman panel in the past but that film had re-releases back then
spectacular house if there but once, 1984, saw Ron Howards' SPLASH!
i can only imagine seeing a 3-strip cinerama print there of WONDERFUL WORLD OF THE BROS. GRIMM if one from the original release remain, since unlike the other 3-strips that one was print dye-transfer IB Technicolor
EVERYMAN trivia, a bit dated….
the theatre is mentioned by name in the first line on the lyric to HAMPSTEAD INCIDENT, the closing song off of the popular MELLOW YELLOW album by DONOVAN, circa late 1966 – early ‘67.
aforementioned Chris Ritter
has migrated manager duties a few short miles northward to
the MORSE Theatre (now the MAYNE STAGE)
just thought you’d like to know
Yeah we just heard that from (co) owner Chris Ritter, “the money isn’t there”.
BOOO says my friend Claire, who’d wanted to catch “The Best Church Of God” show there and is now limited to this coming (Easter) wknd before they lock the doors for good, and is doubtful about making.
this is my rant – warning
shuttered theatres, VILLAGE certainly included
not to (fail to) mention the
(plus whichever I’m forgetting right now, please put your 2 cents in)
just sit there
and mock you and me
they’ve not (yet) even been converted to another useage
just another agonizing prospect
this sort of thing goes on for years
I ask rhetorically why
no other type of commercial property seems to behave this way IMO
not much of an entry here I know….
the AVALOE for me gets lumped together in my memory with others of its kind—the SYMPHONY on Chicago, the CROWN on Division, the BELL on Armitage, the MARS on Milwaukee. All are theatres in my part of town that I never actually attended, but in my youth can recall them still standing in shuttered state, marquees near collapsing usually, waiting for the demolition ball to put them out of their misery. These waits curiously lasted several years and saddened me, my young eyes and mind longing for the possibility and asking my Mom or Dad “when will they be showing films again there?”, as we’d drive by on some visit or shopping trip. I kept zealous watch of the Sun-Times theatre listings, and all the neighborhood theatres who changed their bill at least twice weekly and I wanted more. More open theatres meant more opportunities to catch the grade-Z sub-run double & triple features, mainly science-fiction & horror, that I ate up.
Now driving on Diversey myself at California stands a Walgreens and its parking lot, on the old AVALOE site, as may’ve been mentioned above already.
pardon me, for the time being ths misplaced entry’ll have to do, but,
there was another theatre on Ogden Ave a few blocks east of the Lindy, not yet mentioned on this site or anywhere
and it was called The Ogden, in the 2700 W. block, northside of street and that’s specific as I can be at the moment
(yes I’m aware there was another Ogden Theatre over on 63rd St)
Can’t be sure which was the last film I saw here at CRAWFORD;
THE INNOCENTS (Deborah Kerr) 1963
THE HAUNTING (Julie Harris) 1961
those 2 old spooky (for my young age then) B&W titles’re now running together in my distant memory
what’s the polish word for ozone?
Stephen Boyd (Roman Masalla) – “You’re either for me or against me, you have no other choice!”
Charlton Heston (Judah Ben-Hur) – “If that is the choice……
then I AM AGAINST YOU!"
Jawk Hawkins (Quintus Arius) – “Your eyes are full of hate, No. 41”. That’s good! Hate keeps a man alive, it gives him strength."
“ROW WELL AND LIVE!”
Couldn’t help quoting, even if not meticulously accurate. One of my sons when he was young could recite with perfect impression the last bit of dialogue.
Pardon me I may’ve heard differently, that either the MILFORD or the ESQUIRE Theatres (when the latter was a single screen, before ‘plexing) were in fact the last of the hard-top carbon arcs.
Am I misunderstanding the above post tell me, the wording implies Gateway STILL has an old carbon-arc lamphouse on its projector(s).
Drive-in theatres in this area (down to a couple?) probably never changed over to Xenon.
My RENA passby last week – not only no (restorative) activity there, it appears to be getting even worse shape. I predict no real hope, demolition inevitable, steal your last glimpses while you can there on Roosevelt.
Thank you Peter. I wonder (and will soon do the math myself), the exact square-inch (or perhaps more properly square-millimeter) area difference, between a 65mm 5-perf. negative and the (horizontal) 8-perf. 35mm of Technirama (not to mention VistaVision).
That Walt elected to photograph this triumph of classic hand-drawn animation, the last to use line-inking technique as opposed to xerography of 101 Dalmations, onto 70mm (the only one done so) has always seemed peculiar to me for the time of its production and release. Why? In the late ‘50s outside of T0DD-AO releases there wasn’t any other 70mm production, save Raintree County and Ben-Hur(coming after Sleeping Beauty which was in production 5 yrs IIRC). So from an exhibition standpoint it makes little sense, was the intent to take advantage of the 70mm installations so far used only for the TODD-AO’s? Hmmm.
On the other hand from a production standpoint it makes tremendous sense to me, not only that shows ambitious vision. In other words Walt committed to the new format instead for it’s negative quality, all the enormously labor-intensive work was to be captured in the new large gauge so it is best preserved for future generations. This view separate thinking from how it may or may not be actually exhibited.
That’s my own thinking so far, not without it’s logic holes, i.e., the rich 3-strip Technicolor process Disney commonly employed in 35mm did not exist in 70mm. So while you have the potential for magnificent image detail in 70mm, color rendtion’s be superior in the 35mm reductions that were all (at the time) printed IB Tech.
A final point, the Wikipedia website that lists all 70mm feature productions from the start, curiously omits Sleeping Beauty. Why, because only live-action? I don’t think so.
Pro’s: film title selection always includes a couple titles in very limited release (some other theatres should have this variety;
bargain matinee prices, best buy is 1st show of the day;
free parking in lot across Maple St (my girlfriend reminds me to validate my parking ticket in the little machine at theatre);
one Con; restrooms for the theatres one must walk a distance and through the dining area! What is this, didn’t they ever have to go real bad and not want to miss anything? Sheesh.
As one who was lucky enough to be brought downtown as a boy to either the Bismark (now Palace) or McVickers theatres in late ‘50s-early-'60s by my wonderful uncle (we called him Johnny) to see these in their original 3-strip projection format (including the CineMiracle variant), a few first-hand things I can add:
1) at the time(s) I went in those years, usually but not always Christmas, the showtimes were well attended but by no means ‘full houses’. Yes the engagements’s seem to go on forever. Considering the level of set-up engineering needed to insure a seamless picture-perfect (pardon the pun) performance for each new release, it’d seem they’d want to get the longest mileage run out of it;
2) tickets were always sold reserved seat fashion, I enjoyed it all no less from the cheapest (upper) balcony seats in any case;
3) it’s always amazed me the projectors (3) utilized ‘vibrating aperture plates’, obviously to blur the 2 hard edges between picture panels and make them less noticeable, although they always could be made out by the picky;
4) and it’s worth pointing out (maybe it’s been already elsewhere) at least one 3-strip title I know of – BROTHERS GRIMM – got printed in Technicolor’s old dye-transfer process, furthermore for the Cinerama prints only (not 35mm general release).
I just learned of this brouhaha & shuttering from my pretty friend Claire.
Wonderful disappointment Chicago Style.
At least 4 shootings resulting in deaths in the area earilier this yr. Don’t quote me on that.
I supported the foie gras ban.
ooh – why do you even say such a thing SSB about the UPTOWN (yes I know not the right place for this). You see I drove by it yesterday expecting to see some sign of change or progress since ownership and policy question resolved a few months back. And you know what I saw? A lotta nothin'.
Trolleyguy: you’re of the opinion Dillinger tossed out possible movie theatre choices based on 2 he knew to be air-conditioned, one of them being close the other distant? Besides the COVENT I’d mentioned above there’s of course also the CENTURY (maybe he wasn’t aware of those 2?) big and not far. In 1934 I’d venture to say the bigger playhouses had installed A-C like the BIOGRAPH did. The small nearby venues like the EASTERLY or PARKWAY probably not yet, and the CREST (later 3-PENNY) right across from the BIOGRAPH was (temporarily) used non-theatrical.
All things considered I still like my more sinister explanation above for the MARBRO, certainly more in character for John D. than just “where’s the air conditioning?” Not a crucial reasoning for a man who needed to lay low in the public eye after all.
I wondered about Dillingers choice of theatres because, obviously, the MARBRO ain’t nowheres near (the BIOGRAPH). If I were selecting neighborhood shows strictly based on seeing a movie per se, I certainly wouldn’t pick a possibility so distant myself. A more logical 2nd choice would’ve been the COVENT Theatre, a large place not so far.
In PUBLIC ENEMIES one of Melvin’s men correctly assumes John would not go to the Marbro based on the fact it was showing a Shirley Temple pic at the time (this we hear in the films dialogue, assuming it is a booking fact). So why then would Dillinger have even considered the Marbro, by mistake? Maybe a better theory he had some (dirty) business cooking out on the city’s west side, and the theatre locale made the 2 convenient.
PUBLIC ENEMIES – the John Dillinger movie out last week, this theatre is mentioned more than once as an alternate to the Biograph Theatre for his final nite out. Those’ve seen the movie will know what I mean, I just wonder if it has any basis in reality?
Important but: the way this theatres name’s pronounced by the players in the movie, it still sounds to me like they’re all saying MARLBORO (not just MAR-BRO). Doesn’t it to you?
you mentioned Webster Place, well they have the parking thing going on with the adjoining garage. Business there wouldn’t be what it is, facelift or not, without that parking IMO. If only P.A. could do likewise with their adjoining garage. But maybe the garage on North Ave’s too small to faciliate this?
The updates you listed above are well and good. The restrooms behind the concessions per se don’t seem problematic, it’s not like one has difficulty finding them. But it would be better if they also had restrooms up on the theatre floor level, although so many (old) theatre put their facilities down in the basement so maybe that’s being too picky?
AMC MovieWatcher in the past has sent me surveys evaluating my last P.A. experience, and the one thing I might complain about is speed of ticket purchase. Have theatre managers forgotten so many arrive just 1-2 minutes before showtime, and until automated ticket dispensing’s perfected we need and want to buy our tickets without enduring one lengthy transaction after another.
If P.A. theatre people had more than half a head on their shoulders, they’d offer a can’t-pass-this-up price break for parking at the adjoining garage. That can and will make all the box-office difference.
The parking garage however from what I’ve seen has all the business they can handle from 2nd city and other Wells St attractions, so lot full happens. It vexes me the City of Chicago monster has evolved, so much of vital commerce crucially turns on a stupid thing like parking, a thing which hardly mattered in my own youth.
Here and at other sites this place gets bad-mouthing I don’t see it deserves at all. It is just fine, and right outside the ticket-door you can scrutinize the handprints of Carol Channing, Gary Sinese, and many others.