Showing 176 - 200 of 354 comments
Hi, Happy New Year to Everybody. Does anybody have any photographs of the 1958 CineMiracle installation? There must be some somewhere. Thanks
I think the Palace was on the South side of Market St., and the Apollo (I’ve fogotten its original name) was on the North side. Might be wrong. It’s early in the morning. (I just noticed the first posting on this theatre above….it was on the South side,,,1234 Market).
Hughie, let’s have some Boyd-talk. Now, THAT was a theatre!
In reference to Goober’s comments on November 29…“The removal of the mezzanine seems like quite a radical move for basic widescreen adaptation. Anamorphic processes like CinemaScope would not have required so much (vandalistic!) remodeling. Perhaps this has already been discussed, but I wonder, is there a possibility that there was an attempt to fit the house for Cinerama? That would entail quite a bit of alteration”. Y ou’re right. Cinerama was never installed at the UA; however, in December of ‘55, Todd-AO was (for a simultaneous engagement with the Egyptian of “Oklahoma) brought in, and in those days, while M. Todd was still alive, these 70mm installations were mainly deep-curve and straight-throw affairs.
…and that pedestrian bridge over Rte 38 that was mentioned in the first posting…..well, a truck hit it some time ago, and it’s no longer there.
On another topic, in Aud. 23 or 24 (the 2 largest), I saw some years ago “The Thin Red Line.” At the beginning of the end credits, the auditorium lights raised to half, but then the advertising slides came on over top of the credits, and the intermission music began instead of the film’s music. A mess! I went to what was hopefully but recklessly called the “concierge” desk and explained the matter to a pair of dazed teenages who hadnt the faintest clue what I was talking about. I filled a form, was promised a pass, and left. Never got that pass, tho.
Eckerd Drugs is now closed, and this building is now empty.
Yes, sorry, I misquoted Scorcese. He did say Capitol, not Paramount.
But why wouldn’t someone who may have been vastly interested in wide-
screen, regardless of his/her youth, not be able to recognize the
difference between horizontal VV and normal 4-perf 35mm. I’m older than
Scorcese and I sure as heck could tell the difference at the Philadelphia Stanley. The difference wasn’t minor. It was awesome! Of course it would help – and this was my case and maybe Scorcese’s – being familiar with the size and shape of the pre-VV images.
Re Vito’s comment October 7: “…was very surprised that the Criterion,which was renovated for the movie, did not install VistaVision projectors, but again it was all about the photography, not the projection.”
I also find it curious that VV possibly may not have been installed there in 1956. The majority opinion is that VV horizontal projection had pretty much died out by that time. However, on the restored “Vertigo” DVD, there’s an interview with M. Scorcese, who knows a thing or two about widescreen, and he says (this is very nearly an exact quote)..“I saw ‘Vertigo’ at the Paramount in its original horizontal glory.” And this, of course, would have been in 1958. Whaddya think?
Hi, Vito and other NY projectionists and wide-screen fans: In the case of VV, there seems to be a lot of discussion about when/where/and how long it was actually used. In the “restored” ‘Vertigo’ DVD, there is a special segment with M. Scorcese, who would know a lot about widescreen, who says he saw “Vertigo” in (almost word-for-word quote) “its full horizontal projection system at the Times Square Paramount”. This would have been in 1958. I still can’t imagine that Paramount ran the world premiere engagement of “Ten Commandments” in 1956 at the Criterion not in full VV. All things are possible, but this would have been hard to believe.
In the case of CS55, the first few engagements were somewhat special in that, though 35mm projection prints were used, sound was provided by 6-track mag interlock. The full projection frame, w/o sound track, provided an anamorphic ratio of 2.55:1, the same as the original 35mm CS. Notice that the first theatres to run “CS55” were the same first houses to run “CS35”, to wit: New York, Roxy; Hollywood, Chinese; Philadelphia, Fox; and (I believe), Chicago, State-Lake.
People here complain about on-screen advertising, but when I was in the Army in Germany in the 60’s, commercials in theatres were commonplace. In fact, in the newspaper ads and also at the boxoffice were posted the starting times of both the feature and the commercials. I mention this only in connection with the Mathaeser because I was saw a very entertaining “info-mercial” about some brand of cigarettes here. What fascinated me most was that this item was shown not only in scope on that vast screen but also in 4-track mag sound. In some theatres that were presenting a 70mm feature, the advertisements were also shown in 70mm.
“"Michael Todd and his ‘Around the World in 80 Days’ made a big splash at this Boardwalk theatre here in August of 1957” (veyoung)
The “80 Days” opening day advertisements I have from The Newark Star-Ledger and Asbury Park Press are dated July 11, 1957."
Sorry, didn’t mean to imply that the Todd presentation to exhibitors coincided with the public opening. Obviously, it didn’t. The “Variety” article mentioned that the orchestra-level booth was installed at some time into the “80D” run.
First theatre in the Germantown section of Philly to run CinemaScope (“The Robe” Dec 1953). Very interesting masking arrangement. “Barn doors” were attached to the side walls. When changing from scope to flat, an usher had to run to each wall, unfasten the hinged “barn doors” and close each one individually on the screen.
Yes, Mike, I did have Cinerama on the brain when I wrote that post about the Midtown. Sorry.
Ken MC, you’re right except for one fact. The Goldman was on 15th Street just ABOVE Chestnut and below Market. It was the second Philadelphia area theatre to install 70mm projection (1958 for “Sleeping Beauty”)
“La Dolce Vita” also roadshowed – fairly successfully – at the Philly Boyd between Cinerama engagements.
Hi, a friend of mine recently e-mailed me a photo of the exterior of the Goldman when “Funny Girl” was playing. I am trying to get in touch with him to ask permission to forward if along to you. It’s a 1.8 mg file. I’m not sure how to do it yet, but I will try if he consents. Vince Young
CinemaJunkie, u said: “The projection is horrible. They play flat movies on the big curved screen and scope movies on the small flat screen.” What does this mean? Do they have two different screens?
This was also the theatre in which producer Louis DeRochemont tested the new 3-panel CineMiracle process.
CConnely, Vito, BoxOfficeBill, please tell us just exactly what “damage” was done to the Roxy by the installation of CineMiracle. I can only assume you actually were there, else you wouldn’t have been able to make these comments. Other than the positioning of a large screen and curtain track forward of the proscenium, much as was done at the Broadway and Warner for Cinerama, just what “damage” was done? Eager 3-panel enthusiasts await your reply(s).
My mistake. First of all, I was talking about the theatre which was known as, and was opened as, the UA Cinema 150 (and then later called the Syosset). I never really noticed a balcony at that theatre..or was it just a raised “loge” or “mezzanine” section.? I remember the balcony at the Syosset. I sat there during “Superman III.” My faulty memory at play here. At any rate, the photograph in question is certainly that of the UA Lefrak. Again, compare with the photos in Kraus' website. Somewhere on line, and I will find it again, are UA’s opening publicity pages for the Lefrak unveiling. They include the same photos that appear on the “fromscript…” pages.
Let’s not start a war over this, but I have a sneaky feeling that the photograph of the D-150 installation on the “fromscripttodvd” pages (NY theatre photos) supposedly of the Syosset LI is in actuality that of the UA Lefrak City (Queens, NY). Reason # 1: I’ve been in both; the photo in question was obviously taken from above orchestra level…the Lefrak had a balcony. The Syosset didn’t. Reason #2: check out Steve Kraus' D-150 pages at “www.govst.edu/users/gaskrau/index.html”. Enlarge the top photo so that you can see the caption “UA Lefrak City.” Reason #3: The Syosset’s screen was much larger than the one in this photograph. I might be wrong, but I was in the Lefrak on opening day to the public, and several times at the Syosset since then. Comments?
Re: “Loews New Columbia”. Here’re the dates & pages in Variety with the first two items I mentioned above:
Loew’s to Hail ‘New’ Columbia in D.C.
70-Year-Old Theatre to be Razed for De Lux Version Opening Next Year
MGM advertisement for ‘Ben-Hur'
Listing theatre openings: Washington â€" Loew’s New Columbia"
I believe the ad for the theatre itself came out shortly thereafter.
RLVJR, you seem to be correct, but what happened? I still have somewhere two articles from “Variety”, both in mid-59, one announcing the list of opening B-H engagements, mentioning the Columbia, and another indicating that the old house would be demolished and replaced by the new Columbia. Also, a full-page ad for the new Columbia also in mid- to late-1959. What happened? Why wasn’t it built? Thanks
re the may 26 post: did “happiest millionaire” play roadshow in other cities? Yes, and so did the MGM 1960 remake of Cimarron. Played at least the Stanton in Philly hard ticket as well as (if memory serves), the Paramount in Hollywood.
Mike, I think you’re right. The interstates chain installed Todd-AO projection in both of their Tower Theatres, in Dallas and Houston at some point in mid-‘56. The two uptown Uptown theatres I mentioned ran “South Pacific” roadshow in 70mm in '58. Sorry.