I would agree, but we are at the end of the summer season when Hollywood unloads the crud before the far pre-Oscar season, and the indy films from a number of recent film festivals have not really had wide circulation yet. Let’s see what they have to offer over the next few months.
I think the point of the article though was to encourage readers to rethink the history of times when quality Hollywood flmmaking had reached a high point – especially in terms of quality storytelling, technical craftsmanship, and later influence. The list of films cited for 1959 is quite impressive on those counts. Many of them cited in the article as being significant were in B&W and most were in mono, not stereo sound.
Also, I don’t think 70mm film was anywhere near being the norm in 1959; “Ben-Hur,” “The Big Fisherman,” and possibly “Porgy and Bess,” I think were the only releases. The golden era of films originating and presented in 70mm still a few years away. But the films of 1959 clearly revealed a number of trends.
The film descriptions as posted on the theater’s website all mention their digital system, so I’m guessing all the showings are digital, though they doesn’t mention any detail beyond that.
According to its entry here on CT, only the facade could be historic as it is the front of the former El Miro theater (which also has an entry here). The existing theater was apparently built sometime in the 1980s.
Other websites that discuss this project (put Schlosser Constellation in a search engine to see them) indicate that the projection will digital using Texas Instruments DLP technology.
I have seen digital projection used effectively in rooms with considerable ambient light. I have to believe that someone must have raised the issue about the quality of the daytime projection or the project would not have progressed as far as it has.
A recent article about this theatre indicates that it was originally built in 1937 and rebuilt in 1947, after a fire. Though still operating, it’s in serious need of renovation: http://www.2theadvocate.com/news/57620962.html
There’s a conceptual sketch by S. Charles Lee of the theater he was commissioned to design for the Disney lot at this site (scroll down to see it) : View link
Anyone know of it is close to what was actually built?
It’s not clear if that theater will be the site based on the information; the press release says, “Walt built the original theater on the Studio lot back in 1940; it opened just in time for special audiences to view his `Fantasia.‘ [the film will be shown in] a newly renovated, state-of-the-art theater…” which sort of implies that it will be shown in that theater though updated. However at the online site for ordering tickets: View link
it indicates (near the bottom) that the showing will be in a brand new state-of-the art theater.
It’s no doubt an oversimplification, but if movies were still distributed exclusively on 35mm or (wishful thinking, I know) 70mm film, with good security around the transfers of the prints, wouldn’t piracy occur less frequently? Until the advent of the VCR, to pirate a film one would have to steal a print. The studios moan and groan about piracy, but they make it so easy using digital media. They want it both ways – cheaper production, distribution, and projection in theaters, and then all that extra and immediate income from DVDs and downloads. This only encourages the production of crummy films with short lives, as they still turn a profit.
The project developer’s website for the Block 37 project (now called 108 North State) still says that Muvico is going to operate a theater on the shopping center section’s eighth floor. But Muvico just underwent a financial re-organization and sold off off some its theaters to Cinemark. There’s no mention of the Chicago downtown project on the Muvico site though does mention some other projected openings. 108 North State recently lost some previously announced high profile tenants (including Apple Computer). It would not surprise me if the proposed theater is on hold, perhaps indefinitely, given the state of the economy right now.
I wonder why the Center Mayfield is considered as a “sister” theater to the Cedar Lee; I believe the Cedar Lee is considerably older, perhaps by as much as a decade. The interiors and lobby were very different in terms of their original decor, and the Cedar Lee had a raised section at the back of the original auditorium (now sub-divided), something like today’s stadium seating, whereas the Center Mayfield had all the seats on the same sloping floor. The Center Mayfield’s seating capacity was also much larger than that of the Cedar Lee. The 600 seat capacity, as noted above, I do not believe to be accurate; take a look at the picture of the auditorium posted by Warren G. Harris above. The 1,200 figure quoted by Joe Vogel is far more likely. The Center Mayfield was much more like the Richmond Theater in Lyndhurst, especially in terms of its auditorium.
A 2009 picture:
View link
Sad pictures of decaying screening room 4:
View link
View link
I would agree, but we are at the end of the summer season when Hollywood unloads the crud before the far pre-Oscar season, and the indy films from a number of recent film festivals have not really had wide circulation yet. Let’s see what they have to offer over the next few months.
The total of theaters at Playhouse Square in Cleveland is actually now five, with the addition of the restored Hanna.
I think the point of the article though was to encourage readers to rethink the history of times when quality Hollywood flmmaking had reached a high point – especially in terms of quality storytelling, technical craftsmanship, and later influence. The list of films cited for 1959 is quite impressive on those counts. Many of them cited in the article as being significant were in B&W and most were in mono, not stereo sound.
Also, I don’t think 70mm film was anywhere near being the norm in 1959; “Ben-Hur,” “The Big Fisherman,” and possibly “Porgy and Bess,” I think were the only releases. The golden era of films originating and presented in 70mm still a few years away. But the films of 1959 clearly revealed a number of trends.
Pictures – and the menu – here:
View link
The film descriptions as posted on the theater’s website all mention their digital system, so I’m guessing all the showings are digital, though they doesn’t mention any detail beyond that.
According to its entry here on CT, only the facade could be historic as it is the front of the former El Miro theater (which also has an entry here). The existing theater was apparently built sometime in the 1980s.
Auditorium:
View link
Lobby mural:
View link
Exterior:
View link
Lobby:
View link
Auditorium:
View link
View link
Other websites that discuss this project (put Schlosser Constellation in a search engine to see them) indicate that the projection will digital using Texas Instruments DLP technology.
I have seen digital projection used effectively in rooms with considerable ambient light. I have to believe that someone must have raised the issue about the quality of the daytime projection or the project would not have progressed as far as it has.
This site:
View link
shows three sketches of the proposed project and the screens.
A recent article about this theatre indicates that it was originally built in 1937 and rebuilt in 1947, after a fire. Though still operating, it’s in serious need of renovation:
http://www.2theadvocate.com/news/57620962.html
There’s a conceptual sketch by S. Charles Lee of the theater he was commissioned to design for the Disney lot at this site (scroll down to see it) :
View link
Anyone know of it is close to what was actually built?
A limestone head of a goddess, alleged to be from the facade of this theater, was recently spotted on E. 80th St. View link
There’s more information about the Disney premiere engagement and post show event here:
http://cinematreasures.org/news/21652_0_1_0_M/
The post-premiere event, included in the ticket price, will be at the Roseland Ballroom in NYC and on Soundstage 3 at Disney Studios in Burbank.
It’s not clear if that theater will be the site based on the information; the press release says, “Walt built the original theater on the Studio lot back in 1940; it opened just in time for special audiences to view his `Fantasia.‘ [the film will be shown in] a newly renovated, state-of-the-art theater…” which sort of implies that it will be shown in that theater though updated. However at the online site for ordering tickets:
View link
it indicates (near the bottom) that the showing will be in a brand new state-of-the art theater.
Theater pictures can be seen here: View link
This theater has re-opened and the website is fully functional.
http://www.carolinaciviccenter.com/
In addition, the theater is also running a fall series of classic films. There’s a story about the series here: View link
It’s no doubt an oversimplification, but if movies were still distributed exclusively on 35mm or (wishful thinking, I know) 70mm film, with good security around the transfers of the prints, wouldn’t piracy occur less frequently? Until the advent of the VCR, to pirate a film one would have to steal a print. The studios moan and groan about piracy, but they make it so easy using digital media. They want it both ways – cheaper production, distribution, and projection in theaters, and then all that extra and immediate income from DVDs and downloads. This only encourages the production of crummy films with short lives, as they still turn a profit.
Oh, and also the Golden Gate in San Francisco when it was a Cinerama house, if memory serves.
I think Trans-Beacon also operated the Cinestage and Michael Todd theaters in Chicago in the later 1960s and early 70s.
The project developer’s website for the Block 37 project (now called 108 North State) still says that Muvico is going to operate a theater on the shopping center section’s eighth floor. But Muvico just underwent a financial re-organization and sold off off some its theaters to Cinemark. There’s no mention of the Chicago downtown project on the Muvico site though does mention some other projected openings. 108 North State recently lost some previously announced high profile tenants (including Apple Computer). It would not surprise me if the proposed theater is on hold, perhaps indefinitely, given the state of the economy right now.
I wonder why the Center Mayfield is considered as a “sister” theater to the Cedar Lee; I believe the Cedar Lee is considerably older, perhaps by as much as a decade. The interiors and lobby were very different in terms of their original decor, and the Cedar Lee had a raised section at the back of the original auditorium (now sub-divided), something like today’s stadium seating, whereas the Center Mayfield had all the seats on the same sloping floor. The Center Mayfield’s seating capacity was also much larger than that of the Cedar Lee. The 600 seat capacity, as noted above, I do not believe to be accurate; take a look at the picture of the auditorium posted by Warren G. Harris above. The 1,200 figure quoted by Joe Vogel is far more likely. The Center Mayfield was much more like the Richmond Theater in Lyndhurst, especially in terms of its auditorium.