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Yeah, Howard, glad you caught this. It’s complete gibberish. Perhaps the poster is confusing 65mm sensors (which collect the incoming light from the lens) with 65mm film. I agree that the practice of calling cameras with enlarged sensors “70mm” cameras is misleading.
Channels two and four in six-track mixes and their associated loudspeaker placements became obsolete in the nineties.
John, the opening of Disney’s 70mm “Sleeping Beauty” in the Spring of 1958 introduced the Goldman’s new post-scope screen on a deeply curved track which remained in place at least through the run of “Porgy and Bess” the next year and quite possibly as late as “El Cid” in 1962. This was the 2nd 70mm install in the area, the first of course being the 1955 introduction of the Todd-AO system at Goldman’s Midtown. And both installations were originally on curved screens which subsequently were replaced by flat projection.
27x63 ft single sheet screen on deeply curved track installed for the run. Theatre’s curtains had to be removed. Projected slide with pattern used for light curtain. Slide had a movable “flag” in the lower center section that was in place for the small-image “prologue”.
mh052 said, “The Stadium Theater was located just across the street from another George A. Hamid enterprise; namely, Aquarama, Theater of the Sea (Philly’s own big-time aquarium showplace), right on South Btroad St.”
Someone please explain how both the Stadium Theatre and Aquarama, if they were physically across the street from each other shared the same building address, namely 3300 South Broad Street, during the same time period.
To whom it may concern, Planet of the Apes opened at the Goldman on April 24, 1968, and not one day earlier! Advertisements in both the Philadelphia Inquirer and the Evening Bulletin indicate clearly state that Apes opened as the incoming feature of an “All Day Prevue” (a Philadelphia exhibition protocol in which the incoming feature is paired with the outgoing film to produce a double-feature billing for one day) with “The Secret War of Harry Frigg” as the outgoing film. The Variety magazine issue of May 1, 1968, in the “film grosses” section also states without reservation that the first week of “Apes” at the Goldman ended and was tracked by Variety on April 30. It grossed $47,000, btw. I’ve posted photos.
Nice work, Cinerama. Do you happen to have any photos or advertisement art for the digital presentation of This Is Cinerama over one weekend last year at the Music Hall? Thanks
What does “Krakatoa…” have to do with this discussion of
“Cinerama’s Russian Adventure”? And what is the city/theatre mentioned in the January 14 post?
And, I might add that the “Variety” review out of Chicago stated positively that the initial American engagement at the
McVickers (a Cinerama house since 1962) was the only one in the States to utilize a 3-projector Cinerama protocol for this release; the following dates would all be via 70mm. It never played the Philadelphia market in any format, however.
The ongoing comments on reddit would indicate that wherever a digital copy had to be substituted for the print (“H8 8”) the ratio matched that of the film. There may or may not be a “special edition” BluRay in the works maintaining the 2.76 as well.
A 70mm scope print, such as the ones for “h8 8”, are to be shown in the a.r. of 2.76 to 1. The 2.2 (or 2.2.1) ratio is the nominal standard for so-called flat 70mm prints. Keep in mind that on a given 70mm film, the actual projected image may be “hard-masked” on the print to attain any ratio that can be fit into the frame.
My expectations were in some ways exceeded. I had not been in the Riverview since its expansion in'the nineties, so I was pleasantly surprised that auditorium #13 (the h8 70mm room) and its
adjacent #12 had not been severely stadium-ized with the upper section resembling a height
ride at an amusement park. This nearly always leads to fuzzy multi-channel imaging and often,
as in the Cinemark XD rooms, a one-size-fits-all screen that diminishes the impact of scope.
That said, aud #13 here has a moderate rake with good views of its approximate 40-45 foot scope
screen, in the 2.2:1 ratio which means letterboxing for wider aspect ratios as was the case here. It would have been nice that, given the cost of the install (or reinstall since the original Riverview did have at least one set of 35/70mm machines) to have temporarily masked off the top and bottom of the screen. Throughout the print there was a green vertical stripe down the right side of the image, and the
image did often show off the soft focus often evident in UP70 photography. I will within the next
few hours post on the riverview’s page on cinematreasures.org three photos I took inside the
auditorium. Oops. almost forgot: the ticket taker graciously handed out the souvenir program booklets…nice touch!
I’ve posted three photographs. The one with the color information removed clearly shows
the contrast between the projected letterboxed image and the actual screen material.
Is 70mm being installed into aud #14 for “h8tful 8”?
Anybody have any idea of the expected image size of the reported anamorphic 70mm presentation of “Hateful 8” beginning Christmas? I’m assuming the a.ratio will be spot on. Thanks
I hope someone in attendance Sunday took photos, and will post them, of this installation. including screen and dci projector. Incidentally, while this was happening Sunday, demolishing teams were busily at work dismantling the auditorium of the Philadelphia Boyd, the 6th of the original US Cinerama installatiions.
More pictures, information at my new site thiswascinerama.com
The Town, as a Cinerama house, was more like the DC Warner than the Uptown….a “classic” Cinerama installation. Curtain track and screen outside of the proscenium…projection booths fully on the orchestra floor…ceiling not lowered. The Uptown was (is, sorta) of the so-called “Super Cinerama” design, with raised floor, lowered ceiling to give the effect of wall-to-wall, floor-to-ceiling screen. The Warner, of course, was of the classic Cinerama design.
Hal Wheeler, who planned to acquire and reopen the Boyd, passed away this past Monday (25).
Is this the Budco chain that operated in the Philadelphia, Pa. market?
Mike asked me about the Pittsburgh and Philadelphia Cinerama engagements. Here’s my reply (SFP meaning “Search For Paradise,” SW is “Stanley Warner,” “WJ” is “Windjammer,” and “BG” is “…Brothers Grimm):
You’ll notice a few interesting differences. Cinerama in PGH had always attracted Cleveland visitors, and I have in fact reproductions of railroad tickets and advertisements for the local Cleveland-to-Pittsburgh “see Cinerama” train run which had become extremely popular . Then, Cleveland opened 11/56, siphoning off the PGH business, and 7W began to fall off late that year. SW decided to temporarily – it was hoped – replace Cinerama which they could do according to the Dept of Justice SW-Cinerama agreement since they were already SW houses. So, “Ten Commandments” came in, and while it did well, I have some articles and letters-to-editors grousing about the extreme distortion caused by throwing the image onto the deep curve screen from the upstairs booth. I forget what they did surrounding and between the SFP and WJ engagements. Somewhere in there, they was an almost-roadshow engagement of the eagerly-awaited (at least by Warner Bros) “Old Man and The Sea.” I remember reading that advance boxoffice was so dismal that they cancelled the reserved seat run except for the premiere night, and Old Man on grind ran something like only a week or two. Same temporary interruption of Cinerama happened to the Boyd but not until the Spring of ‘58 when SFP really tanked, the Boyd then running 35mm grind and roadshow (“Gigi”) until WJ. Both took out Cinerama for Ben-Hur in 1959, and came back with a bang with BG.
I’ve yet to find an eyewitness who can tell me how SW de-Cinerama’d this install…as the ones I saw in DC, Philly,and NY were each different.
“From that view, it leads one to believe that "Tycoon” is the theater name the way it’s emblazoned across the marquee"…
You should’ve seen it years later when the “Spartacus” artwork covered the vertical “Goldman” name all the way up to the “G”.
It was the Sansom St. Cinema which either began its life as a porno house or morphed into one towards the end, and I think was in the same block as but across the street from the Roxy. It may have also been under Sackett’s supervision that one of the most amazing double-feature bills of all time was shown: “The Wizard of Oz” and Tod Browning’s “Freaks” in one sitting. Among his other ventures, Sackett was also the chief proponent of a short-focal length lens attachment he marketed in the 1970-1980’s as “SuperVision,” which, according to him and his press releases was installed in at least two theatres in Las Vegas, and was even used at an Oscar ceremony for projecting the film clips utilized during the awards.
…And also. there were three, not two, CinemaScope 55 productions. Paul Mantz, aerial photographer for Cinerama among other things, shot “several hundred thousand” feet of C55 footage for a travelogue that Zanuck had commissioned, “Deluxe Tour.” When Fox decided on the wider gauge Todd-AO, this production was halted, and the footage apparently junked. Also, C55, in the 16 or so engagements where it was actually presented, did offer at least two “improvements” over standard 35mm scope. First, since the soundtrack (6 channel) was on a separate dubber, the entire frame (without any mag tracks) was used so that the original scope ratio of 2.55:1 was returned…which meant a wider screen image than CS35. (The C55 installations were the same ones that premiered the original Scope 35). Also, aside from Cinerama and Todd-AO (which was only in 3 or 4 cities prior to “Carousel”), C55 provided six channels of audio (including Left-Center and Right-Center). All other commercially released multi-channel formats for scope, widescreen, 3-D, or flat had a maximum of four channels.
Best I can think of is to run through microfilmed copies of the Phiadelphia “Inquirer” and “Evening Bulletin,” of that area which had full amusement sections, and also the weekly “Variety,” particularly in the “Picture Grosses” pages as well as the “Music” and “Concert” areas located towards the rear of this magazine.
Does anybody else remember the ridiculous law suit those Budco people tried to bring against the Philadelphia film critics who publicly decried United Artists' decision to book “Apocalypse Now” into this breath-takingly awful theatre? I’ve spoken to one of those critics since then…it all came to naught…the public stayed away from the Goldman in droves…and the suit was dropped. It would be difficult to find a worse theatre in the Philadelphia area nowadays…I said “difficult,”….not “impossible”