Showing 201 - 225 of 436 comments
Thanks Bill and Bob for the kind words. I always enjoy reading your posts on the Ziegfeld page. I got so engrossed in that discussion once that I made a trip to NYC to see one of the first Classic Series showings.
On the subject of the 70MM staffing question, I can only speak for the practice here in Atlanta. In the 60’s theatres with IATSE contracts had a choice of paying two operators for 70MM showings or pay time and a half for one man. This also applied to 35MM runs of reserved seat engagements. The last time I recall this coming into play was in April of 1973 at the Atlanta Theatre when they ran the 70MM reissue of This Is Cinerama. That was also the only time I ever saw the time and a half for one man option used.
Michael: I have a Birmingham note to add. Your research shows that SOM played at the Eastwood Mall for 17 weeks starting in July of 1965 which would take it up to around Thanksgiving. I recall that I saw it again at the downtown Ritz Theatre during Christmas holidays. I think this was just a filler until the Christmas attraction for the Ritz started. I do not recall it being a moveover since there was a break between the engagements. I described that showing in my post on the Ritz page: /theaters/9396/
I see your list did not mention this engagement. Do you think there were any runs of this nature during Christmas of 1965 which was prior to many cities getting a booking. I am pretty sure this was 1965 since I recall it being shortly after the Eastwood run ended. Of course I am going on my memory here, and you of all people know what can happen when I start doing that.
Bill: Please help keep Vito’s blood pressure down. Don’t get him going on the console thing again.
Thanks Michael for another one of your exercises in research. I have always enjoyed your efforts to list the movies that played in certain theatres and what theatres played some notable movies.
For me, SOM was one of those watershed movies that opened up a whole new area of interest, namely musicals, just like The Longest Day did for war movies and Doctor Zhivago did for historical drama. I can remember the day I first saw SOM like it was yesterday. I still have my reserved seat ticket stub from the Eastwood Mall Theatre in Birmingham with its SOM logo printed on it. The date has faded, but it was a Friday, October 13th I think, 1965. 2 PM showing. I was 13, and even in those days we had teacher work days, just not as many as they do now. My mother offered to take me out to lunch and then all the way out to Eastwood Mall to see the movie. Going to Eastwood, which was a long way on the other side of Birmingham in those pre expressway days, was always a treat since it was one of the first enclosed malls in the southeast.
I fell in love with everything about this movie that day. The beautiful picture, impressive locations, wonderful music, and an entertaining story really made it a day to remember. On the way home we picked my dad up at work, and I could not wait to tell him about my day. He did his parental duty and listened, then told me that he was happy I enjoyed the movie, but he would pass on it. O well. He was a Georgia Tech man who five years later would be paying for me to earn a liberal arts degree, so SOM was not the only thing we did not have in common. The next day, he did take me to the local Woolworths so I could buy the record, my first movie soundtrack. It still sits on my shelf to this day. Shortly after that was another first, a return visit to see the movie again. I remember seeing the same movie twice, but usually as the co feature at the drive in. This was the first time I returned to see a movie during the same engagement.
This was a great time to be starting an interest in movies. Titles such as the three I mentioned above plus Lawrence, Goldfinger, Thunderball, Man For All Seasons, Mary Poppins, and McLintock made movies hard to resist.
Like countless others, I have seen SOM many times over the years. In the late 60’s it made a final round of neighborhood theatres in Atlanta, where I was living by then, with the tag “Going Out Of Release Until 1973.” In late 1971, about the time I started working in theatres, there was word that Fox was hurting for money and was considering bringing SOM back a year early. However, French Connection bailed them out and the big reissue took place in April 1973. By this time, the Martin Cinerama in downtown Atlanta had been sold to the Walter Reade Org. and been renamed The Atlanta. This magnificent theatre with its 70MM Cinerama projectors, deeply curved screen, and plush appointments had run SOM in its premiere release for 90 weeks. In addition it had run 3 strip Brothers Grimm, HTWWW, and 70MM IAMMMMW and 2001, as well as musicals such as Thoroughly Modern Millie, Mary Poppins, Camelot, Fiddler On The Roof, Man Of La Mancha, and even Goodbye Mr. Chips. But times had changed and it was now preparing for a run of the third Ginger movie, Girls Are For Loving, to be followed by Super Fly TNT. Needless to say, SOM would not be returning to its Atlanta home.
Martins suburban Cinerama house, the Georgia Cinerama got the honor. Not as big or plush as the downtown theatre, it did have the 70MM projectors and curved Cinerama screen. They had a 12 week run of packed houses before the picture was pulled in July and sent on a wider “intermediate” break. By this time the thrill of The Atlanta had faded and I was working at the Sandy Springs Theatre which got one of the intermediate bookings. For five weeks I had the pleasure of seeing this show as much as I liked, and on slow nights would prop the auditorium doors open so I could listen along as I worked. I was sure sorry when it had to go to make room for that next big Fox hit, Neptune Factor.
Within five years the video revolution had begun, and one of the first movies I bought to play in my $1200 RCA Selectavision VCR was a pan and scan copy of SOM from that producer of incredibly fuzzy, grainy, movies, the Magnetic Video Corp. I swear the thing looked like it was filmed in 8MM aimed at a screen showing a 16MM print. However, thinking that this was the ultimate in technology, I was happy to have it.
In the early 80’s a 70MM print of SOM showed up at the Rhodes Theatre which in better days had premiered such hits as West Side Story, Lawrence of Arabia, and Sand Pebbles, to say nothing of Darling Lilly. As a payback for that great afternoon 16 years earlier, I took my mother to see it, and then again a couple of months later when the same print showed up as part of the Fox Theatre summer film series.
In 1984, I passed through Saltzburg Austria, and spent a day seeing all of the SOM sites. I was impressed with how compact the city is and how many of the buildings and landmarks from the movie can be seen from one spot. The magic of film angles and editing made the place look much bigger. Even more so, the church where the wedding scene was filmed was amazingly small. I have photographed many places where movies scenes have been filmed over the years, but the one that hangs on my wall is a picture of my mother standing in front of the fountain where Julie Andrews and the children were dancing, with the castle in the background.
In the 90’s I started working in the projection booth of the Fox Theatre in Atlanta, and twice have had the pleasure of running SOM. In fact, that is the only time I have run this picture as a projectionist. The last time, I had finished inspecting the film for the next day, and had the chance to relax and watch the last hour or so. Sitting on the window sill of the spotlight booth, looking out over a packed house of over 4000 people, it was impossible for me not to think back to that day about 30 years earlier when I first saw SOM and started a life long love affair with movies and theatres.
Douglasville: You have your theatre company listings complete and in the right order, but listed under the wrong theatre. This is the page for the Sandy Springs Mini Cinema which also operated under the name of Sandy Springs Theatre and Weis Sandy Springs. The theatre you are talking about is listed on this site as the Sandy Springs 8.
The correct address for the theatre on this page is 6125 Roswell Road, but I do not know how to go about changing something like that.
Description of one persons experience while attending the 70th Anniversary series.
The Google map places the theatre about half a block north of its actual location. On the overhead shot you can just make out the marquee sticking out over the sidewalk just below the Fantasyland Records label. As for the street view, it is taken from the spot the overhead view points out as the location of the theatre. You can just make out the marquee three doors down from Fantasyland.
The street view shown here is current with the way the place looks now.
I have just had it explained to me what spaceballed means. Jack put the picture on his Flickr page for me and posted the link. I have no objection to it being copied and I doubt if Jack does. It must be a Flickr thing.
If you will add a contact info to your personal page on this site or post an email address here, I will email you a copy of it.
Relax Jack, your masterpiece is still intact. The above link for the map is at fault. It gives you a look at the correct street number on Cobb Parkway in zip code 30080. If you change the zip to 30082 you will get the right picture.
Here is the correct link: View link
The theatre is in the black square part of the parking lot that has been repaved. Directly behind it, just above the Glendale Pl. lettering is the site of the old Miracle Theatre.
Oddly, the map link in the heading above, the one that takes you to Cobb Parkway, shows the dirt lot that once played host to the Akers Mill Theatre.
Dmorg: Thanks for that nice write up of your memories of the South Dekalb. Maybe I saw you on your first visit since on my first day as manager we were running Herbie and Crazy Mary Dirty Larry. This was a very enjoyable theatre to work in and even when busy was easy to run since you could stand in front of the box office and see almost the entire operation. The only time things got hectic was when you had to line people up in the mall for #1 or outside for #2.
Your memories of what type of movies played on which side may be correct, but content had nothing to do with it. During cold weather, we usually tried to put the busy movie in #1 so we could line people up inside the mall. This was always a problem as the line would get confused with the people in the mall and it was too easy for people to hang around the mall entrance and break in line once we started to let the people in. Whenever the weather permitted, the busy movie would be in #2 so we could run the line up the hall and outside.
Of course this all changed when they split the two houses. Then, things got too hectic with different showtimes and exit times so you just had to do the best you could and when possible stretch out the intermissions. On some movies like Jaws 2 and The Muppet Movie, and the Bo Derek Tarzan of all things, the crowds were so large you would have an entire sellout lined up while the previous movie was still on. No amount of intermission could solve that.
I have always thought that the original twin theatre was the nicest theatre combined with the best presentation of any theatre I ever worked in. Glad to see someone else noticed.
Mike, This is an odd page to bring up the Weis chain since this theatre was never operated by Weis and has spent the vast majority of its life as a porno house. However, since you asked, all of the Weis theatres in Atlanta have pages and comments on this site. They are:
Fine Art: /theaters/11485/
Weis Cinema: /theaters/11690/
Peachtree Battle: /theaters/12131/
Sandy Springs: /theaters/12161/
Candler Road: /theaters/16454/
Franklin Road: /theaters/12863/
Only the last two were actually built by Weis. All of the others were already operating, sometimes under different names, when purchased by Weis. You will have to read down into the comments section to get to the Weis information on these.
J.B. Canton Corners is listed on this site as Blackwell Playhouse:
Joe, Many thanks for all of your comments relating to Boxoffice. I never worked for Storey, and never attended this theatre after it was twinned, but I would doubt that new seats were used to keep the total number at 900.
The single screen layout had three section seating with two off center aisles, and I am sure that they just built the wall down the center and the aisles became single center aisles with two section seating. I worked at several theatres that were twinned in this way and the only ones to relocate the center section seats so that they pointed at the relocated twin screens were the Tara and South Dekalb. Since the new screens were much smaller most theatres just added the surplus seats in front of the old front row. I think that the old North Dekalb had a small stage a couple of steps off of the floor in front of the screen. They may have taken this out to give them more room to add new front rows thus allowing them to keep the 900 seat capacity.
I never found quality of presentation to be a concern when twinning theatres was underway. The public never seemed to care so why should the owners?
Yeah, that great waterfall curtain got used for about three weeks until the practice of running advertising slides during intermission caught on. Occasionally they would kill the slides and lower the curtain before the show start, but that did not last long either.
Also, you failed to mention the Coke stain which never got cleaned off of the screen in the big house. Too much trouble I guess.
Dave Poland was gone from Atlanta by the time I went to work for GCC, and his place was taken by Larry Pittman. I first met Larry Anderson when he replaced Webb Brainerd, who was the opening manager for the Perimeter Mall Triple. I think Webb went to Columbia SC, but he eventually ended up in Dallas in the booking department.
Larry stayed at Perimeter until 1978 when he went to open the new Akers Mill. I think that he was replaced by Stu Hoffman. If not, Stu came in shortly afterwards. I never met Larry or Stu at the time, but before our GCC days we were all managers for Loews. I think that they were both in Miami then.
Larry stayed at Akers until he was made DM. I think that at one time he was a DM in another area, but most of the time he was in Atlanta. In the early 80’s he left GCC to become the head of operations for Septum Cinemas, an Atlanta based regional. He must have left with a return option, because in less than a year he was back, not starting over as a manager, but in his old DM job. In the late 80’s he left GCC to work for Storey, another Atlanta based local chain. Within months, Storey was bought out by Regal and last I heard he was in NC.
Stu left GCC and went to work for NCN, the intermission slide show advertising company. I last saw him in 1988 when he came by a theatre I was running to check the slide set up. That job was a natural for him. When he and Larry were managers for Larry Pittman, they would travel all over the Pittman district selling screen ads for the Christmas season. Each manager was supposed to do that, but many did not have the knack or interest, so Larry and Stu would earn a lot of comissions and the results for Pittman’s district would be near the top.
That is too bad about Craig Zacker. I only met him at the Northlake. From my recollection of him I would say the he was a prime candidate for a heart attack. I think that Larry Anderson used him as a helper because Craig enjoyed the work and did not mind the extra duties. Some of the managers thought that Craig was just trying to get in good with the DM and that his own theatre could never measure up to the standard he held them to when doing his inspections.
Managing for GCC was no picnic, at least in Atlanta, and I think that most of the managers were just trying to get through the week without anything bad happening. Some of them hoped to move up in the company, like Anderson, but I do not recall any who did. Some of them did leave GCC for much better jobs.
If you will note the two previous posts, Clifford’s memories are correct, but he posted them on the wrong Capri page. As I pointed out to him, he thought he was on the page for the Capri in Atlanta, where all of those pictures did indeed play. For some reason, when the page for that theatre was started, it was listed as the Roxy. In addition to being a conflict with the old downtown movie palace Roxy, the Capri in Atlanta did not assume the Roxy name until it had closed and then reopened as a music hall. If I knew how to do it I would change the name of the theatre in Atlanta to the Capri, which is what it was known as for most of its movie playing days, or the Buckhead, which was its name when it opened.
For many years that theatre was one of the top first run venues in Atlanta. If you are interested, the page for the Buckhead / Capri/ Roxy is:
I have read all of your Augusta entries with interest. For many years I worked for Georgia Theatre Company, and later General Cinema in Atlanta. Reading about your experiences only confirms my belief that in the 60’s through the 80’s theatre work was pretty much the same no matter where you worked. Only the faces changed.
Of all of the people you mentioned, only Craig Zacker rings a bell. For years he was the unofficial assisstant for Larry Anderson, the Atlanta based DM. He would do pre inspections of the theatres to point out all of the flaws he spotted so they could hopefully be corrected before Larry did his real inspections. I only met him in passing and have no opinion either way, but I do know that most of the managers hated his guts. Didn’t he either come from or move on to Athens?
I think that you have this theatre in Augusta confused with the old Capri in Buckhead. That one is listed on this site as the Roxy. It is one of two by that name in Atlanta, the other one being the old downtown house. Really, the one in Buckhead should be listed as the Capri or the Buckhead, its name when it opened. It never showed movies under the Roxy name.
Lost Memory has found an ad for this place as well as the Westgate from 1980.
It is nice that your mother noticed the quality of the picture since it was presented in 70MM. Although it was a blow up from 35MM, like all 70MM of its day, it still looked so much sharper than the regular 35. So sharpe in fact, that in the final shootout between Paden and Cobb you can notice that in alternating shots one of Kevin Kline’s cuffs changes from buttoned to unbuttoned and back.
That photo looks a lot like the Gwinnett Place 6, Akers Mill, Perimeter Mall, Hairston 8, and for a while, Merchants Walk and Parkside.
Parkside sat closed for a year before an independent outfit reopened it. The popcorn and candy were still there too. They served it of course. Parkside closed again, sat empty for a year, reopened for a year then closed again. The current operator has kept it open and running well for over five years. Great neighborhood house.
Well, if it is not my senior class president from Sandy Springs High School gracing us with his presence on this page.
David, I remember your Dad working for Columbia from the days when you would bring promotional handouts to school. One that I particularly remember was the fake dollar bills promoting that epic of comedy, “Who’s Minding The Mint?” That one was a tough sell I suppose, but not nearly as hard as what he was trying to do ten years or so later. By that time I was serving my second sentence as manager of the theatre at Lenox Square. I had business dealings with him in his days of working for AFD Pictures, which I think stood for Associated Film Distributers. There he had the thankless job of trying to sell two of the biggest stiffs of the 80"s, “Raise The Titanic” and “The Jazz Singer.”
Reading your post, I did not realize that the Capri and Fine Art (which is listed as Garden Hills on this site) were still Carter Theatres during your working days there. You might find this link of interest:
Last year, I came across a stack of old newspapers from the 60’s. I have always been interested in the look of movie ads and the design of the theatre logos. My friend Mike shares that interest and he wrote an entry on his blog describing the catch phrase some theatres used in their ads and reproduced the logos from the papers. The Capri is one that he used.
During our high school and college years, theatres were a hobby as well as a job for me, and I enjoyed keeping track of the booking patterns at some of the first run theatres. I still have the log, and here are the bookings for the Capri starting with when my family moved to Atlanta:
8/2/67: To Sir With Love
11/15/67: Don’t Look Back
11/22/67: More Than A Miracle
11/25/67: The Comedians
2/14/68: Guess Who’s Coming To Dinner
6/5/68: A Dandy In Aspic
7/24/68: The Swimmer
8/21/68: Belle de Jour
10/23/68: Funny Girl (reserved seats)
9/24/69: Easy Rider
12/19/69: John and Mary
2/4/70: The Magic Christian
3/18/70: Zabriskie Point
4/8/70: The Wild Bunch
5/20/70: Lover and Son
5/27/70: The Sicilian Clan
7/1/70: The Out of Towners
9/30/70: Tell Me That You Love Me Junie Moon
10/21/70: Baby Maker
11/18/70: No Blade Of Grass
12/25/70: Love Story
6/23/71: Wild Rovers
7/23/71: Hellstrom Chronicle
10/8/71: See No Evil
11/25/71: Going Home
12/25/71: $ (Dollars)
3/22/72: The Godfather
8/11/72: The New Centurions
11/17/72: They Only Kill Their Masters
12/20/72: The Poseidon Adventure
4/12/73: Lost Horizon
6/29/73: Oklahoma Crude
7/27/73: O Lucky Man
9/14/73: Stone Killer
10/26/73: Mrs. Basil E. Frankweiler
I no longer have the last page of that log but I do remember that in 1974 the spring booking was The Great Gatsby, summer was For Pete’s Sake, and for Christmas they put in the super subs and ran Earthquake. After that, I decided to use that fine college education my parents provided me with to manage movie theatres. I no longer had the time for keeping lists, nor the interest since I had enough problems with my own theatre to care what anyone else was playing.
Still, the years from 1970 – 1990 were good times to be working in theatres. As I have said in other posts on this site, those years were the bridge between the downtown movie palace days of old, and the megaplexes of today. At least I was able to experience the final years of what working in movie theatres was like before they turned into the fast food dominated carnival atmosphere of today.
Sail On, Sail On
Clint is correct. The lobby was street level. You went down about 25 or so steps to get to the orchestra via the lower lobby which was also the location of the concession stand.
The balcony that was slightly above street level was really the mezzanine. It only held about 12 rows of seats.
The true balcony was located above the false ceiling that Martin installed during the Cinerama conversion. It is just a guess on my part but I think that it was about two thirds the size of the orchestra. I only saw it as a shell, with all of the seats removed. There was a walkway built out over the false ceiling section that we used to change the auditorium lights.
Like the Fox, the original projection booth was located above and behind the balcony which gave it a long throw and big vertical keystone. For Cinerama to work, the projectors had to shoot straight on to eliminate this keystone, so the booth was moved to a small area underneath the mezzanine. I do not know what this space was used for in the pre Cinerama days, but it might have been a sound or spotlight booth for live shows.
Write up on 35MM single strip and three projector presentations of How The West Was Won as well as 70MM single strip Cinerama. Half way down is a newspaper ad for Circus World at the Martin Cinerama.
Write up on the 1964 single strip presentation of How The West Was Won at the Cobb with newspaper ad:
Write up on the Fox attraction from August 1964 along with a picture of the newspaper ad:
Sorry, wrong link above. Try this one: