Showing 201 - 225 of 273 comments
WTVJ is channel 6 right now. WFOR, which is CBS is channel 4 now. Like I said, about 1991 they swapped channels. I live in Coral Springs.
I guess we’re going to have to agree to disagree. Although I’m becoming senile and can’t tell you who I talked to yesterday, I’m certain Airport wasn’t the first 70mm film to run at Radio City. I would have suggested that we ask Bob Endres, but he didn’t start working there until the early 70’s. All the people that I dealt with at the time are all dead now (which I’ll be also shortly), so that just leaves me to argue the point.
As an example other examples of more website mis-information, look at this site:
They say GWTW was released in 1939 and then re-released in 1947, 1954, 1967 and 1969. However, they left a re-release out. I personally ran a NEW Technicolor IB print that had a 4 channel mag track on a 1961 re-release. In my mind it was anamorphic, because I remember changing lenses for trailers, but I can’t see how that could be and wouldn’t swear to it since it was before MGM did the anamorphic hatchett job on the 1967 re-release of GWTW.
tsloews- I’ve been to Nashville, my sister inlaw is the District Attorney in McMinville (I think it’s spelled that way), however I didn’t realize Nashville had 4 Loews theatres. Were they all “real” Loews theatres or were some of them just new boxes?
No, WTVJ is the NBC affiliate in Miami. Bernard Myerson had an interest in WFOR, the CBS affiliate. It’s confusing since originally NBC was on channel 4 and CBS was on channel 6. About 20 years ago they swapped frequencies for technical reasons and NBC-WTVJ is now on 6 and CBS-WFOR is on channel 4. However, I’m sure it’s Bernard Myerson from Loews.
Things were MUCH different years ago, today anything goes. I still haven’t gotten over the consent decrees that ruined Loews/MGM. A MUCH worse situation exists today with 2 or 3 companies controlling EVERYTHING. AMC, Regal & National Amusements control the majority of theatres in this country and the government sees no problem with that. In the 1960’s I drove around the country and any city or town worth driving through had a Loews theatre. Since in many instances it was the ONLY theatre in town, it didn’t even have a name on the marquee, it just said LOEWS on the big vertical.
tisloews, did you work for Loews? If so, would you know if the “Bernies”, Bernard Myerson and/or Bernard Diamond (Loews Vice-presidents)are still alive? Years ago I understand Bernard Myerson had a financial interest in the CBS television affiliate in Miami Florida.
It sure is ironic! The film companies are just like other big companies, when they decide to do something, whether it makes sense or not sometimes has no bearing? In the mind of the paper pushers at MGM at the time, the NEW redone “anamorphic” prints they spent so much money on, first restoring the 3 B&W masters that had shrunk differently on each one, which necessitated having to re-register every frame of a nearly 4 hour movie. Then, after that was done they had to optically scan it top to bottom (as opposed to side to side like they used to do for TV prints of Cinemascope movies) in order to keep the action in the “new” widescreen format, while at the same time losing picture information from the original 1.33:1 aspect ratio when converted to 2.35:1.
For “non-purists” it could have been an interesting “modern take” of the original version. However, the color was all washed out and everytime there was a dissolve, the color and grain became even worse. In contrast, the Technicolor IB prints (which are no longer made), that all previous prints of GWTW were made in, have non-fading color and virtually no apparent grain at all.
Warner Brothers, that not only has DVD & Blu-ray rights to WB films, but, also many other company’s films (somehow), have the DVD & Blu-ray rights to GWTW. They claim to have developed software that can take a film that’s been stored as 3 B&W strips and to “perfectly” re-register all these films that have shrunk over the years. Since they can scan these film at 8K, it’s possible to make 35mm release prints from a re-registered and color corrected digital scan, which is how the last release of of the Blu-ray of GWTW was made.
Saps – That’s a very interesting interpretation from Guys & Dolls. Do you also talk to yourself?
Thanks. It appears that Harvey Levin got tired of going back and forth between NY & LA and is now doing the commentary from LA. The judge, Marilyn Milian lives in Florida and I wondered since Levin was doing his work from LA, maybe she got them to tape in Florida. But, they appear to still have a New York State flag behind her. But if they tape on 38th ST, then I gues they never used the Embassy as a studio. It’s been so long since I’ve been to Times Square that I don’t know what’s going on there anymore.
Thanks Al. Do you know if they actually are using the theatre itself as a studio for The Peoples Court, or are they just using the front for Harvey Levin’s follow-up?
Does anyone know if it’s the Embassy they are (or were) using as a studio for “The People’s Court”? It appears that until recently, Harvey Levin (from TMZ), does the follow up standing outside what appears to be the Embassy.
tisloews-You sure are right about that. I just emailed a website that purportedly listed EVERY 70mm film ever run in New York City along with the theatre it ran in. What caught my eye was it only showed “Gone With The Wind” as running at the Ziegfeld theatre in 1970 as part as a 70mm series. However, they had NO LISTING for the original run when the 70mm version of “Gone With The Wind” first premiered in New York. The special 70mm opening was at Radio City Music Hall in 1969. I know that because “Gone With The Wind” was the reason they installed the Simplex XL 70mm projectors at the Music Hall. Those projectors are VERY rare and the 70mm gates had to hand made by a guy name Howard Streit (I think that’s how he spells it). Personally, I HATED what they did with GWTW, it looked lousy compared to the original Technicolor IB prints. The funny thing is that when GWTW went into wide release they didn’t have enough new anamorphic prints, so they also used Technicolor prints they had for the “dumps”. The people that went to the dumps got to see it in ALL its original glory.
“The 1943 Film Daily Yearbook lists it with 2163 seats. The multiplex probably used lobby space as well. The proscenium remains as storage area behind the last two screens.
posted by AlAlvarez on Dec 12, 2009 at 4:54pm”
Al, the multiplex did not use ANY original lobby space at all. Having been involved in the design and installation of the multiplex, I can tell you that the reason lobby space couldn’t be used was because the back of the original theatre is WIDER than the lobby section of the building. There are exit doors that go to the theatre alley on the left of the building, which extend to the left beyond the lobby portion of the building. The exit doors were the BACK of the original theatre.
Other then poking holes for the hanging ceiling in the lobby, the original ornamental plaster is still above the lobby. Everything else had been pretty much gutted.
Bloop, I don’t where the letter is presently and because I’m becoming a little senile I can’t tell you verbatim what it said at the moment. However, basically it said what a good friend I’ve been to her and Paul over the years and how whenever they had a problem I always came quickly to help her. It also said a few other things that I just can’t recall. If I find it I’ll scan it and post it.
As I think about the Utopia, I really miss Ruth Wright and Paul Raisler. They were the last of the “real” showman (and show women)theatre owners independent theatre owners.
“Tomorrow (3/19) will mark the 52nd anniversary of the opening of the NYC premiere engagement of Walt Disney’s "The Shaggy Dog,”
posted by Tinseltoes on Mar 18, 2011 at 10:38am"
Although I’ve become senile and somtimes I can’t remember what I did yesterday, I remember the opening of “The Shaggy Dog” as though it was just yesterday. It’s strange what I can remember over 50 years ago and yet current things draw a blank.
LOL- At some point in time EVERYTHING was in an SMPTE Journal. I have all my own journals from 1972 on. I also have most of the 1940’s & 50’s journals from Bill Nafash’s stuff. I donated most of the EXTENSIVE documentation I got from him to The Museum of the Moving Image in 1989.
You’re certainly right about some of the relationships being VERY complicated. When I think about how the Justice Department made it MORE complicated with their consent decrees they forced Loews into, it makes me sick. They RUINED Loews only to allow virtually the same “problems” to occur again by other companies only to ignore the situation to this very day.
I can only wonder how many more movie palaces would exist today if not for the gutting of Loews in 1958. I’ll bet the number of theatres on CT is MORE than 75%.
Of all the theatres that remain today, the theatres on the west coast, especially in the LA area, are MUCH better than “what’s left” here in the New York area. While there may be some exceptions, overall they have NO RESPECT for old movie palaces.
One of my best friends (now deceased) was a vice president of the Fox Film Company in 1925. Before he passed away in 1982 he gave me pictures of himself and William Fox. One of the pictures was of the “Fox Film Baseball Team of 1925” and everyone, including Mr. Fox, is in a baseball uniform. He used to tell me about some the theatres they operated across the country and how Mr. Fox “insisted” that every theatre be built as opulent as possible. It used to depress me thinking about how I missed that parade.
When you’re talking MOVIE THEATRES, to even mention a theater like the Palace in the presence with MOVIE PALACES (no pun intended) like the Roxy or Capitol is insulting, especially to the Roxy. While the Palace might be famous, it’s certainly not a good theatre for movies when compared to a “real” movie theatre….especially all the theatres built by Loews and RKO in the years of 1928-29.
I believe once Century started managing theatres for Springer, Springer was no longer operating any theatres. However, there was a strange booking arrangement and in some instances, when the film companies placed ads in the newspaper where they list all the theatres playing a particular picture, it would occasionally say “Springer’s Xxxxxx Theatre” instead of Century’s.
The so called “lesser” Century theatres you refer to were Springer Theatres in the first place….that’s why they were “lesser” theatres (a polite way of saying a dump). -LOL
Century operated the Community under the Century “banner”, however, it was actually owned by Springer. Century was just the management company for Springer. Century was already gone when the Community was twinned and was probably under the control of RKO CENTURY WARNER and the buildings that were still owned by Century and taken over by RKO CENTURY WARNER were not subject to the old restrictions. I’m trying to remember what “Springer’s” first name was, but I’m getting senile, but I remember things from 40 years ago better than yesterday.
But you’re absolutely correct about the clause. That’s why the Queens and Community didn’t wind up as catering halls. -LOL
Springer was a relative of Scwartz.
“And how many angels can dance on the head of a pin?
posted by saps on Feb 21, 2011 at 7:30pm”
Don’t believe in angels.
I really don’t know what happened to Mr. Schwartz, but, based on his age I assume he must have passed away. I imagine Mr. Schwartz would have to be around 95 to 100 or more if was still alive, which I doubt. My father was also friends with Jack Warner. I only met him twice, but back then he arranged for me to get a 16mm print of “Gypsy”, which I still have to this day. It’s still like brand new (last I looked) and is a pretty rare Technicolor IB print. In 1964 he sent my father 6 tickets for the premiere of “My Fair Lady” at the Criterion. STILL one of my favorite films. My father told me he saw a screening of the 1927 version of “The Jazz Singer” at the Winter Garden Theatre. I thought it premiered at the Warner Theatre, and I’ve never been able to resolve the discrepancy.
I don’t know how or why, but my father also friendly with producer/director Richard Brooks, who I never met but sent my father tickets for the premiere of “Lord Jim” in 1965 at Loews State. I was amused because my father wasn’t really a real big movie fan, while I on the other hand and despite being a projectionist, really loved (past tense) movies. I say loved because I really don’t “Dances With Wolves”, “Forrest Gump” and “Titanic”. I mainly like musicals from the 50’s to early 70’s the best.
I would have wanted to get involved to obtain landmark status for a number of theatres in New York, but when I was diagnosed with stage 2 emphysema, which is now end stage, I was just too weak to do anything.
I was happy that Loews Valencia was saved when they gave it to the Tabernacle Of Prayer years ago….at least it saved that beautiful theatre. The RKO Keith’s on Main Street didn’t fair so well. When I worked at the Prospect with your dad, my friend Willie Hastad worked at the RKO Keith’s. He was very friendly with your father and worked with me at the Prospect before he went to the RKO Keith’s. Willie also moved to Florida around when I did. Actually, I’m in Florida right now. I own a house here, as well as my home in NY, that I wound up with when my father passed away in 1997. While I lived in Florida for years, flying back and forth when I worked at the Alpine 7 plex (former Loews Alpine)in Brooklyn. I also worked as the serviceman for Golden Theatre Management that owned the Alpine from 1973 until 1988 when Cineplex Odeon took it over. I designed and installed the multiplexing of the Beverly, Rugby, Granada, Fortway, Oceana, Alpine, etc. in Brooklyn and the Quad Cinema and Olympia (Loews Olympia) in Manhattan (I think that’s all of them).
I’ll be back in NY at the end of the month. It’s been too hot for me down here and it makes breathing hard from the humidity. I considered a lung transplant, but after looking into it and hearing all the requirements, I decided against it.
I’ve always had a screening room in my home. Way before all this talk about “Home Theatre” and had both 16 & 35mm projectors in my booth. When I originally moved to Florida I got rid of all the 35mm film but kept my 16mm collection. That was a BIG mistake because although I kept it in an air conditioned house, all my Eastman prints went bad (turned red). All I have left are my Technicolor prints, which were new or in excellent condition and included some of the best pictures ever made. I was going to try to sell them, but I’m just too weak to deal with all of them (and my wife is of NO HELP!). I think I’m going to donate them to either the AFI or the Museum of the Moving Image in Astoria if they’re interested. I’m sure the Museum Of Modern Art would be. I’ve now replaced EVERY picture with DVD or Blu-rays of every film I had plus a few more. About 400 in all. I use an expensive video projection system where the Blu-rays look better than some 35mm prints (and they don’t show dirt near the end of every reel -LOL).
When I originally moved to Florida I donated hundreds of rare items and documentation to the Museum of the Moving Image. They said they made me a life patron and sent me their monthly flyer for a number of years and then NOTHING. I still have a lot of stuff, both here in Florida and in New York. My wife will probably just get a dumpster when I die and throw out treasures through her ignorance.