I found out the screen was on a curve and measured 25x60, the full widith of the Capitol’s proscenium opening.
I’ll check out the LOC site. Thanks!
I’m doing an article on FROM HERE TO ETERNITY, and its original widescreen release in 1953. I believe you mentioned that you worked at the Valencia when it opened on 12/30. I’m pretty sure the Valencia had stereophonic sound installed. Do you have any specific recollections of the stereo on this film?
I know that’s a tough question to answer over 54 years later, but those tracks are now lost and we’re trying to get some idea of how they sounded.
I have seen 40 of the 50 3-D features produced during the “golden age” of 1952-1954, all of them projected in their original dual-strip 35mm Polaroid versions – no red/blue anaglyph. I can state for a fact that those films were better photographed than most 3-D movies of the past 40 years. Those cinematographers knew what they were doing and respected the stereo window.
3-D movies are like the circus: they’re great when they come to town once in a while, but I wouldn’t want to go every week.
The Montauk has been known as a sleazy “adult theater” for nearly 40 years now. The people that would remember it as a prime theater for Warner Bros. films are long, LONG gone.
Yes, I have a Photobucket account. I’ll try to get some of those images scanned and posted.
In looking at the film coverage and photos of Mr. Lewis' theater tours, both RKO and Loew’s had police escorts to arrange for a quick passage to each theater.
There’s a gentleman by the name of Miles Krueger. He is founder of the Institute of the American Musical in Los Angeles. I visited his museum about 20 years ago, and he has an original usher (or doorman) coat from the Times Square Paramount. I don’t recall the colors, but it was VERY heavy!
The room under the booth is the “publicity room” as identified on the original blueprints. That’s where the custom posters were originally made for the film/stage shows from 1929-1935. That room is also the access to the roof and clock tower. You have to climb through a window to get on the roof.
Yes, there is a long passageway from the sub-basement under the lobby that will take you backstage. I’ve walked it during shows, and it’s kind of creepy to hear the film echoing through the long, narrow corridor.
There’s also a large rehearsal room (and radio broadcasting booth) two levels below the stage.
“I remember seeing Hitchcock’s DIAL M FOR MURDER here in 3-D. It was the only 3-D ever made by Hitchcock, but after the first 3 days the 3-D version was pulled and replaced by a regular print.”
Sorry rlvjr, you’re mistaken. We’ve been trying to locate documentation of any 3-D playdates for this film. When I read your post, I arranged to look at microfilm from Washington.
DIAL M opened flat at the Metropolitan, just as it did in every other major city across the country. In fact, the newspaper ads emphasized that you can “See it without glasses.”
Robert: The gentleman that I am referring to is Mr. Bob Eberenz. He has worked in the film industry since the mid-1940’s, and his resume in the business is quite extensive. He will be at the Ziegfeld tonight.
John Wayne’s 3-D classic HONDO had its world premiere at this theater on 11/24/53. John Wayne and Ward Bond appeared in person. We are looking for any materials from this premiere: photos, ads, flyers, etc.
Better yet: were you there? We’d love to document your memories of this event!
The owner of the print will only allow it to be shown reel to reel.
Somebody on another site mentioned a high-pitched noise during the musical numbers. That would be the tone meant to trigger the surrounds. Apparently, the mag is working but not the 4th channel
We have a group attending tomorrow night, including a gentleman that built and maintained Otto Preminger’s private screening room. (And does he have stories to tell!)
It should take just under 10 seconds to open the curtain on even a very large screen. That’s just enough time to have the screen clear for the opening titles.
Did you ever notice how the old studio logos were just about that length? I discovered that from timing my curtain pulls when we used to do that at the Loew’s Jersey.
The classic-style showmanship rule of thumb was to NEVER show a blank screen.
Circa 1954, here is the text from 20th Century Fox instructions on opening curtains for a CinemaScope film:
“The curtain is to be opened very slowly and in such a manner that when the title of the feature appears on the screen it is just uncovered. The travelling curtain should continue at the same speed until it is completely opened.”
I found out the screen was on a curve and measured 25x60, the full widith of the Capitol’s proscenium opening.
I’ll check out the LOC site. Thanks!
I’m doing an article on FROM HERE TO ETERNITY, and its original widescreen release in 1953. I believe you mentioned that you worked at the Valencia when it opened on 12/30. I’m pretty sure the Valencia had stereophonic sound installed. Do you have any specific recollections of the stereo on this film?
I know that’s a tough question to answer over 54 years later, but those tracks are now lost and we’re trying to get some idea of how they sounded.
Thank you!
Bob
I’m trying to find a photo of the Capitol’s proscenium and screen after the widescreen installation in June, 1953.
Can anyone help? Thank you!
Bob
Wow, and Martha Stewart headlining the stage show. I didn’t realize she was that old!
(Just kidding.)
Pink Floyd appeared at the Central on 11/2 and 11/3/71. I know there were other shows during that time as well.
That would have been the Central. They did some rock shows just before the Capitol started having them.
Mr. Hayward: Didn’t you originally do some rock shows at the Central Theater which was just around the corner?
I have seen 40 of the 50 3-D features produced during the “golden age” of 1952-1954, all of them projected in their original dual-strip 35mm Polaroid versions – no red/blue anaglyph. I can state for a fact that those films were better photographed than most 3-D movies of the past 40 years. Those cinematographers knew what they were doing and respected the stereo window.
3-D movies are like the circus: they’re great when they come to town once in a while, but I wouldn’t want to go every week.
The Central was demolished in 1978 or 1979.
The Montauk has been known as a sleazy “adult theater” for nearly 40 years now. The people that would remember it as a prime theater for Warner Bros. films are long, LONG gone.
I recently moved several of my Fabian images. Here are the new links:
1925 interior:
View link
1925 lobby:
View link
2002 balcony:
View link
Yes, I have a Photobucket account. I’ll try to get some of those images scanned and posted.
In looking at the film coverage and photos of Mr. Lewis' theater tours, both RKO and Loew’s had police escorts to arrange for a quick passage to each theater.
I have some photos of Jerry Lewis at the Pitkin in 1960 when he appeared on stage promoting “The Bellboy.”
Please do give our love to Mrs. Rosemary!
There’s a gentleman by the name of Miles Krueger. He is founder of the Institute of the American Musical in Los Angeles. I visited his museum about 20 years ago, and he has an original usher (or doorman) coat from the Times Square Paramount. I don’t recall the colors, but it was VERY heavy!
No, I don’t. He said that it aired about 4 or 5 years ago.
I was just told that PBS did a terrific documentary several years ago on the Roxy which had extensive newsreel footage, including some in color.
Does anybody know where I can locate a copy of this show? Thank you!
Larry: Any memories of the event?
The room under the booth is the “publicity room” as identified on the original blueprints. That’s where the custom posters were originally made for the film/stage shows from 1929-1935. That room is also the access to the roof and clock tower. You have to climb through a window to get on the roof.
Yes, there is a long passageway from the sub-basement under the lobby that will take you backstage. I’ve walked it during shows, and it’s kind of creepy to hear the film echoing through the long, narrow corridor.
There’s also a large rehearsal room (and radio broadcasting booth) two levels below the stage.
“I remember seeing Hitchcock’s DIAL M FOR MURDER here in 3-D. It was the only 3-D ever made by Hitchcock, but after the first 3 days the 3-D version was pulled and replaced by a regular print.”
Sorry rlvjr, you’re mistaken. We’ve been trying to locate documentation of any 3-D playdates for this film. When I read your post, I arranged to look at microfilm from Washington.
DIAL M opened flat at the Metropolitan, just as it did in every other major city across the country. In fact, the newspaper ads emphasized that you can “See it without glasses.”
Bob Furmanek
Vice President
3-D Film Preservation Fund
http://www.3dfilmpf.org/
Robert: The gentleman that I am referring to is Mr. Bob Eberenz. He has worked in the film industry since the mid-1940’s, and his resume in the business is quite extensive. He will be at the Ziegfeld tonight.
John Wayne’s 3-D classic HONDO had its world premiere at this theater on 11/24/53. John Wayne and Ward Bond appeared in person. We are looking for any materials from this premiere: photos, ads, flyers, etc.
Better yet: were you there? We’d love to document your memories of this event!
Thank you very much.
Bob Furmanek
Vice President
3-D Film Preservation Fund
http://www.3dfilmpf.org/
The owner of the print will only allow it to be shown reel to reel.
Somebody on another site mentioned a high-pitched noise during the musical numbers. That would be the tone meant to trigger the surrounds. Apparently, the mag is working but not the 4th channel
We have a group attending tomorrow night, including a gentleman that built and maintained Otto Preminger’s private screening room. (And does he have stories to tell!)
Does anyone know what time the doors open?
It should take just under 10 seconds to open the curtain on even a very large screen. That’s just enough time to have the screen clear for the opening titles.
Did you ever notice how the old studio logos were just about that length? I discovered that from timing my curtain pulls when we used to do that at the Loew’s Jersey.
The classic-style showmanship rule of thumb was to NEVER show a blank screen.
Circa 1954, here is the text from 20th Century Fox instructions on opening curtains for a CinemaScope film:
“The curtain is to be opened very slowly and in such a manner that when the title of the feature appears on the screen it is just uncovered. The travelling curtain should continue at the same speed until it is completely opened.”