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brits cast as romans in SPARTACUS and other hollywood biblical epics had plenty precedent by then, just look at BEN-HUR
an omission in my post yesterday, obvious considering Tony Curtis' recent passing, was that lovely Jean Simmons (herself a brit) left us early in 2010
lastly i forgot to mention this was one of 2 films i saw around the same time w/ Woody Strode who really impressed me, the other title being THE LAST VOYAGE
brits cast as romans in SPARTACUS as and other hollywood biblical epics had plenty precedent by then, just look at BEN-HUR
alex north’s SPARTACUS musical score is exquisite to listen to all on its own, as i’ve done for awhile
amusing to me how the late mr curtis was around to re-loop his dialogue for the restored ‘oysters vs clams’ sequence some 30 years later, but to do sir lawrence who had since passed, he recommends anthony hopkins
and actress jean simmons is so beautiful
little is said about fired director anthony mann’s footage
hello from the bhs (bucktown historical society)
in a half doz. or so previous posts i described a stroll south on milwaukee ave circa ‘30s-'40s my late father took to see what’s playing at shows in the 'hood
now walk the other way, back in time headed north on milwaukee ave
starting w/ the OAK theatre at armitage/western, another 2 blks the CONGRESS which’s the biggest, continuing on milwaukee on our left’s the RIO (aka MARS) just before the Logan Square monument and ‘L’ terminal. Passing that in short order first the LOGAN then the HARDING also on the left. So far that’s 2 miles out on milwaukee ave which i think’s as far as dad normally ventured, finishing with
the DALE and little NITA across the street from one-another
what an abundant selection he had. today only the LOGAN can one count on, the CONGRESS still stands but for the occasional rock show (not sure part of the NITA bldg’s extant)
saw BAD TIMING: A SENSUAL OBSESSION at Cinema. it’s a 1980 film but doesn’t appear on above list so it must’ve played in ‘81.
also saw there Wilder’s FEDORA
the before and after picture’s have to be the most astonishing contrast ever in real estate development over just a couple years. The Cinema little arthouse theatre on Chicago Ave at Michigan = the before. then the after = an enormous skyscraper constructed on its former site. can you imagine the difference in property taxes for the same address?
FYI (not a plug)
LAKESHORE THEATRE available for lease by the Kudan Group
i was here in the gateway just the other wknd for a show
jackasses don’t even have an ordinary water fountain anymore
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).