Radio City Music Hall
1260 6th Avenue,
New York,
NY
10020
1260 6th Avenue,
New York,
NY
10020
116 people
favorited this theater
Showing 1,726 - 1,750 of 3,322 comments
Thank you for the beautiful postings on your memories of this theater, and also how the movie projection booth has been used to exquisitely express both the intended beauty of the artistic endeavors presented there and of the place. I, too, have taken a couple of days to scan through this material. A couple of comments and two questions.
Question: In venues such as this, which mixed movies and theater, how did the theater designers feel about technicians in the projection booth projecting effects rather than a stage crew? Was there resentment between crews, were they relieved about it, did they have a whole other take on it?
I believe I have read that some movies were consciously made to be presented at RCMH; maybe “Annie Get Your Gun” was one, I am not sure. So it can be said that movies were actually principally made for this theater. I missed any commentary as to that; sorry.
As to Bob Endres credited quote that “You have never been boo'ed until you have been boo'ed by 6,000 people (Feb. 2005), I had to laugh out loud. Having worked with Bob – sort of – in the mid ‘60s in a small town in Illinois with a larger population than the theater, more like 20,000 people, and having experienced a range of responses from audiences from kudos to boos (kudos are better), I might add, "You have never been boo'ed until you have been boo'ed by an entire small town in Illinois.” I believe Standing Boovations are usually relative though – sometimes one setting or audience is not of a mind to “receive” all or some of what is being presented. I think Warren Beatty recently allowed “Reds” to be screened to a standing ovation, and the comment was, he should have held it back for 30 years. Anyway, thinking of boos from town to town only makes me think of comedian George Burns’ routine, which makes me feel better.
Question: So, how imaginatively has consideration been given to how to utilize Radio City Music Hall in the future? I believe strongly in valuing the continuity of a piece in resolving its dilemma.
For example, my personal favorite genre of film is “Silents” or more appropriately, I would say, early movies. Granted RCMH was created after the period of early movies. And early movies have been disserved by having been relegated too long to being thought of as a passe form replaced by “sound.” I believe through less dialogue and more grace they represent the cornerstone, keystone and apex of the movie art form, and they were designed to be shown to a huge audience, not the more limited ones some may be used to thinking of for them. (So I will try to keep this short now.)
Original theaters were designed in some cases simply to be appendages to this or that early movie, to enhance that movie as a set, then they were left that way. In the midwest, one saw, if I remember correctly, more historical themes used than art deco. On the west coast the other way around – not exclusively, but theater by theater, more or less. In early movies, some creative artists worked from heavy historical literary themes, while other more contemporary artists were highly self-conscious of their time period (1920s especially) and incorporated that awareness in their films. The production values of early movies serve all of this awareness. RCMH may have been designed during the cross-over period as well.
One wonders how persons using imagination might be able to present in some fashion, or along some contemporary theme, a well considered early movie (not necessarily a cliche one, and thankfully TV’s Turner Silents is moving audiences away from those) in Radio City Music Hall (don’t really know if there are insurmountable technical problems to do this today) so that the early movie and RCMH might have an occasion to help each other and please an audience at the same time, in a creative, well developed event in continuity with any of the intrinsic terms of each. Oddly enough, early films and their natural sunlight all over the place (but possibly enhanced at times) seemed to really show exteriors in that era the way they were. In other words, many times, at least in their exterior shots, the films became records of that time period. Whew!
Pardon my temerity in joining in with this; it was just a thought to make a point as to exploring what are the values of RCMH that link it to other things.
SPearce
saps and Ed Solero. Thanks! You brought back some great memories. The 1970s was also “my time” at the Music Hall. I used to go there once a month, as the movie and show would change. Back then you could stay for two (or more) shows, if you liked, and no one said anything.
I also enjoyed sitting in the Grand Lounge and reading. That’s not so easy to do so today.
I remember that the 1st mezzanine was reserved seating (and the 3rd mezz. was usually closed) but other than that, you were to sit where every you wanted to in the theatre. I used to sit by the organ or 2nd mezz. center.
What ever happened to all of the Art Deco furniture that used to be in the Grand Lounge? Has there ever been any talk of re-creating it?
Found this on the ‘net. Personally, I think it is good news. I don’t like the new LED screen. For it seems that the top grossing theatre of it size, tries to save money ('cause Cablevision isn’t doing well) and it is a disaster. PLEASE, Radio City, go back to backdrops. Here’s your chance. They seemed to work just fine for 74 years, and they are just fine for many B'way productions.
I went to Radio City monthly in the 1970s. I expected and payed for a movie and a short show, as advertised. Today, when I go to the Christmas Show, which is billed as a live event, I don’t expect to see the some of the scenery and backdrops “on film,” which is what the LED screen amounts to.
BTW, I LOVE movies, and I LOVE Radio City. I believe that Radio City is the best movie theatre that was ever built (even though it was initially built for live shows).
Thoughts, opinions?
View link
Radio City filed a lawsuit yesterday in U.S. District Court in New York against Barco Media & Entertainment for breach of contract relating to the purchase of a multi-million dollar LED screen installed at Radio City Music Hall last fall.
“In an effort to provide our patrons with a state-of-the-art, first-class entertainment experience, last year we purchased the largest indoor, high-definition LED screen in the country,” says Jay Marciano, president of MSG Entertainment, which oversees Radio City, in a statement. “Our experience with Barco has been an unmitigated disaster.”
Several films were advertised as the last regularly scheduled movie engagement at the Hall, but the last one was The Promise with Kathleen Quinlan, which ran during Easter of 1979. I have a souvenir program for the film Crossed Swords that had been the previous year’s Easter attraction at the Hall and on the cover of the booklet is a sticker that says “Final Attraction.” I remember my parents signed a petition outside of the Hall to prevent the pending closure of the great theater when we attended that show.
Here’s an image of that souvenir program cover for “Crossed Swords.”
What’s the next movie to be premiering at the Hall? Last movie that played was the new Die Hard movie. BTW, what was the last movie that played at the Hall for regular showings before it became a concert venue we know today?
Saps: I saw “Pete’s Dragon” at the Music Hall and was so bored by it that I spent most of its running time daydreaming about what “Close Encounters of the Third Kind” was going to be like. That was opening at the Ziegfeld later in the week.
And speaking of Pete’s Dragon (were we?) I just saw it on a VHS tape I bought from the Lynbrook Public Library for 25 cents, and boy did I over-pay. Dull story, pedestrian music and lyrics, hammy acting from Mickey Rooney and company — I have no choice but to blame it for almost single-handedly closing the Music Hall. I don’t know what kind of business it brought in, but it must have done wonders for the concessions, because every time Helen Reddy sang a song, I wanted to go to the lobby for popcorn or a souvenir — and I was watching it in my bedroom! (My 3 yr. old daughter’s attention wandered a bit, too, but then she immediately wanted to see it two more times again, anyway…go figure!)
I wish that image was bigger because I can’t read the names of the theaters!
Have fond memories of seeing movies here in the 70’s…such as PETE’S DRAGON, MR. BILLION, & THE SLIPPER AND THE ROSE…In the 80s and 90s saw a bunch of concerts at Radio City Music Hall…such as Rush, Frank Sinatra, Prince, Paul Simon, The Pretenders, Simple Minds, David Bowie, Joe Jackson, & Twisted Sister. In summer of 1997 I went to a Universal festival at the hall…where they showed such classics as PSYCHO, JAWS, & THE STING
Andrew- this sounds like a project that is long over due,I’ve been at the music hall for approx 17 years now working under R.Bishop organ curator& dispite what people are blogging, I always hear positive comments regarding Mr.Dolan, for me personally I live somewhat in the past also but, its only human nature I guess to go back to happier classier times,whatever the hall will always bring me joy and comfort whenI walk into the auditorium and look up at the coves&play the organ, its magical to say the least
Hello there. I am a producer working on a documentary for the Madison Square Garden television network on the history of Radio City Music Hall. To that end, we are looking to interview former employees of the Hall, as well as other patrons of the Hall over the years, who have great memories of events or shows that they saw at Radio City. If you fit into this category, live in the NYC-area, and are okay with being filmed on-camera, please email me at: Thanks so much for your time and I look
forward to hearing from you.
Regards,
Andrew
Actually, the Rockettes did do a number in “nuns habits”, kinda — The Glory of Easter prologue featured what would appear to be nuns in a great cathedral. I once made the mistake of referring to them as nuns and was corrected: they were “Novices”! Well, maybe, but at least one review referred to them as “nuns in tap shoes”. The “Glory” pagent and the “Christmas” one were both 8 minutes long as conceived by the Rogge sisters. I always preferred the “Glory” since it is deceptively simple — just choreography with bunches of lillies until the final chord when the central “novices” kneel on the steps to the altar and form a giant cross as the contour comes in. The cross was lit by the two Hall & Connelly effects spots we had in the booth, and originally was done by two projectionists one on the vertical and one on the horizontal strip. Later when there was only one projectionist on for the Easter show, I set up so the lamps could be locked off and the operator standing behind them could open both irises at the same time. It was always a kick to slowly fade the “cross” as the contour just ticked the top of the vertical beam. I have a recording of some of the music on the Music Hall organ at home, and still hear the “buzz” cue in my head when that final chord hits. (By the way, people always ask me about mistakes. The effects lamps were used to light a blue strip when the novices were proceeding across the stage. Of course the gels were supposed to be pulled before the cross which was dazzlingly white. On one show the two projectionists forgot to pull the gels before the cross cue and came up with a decidedly non-white image. The stage manager was on the phone as soon as the contour came in, wanting an explanation. To which one of the operators, thinking quickly said, “What? You’ve never heard of Blue Cross?!”)
The Kodak Theater was built speicifically to host the Oscars. There is no way they would move it to Radio City. In the aftermath of 9/11 many people suggested that the Oscars be moved to Radio City as a show of support to New York. Though it was discussed it was never really a possibility since most of the award nominees and their entourages are based in LA and it would have been a logistical nightmare to do it here. And this was BEFORE they built The Kodak. Then it was suggested that some of the awards be awarded in New York in a tandem ceremony, but that too was rejected. I’m grateful that Radio City does get to host the Tony’s every year and the ocassional Grammy’s, but we will never see an Oscar show here. I would love to be wrong though!
I hope in the future that the Oscars come to Radio City…too bad they hold it annually at that Kodak theater in LA!!!
The dalai lama is teaching , not performing. There will be 3 sessions, not concerts. Radio City is too small a venue Benedict. He’d play Shea and Yankee stadiums like Paul VI and JP II. he does not work for scale …it is a 10% tithe
In that case I suppose the Rockettes would have to do at least one number wearing nuns' habits.
Or maybe the Easter show?
vito, it was become a whole new adventure sometimes in the booth. Being told how to run your show by a younger kid who would not know a great presentation unless it kicked them in their ass.
Thanks for that William, I guess I have to accept
the facts,which are, the times-they-are-a-changin. I still prefer the ole days when the studio brass were barred from the booth.
vito, I’ve done many Hollywood premieres and all media screenings on the West Coast and still do media here in NYC. I know the Radio City Music Hall has a fine group of operators. But when it comes to running at theatres like the Chinese, Village, National, Bruin, El Capitan, Cinerama Dome, I’ve been there and done that too. The new Hollywood execs tell you how to do the job and the way to do it. They do not want to hear the operator missed the change-over or the second lamp start to fail on the second machine. Radio City is different but the rules have changed in some booths.
Sorry William, I am not buying that. We are talking about Radio City Music Hall here, where I am sure changing xenon bulbs is not an there. The way they ran the new Die Hard movie was ridiculous, and totaly unnessary.
Besides, in every studio screening I ever had, a tech rehersal was done, light ouput from the lamphouse’s was balanced and the sound track was equalized to ensure optimum presentation.
The Music Hall has 5 projectors, qualified personnel to make changeovers, and run a perfect show without the help of new fangled platters and MUTTS. It’s the way we did things for over 75 years thank you very much. The studio’s just need to deliver the print to the Music Hall lobby and let the pros take it from there.
It’s not just people not knowing how to do change-overs for these important screenings. But running two different xenon lamps too for the screening. The studios don’t want any sudden changes in lamphouse output during the screenings and everything is uniform in the light source. Because the chains are very cost cutting when it comes to replacing xenon lamps these days.
Incredible, This most be the theatre with most comments here on Cinema Treasures. So many in fact, they could use a bit of ordering and sorting. In any case if anyone still likes to, have a look at a couple of Curteich cards I recently bought of the RCMH, from the Thirties and Fourties: View link
Thanks Rob, I sorta thought that is what a MUTT is, I ran a similar transport system, made by Cinemacanica, that could also rewind the reel as well.
Sad to hear so few peole can do changeovers these days, a lost art
I suppose. In addition, I was told at a recent screening that cue marks are being phased out and soon will no longer be on prints.
Well, from my point of view I guess I like to see that the movie is being shown on 35mm film rather than Digital, and of course anything to keep those dang-blasted platters out of the Music Hall booth.
By the way, with the new and improved Digital 3-D we now have, do you suppose the Hall will eliminate the 70mm 3-D interlock format for the opening of the Christmas show this year? I would hope the presentation is still better with 70mm and they stay with it.
Thanks for all the info, it’s always entertaing and informative when you post.
Yes the projectors are run concurrently. The company supplying the MUTTS called me yesterday to ask about the Scope back up lens focal length and gave me the information about tonight’s screening. I suggested that if they REALLY wanted to get fancy they could run the same print through the two 35/70mm projectors that are interlocked for the 3-D film effect in the Christmas Show, and run the second print on a third projector! (Actually, we went that one better with the “Lion King” premiere where we had a 70mm print on a platter interlocked to a 35mm print on another platter for Dolby Digital sound, and then a second 70mm print run reel-to-reel on the other two 70mm machines. Sometimes people get a little “back-up crazy” to the point where there is so much back-up involved it starts to create its own problems.)
Vito: I’m sure the decision to run 12,000' reels was made by Fox or its representative doing the screening. Since there are so few houses running changeovers tech people don’t trust anyone to make them. While I was still at Radio City the tech supervisor for the Fox in Detroit called to ask about our lamps, and said they were installing a platter just because no one knew how to do changeovers any more. Also the MUTT is the unit Eprad made as an answer to platters. MUTT stands for Make Up Table Transport (or some such thing), and it can be used as a make up table or a show feed if the platter failed or the show feed itself. Its a small table which feeds out on one side and takes up on the other. They can be used in situations where the booth is too small for a platter, or in a temporary set-up, since they are easier to move around than platters. We used one for the “Lion King” press conference at the Hall, again because there was more than 2,000 feet of 35mm film involved along with a 35mm interlocked mag track, so the track was run on a MUTT while the print was on a 6,000' reel.