Replying to Vincent’s question of 11/29…yes, West Side Story, Cleopatra, and Sound of Music were shown on the 60-some foot curved screen. The D-150 installation, larger screen, same curve, came about in the mid-sixties. The smaller, less curved silvered screen was placed in front of the curtains and first used for the 3-d film “Dynasty.”
Vincent just mentioned above re showing Cinerama, “there’s nowhere to do it anymore in NY.” I don’t know if the Times Square multiplex known variously as the Embassy 2-3-4, and 1-2-3, and, long ago, as the DeMille, Mayfair, and Columbia is still standing. It was a few years back. The balcony had been plexed, but the orchestra was still intact. This was the auditorium in which the Russian flavor of Cinerama, called Kinopanorama, had a short run in 1959. Screen size was in excess of 60 feet, and the 3 projectors were the ones used at the nearby Roxy to show the CineMiracle “Windjammer.” It was also the theatre in which the new owner, Walter Reade, Jr., having just been elected to the Board of Directors of Cinerama, Inc., had planned to exhibit future Cinerama films.
Don’t give up hope. Keep in mind that back in 1995 somebody in Dayton, Ohio was probably saying “sad to say Dayton will probably never see Cinerama again.”
As to Vincent’s lament above. “63 feet for Cinerama and no curtain!”. There were a number of CineMiracle presentations on screens in excess of 80 (EIGHTY) feet with no curtains. Not that I approve, but I’d take it today in a “New York heartbeat”!
Let’s not forget that the Coronet was the San Francisco premiere house for Todd-AO, “Oklahoma” opening around 2/16/56, followed by Todd’s “Around the World in 80 Days” Christmas week, same year.
Russell McCullough, technical director of National Theatres, tested his 3-projector+mirror system here. The patent for this system was awarded to McCullough. For test material (as the cameras had not been developed), he was able to borrow from Lester Isaacs, at that time head of exhibition at Cinerama, Inc., the 2nd act of “This Is Cinerama.” Some reports, however, claim that he had access only to the Able and Charlie sections. McCullough’s patent, No. 3,101,643 was filed in August of 1954, though not awarded until August of 1963. Of note is the fact (and I do not know if this was actually tested at the Melrose) that in this patent the mirrors, or reflectors as he called then, were located on the side walls of the auditorium, not inside the single booth itself.
I think what is meant here when it is stated “on a 148ft curved…” is that it was a 146 degree curved screen. Same for “120ft curved screen.” This 2nd installation in fact had a 120 DEGREE screen measuring 76x30 feet.
Also, this is the house that gained some notoriety for instituting a policy that was doomed to failure. Located in a city where racial segregation was rampant, the Melbal instituted a policy where Thursday Cinerama showings were “For Negroes Only.” One of the many reasons that led to Cinerama’s financial downfall during the travelogue years was that there were a number of cities in the South with populations which could have sustained a Cinerama engagement but where at least half of the population was barred from going to the theatres. Cinerama showings in the South during the pre-MGM-Cinerama Inc-agreement years were available only in Atlanta. No wonder Cinerama played so well in Washington, DC.
Do you remember also a theatre just off the downtown area where every morning they would run trailers of upcoming attractions – regardless of where booked – for free? I even believe the concession stand was open during these showings.
Thanks, would’ve been interesting to see, tho. What do you know about a process that tried out in Vegas called “SuperVision.”? Early 1980’s…basically a “high-quality” enlarging lens placed in front of the prime and/or anamorphic lens. I remember seeing a demo in Philly of 16mm “blown up” in this fashion to 35mm “dimensions.” I also have heard that this lens was used at one of the Oscar presentations many years ago, but that the theatrical experiments were in Las Vegas. Also, any pics/info available of the Nevada Drive-In in LV where CineMiracle was reportedly shown?
Charles, a 3.27:1 aspect ratio for 70mm projection? And a screen 30-some feet wider than the largest recorded indoor 3-screen installations? Are you sure someone gave you the correct dimensions? If this is true, this theatre most certainly needs to be thoroughly researched. Keep us informed, please.
Michael Todd and his “Around the World in 80 Days” made a big splash at this Boardwalk theatre here in August of 1957 after the expiration of a “promotion” agreement between the Michael Todd Company and American Optical Co., inventors of the 65mm Todd-AO filming process. The expired agreement had called for Todd to devote his best efforts to promoting the 70mm Todd-AO projection process. It is well known that long before this time, Todd had been ceremoniously removed from the corporations that had ultimately brought Todd-AO to life. Todd apparently felt that he was free to point out that his film could be favorably screened by methods other than T-AO. On Thursday the 22nd, he invited 100 exhibitors to the Reade Paramount to view a 35mm presentation of “80D”. In keeping with the recommendations of his engineering staff, Todd had a new booth built on the orchestra floor, and encouraged the exhibitors to show his film in 35mm on the largest screens possible, with curvature. He demonstrated some 35mm footage of a United Artists film, “Patterns,” and of a CinemaScope travelogue, both projected from the original upstairs booth at a considerable angle. Most of the exhibitors seemed to be more favorably impressed with the 35mm “80D” footage projected from the orchestra-level booth, though not all. William Goldman of the Philadelphia area complained bitterly about having had to spend $50K for installing T-AO projection & sound equipment at his Midtown theatre, saying he had “ a whole warehouse full of 3-D and other trick projection equipment for special process pictures."
At one point Todd’s print-down from 70mm to 35mm process was called "Cinestage,” presumably named for the roadshow theatre in Chicago he operated. And, of course, 35mm printdowns from 65mm-originated negatives persist to this day.
Some Woods Trivia. In the Spring of 1957, the Essaness chain proudly announced to the world that the Woods Theatre “grosses more per seat than any other film house in the world.” Always excepting Radio City Music Hall and the Roxy in Manhattan, this statement might hold some water. For one thing, beginning during the war years, the Woods began a policy of being open 22 hours a day, closing only for cleaning. This was to attract service men and women and shift workers who wanted entertainment in the wee hours of the morning. In the March 20, 1957 statement Essaness pointed to the example of Paramount’s “High Society” raking in nearly $60,000 in its first week at the 1,206-seat house with a $1.50 top. Another reason given by the chain is that the house steadfastly refuses to stick to advertising material given it by the distributors. Citing “The Moon Is Blue” and “Man With The Golden Arm,” the chain’s executive praised his chain’s “unique and independent policies in respect to programming and advertising.” Continuing, he said, “…whole selling program has developed with the Essaness policy of training its advertising staff from the lower echelons of assistant managers and ushers….Moreover…a theatre must have a personality of its own to sell, especially in the video age.” Sage words even today, methinks.
Also out of the trivia box. In 1960, the Woods was one of Paramount’s biggest grossers for Hitchcock’s “Psycho” which broke all attendance and boxoffice records at the time.
Widescreen/Techno trivia: December 21, 1966 saw the world premiere here of Arch Obeler’s (he introduced “Bwana Devil” in 3D in 1953) “The Bubble” in what was called “Space Vision 3-d”!
A very versatile venue, being Chicago’s original Todd-AO house in 1955, then a moveover location of CineMiracle’s “Windjammer” from the Opera House; and then the 26 frame-per-second Cinerama in 1962. Only venue for the 3-strip “Russian Adventure” in the U.S., the 70mm version having a number of stateside runs. There is also a possiblity that horizontal VistaVision ran there. The McVickers was certainly not among the 10-12 original VV houses literally hand-picked by Paramount in 1954. But there are press releases beginning in mid-1956 that the distrib had plans to lease/rent VV projectors to “deluxers,” as “Variety” called them, that had booked “10 Commandments.” Along with the Chicago McVickers, that list would also include the New York Criterion, the LA Beverly, and the Philly Randolph. I vividly remember the Randolph run and the screen was gigantic compared to those I had seen there prior to the DeMille epic. Am I safe in assuming that if true VV ran in NY and LA (I can’t imagine Par not having it presented in at least those 2 prime premiere cities in VV), and Philly might have, then why not Chicago? Comments?
The Paramount has the honor of having Cinerama installed in 1956, removed in 1958; and then the rival 3-projector CineMiracle installed twice, once 1959, then removed, then re-installed in 1962. Any photos available during those eras?
I’ve been in dozens of Cinerama, CineMiracle and D-150 houses, but this is the ONLY one where there was a rising contour curtain on a curved track in front of the screen. Must’ve taken motors the size of a Volkswagen to lift that thing. Anybody have any info the UA70 right next door?
I remember a large projection booth positioned below the balcony but elevated off of the orchestra floor. There were also television sets on view in the downstairs lobby for those who wanted to view this latest wonder. It didn’t go out with a whimper, though. One of its final attractions, “One Flew Over The Cuckoos Nest,” ran for what seemed to be months on end.
Little known fact about the Mastbaum is that it was used in 1953 by Spyros Skouras and his Fox technicians as a test house for Fox' new CinemaScope process. The following year when the 3D craze kicked off, Stanley Warner quickly removed all of the 3D paraphenalia from its Aldine Theatre where “Bwana Devil” had just played a few blocks away and put it in the Mastbaum for the opening of “House of Wax.”
I dropped into this “plex” sometime before the fire. After seeing whatever it was I had come to see, I took a tour of the other auditoriums. Every screen seemed to be of the “common width” variety, so I left, never to return.
I dropped into this “plex” sometime before the fire. After seeing whatever it was I had come to see, I took a tour of the other auditoriums. Every screen seemed to be of the “common width” variety, so I left, never to return.
When I saw the 70mm version of “This Is Cinerama” in 1973 here, I had a long chat with the projectionist there who told me some startling information. I’ve never been able to verify it, but the gentleman told me that (1) the CineMiracle screen used there 1959/60 consisted of bedsheets sewn together. I really find this one hard to believe, given the sound transmission qualities of bedding material, not to mention the large number of visible seams. And (2) that the louvered screen at the Claridge was cleaned by using slices of bread! That one sounds so impossible, that it just might be possible. :)
If these pictures were taken recently, then this is a replica of the exterior. The entire frontage along the famed AC Boardwalk at Arkansas Ave. is a faux, and is now a wall of Bally’s Wild Wild West casino. In the 1959 or 1960 Summer season, the 3-projector CineMiracle film “Windjammer” was presented there. The screen, advertised as being 100 feet wide by 40 feet high and “the world’s largest screen” covered the entire front wall of the auditorium and was actually propped up between two rows in the front of the orchestra section. The 3 CineMiracle projectors were out in the open in the crossover aisle in the balcony. The CineMiracle 7-track sound system allowed for one track to contain a monophonic mix which was what was used here. Two or three performances only a day, seats were not reserved.
The Town’s theatre Cinerama history is rather checkered. The first “miscalculation” occured when it was decided to show Cinerama in Baltimore in the first place. Way back in 1953/54 when Stanley Warner was trying to get contracts with major producers such as Warner Brothers, one of the main points of contention was that SW insisted that Cinerama not be shown in theatres closer than 200 miles apart. This was not adhered to. It may be argued that the Philly engagement suffered from its proximity to New York. On the other hand, Detroit received much of its trade from Canada, despite its proximity to Chicago. With Baltimore (40 miles from DC, 100 miles from Philadelphia), there was a risk involved. Possibly sensing this, SW for the first time initiated an agreement with the theatre owner whereby the latter managed the house, as opposed to prior venues where SW operated the theatre on a “four-wall” basis keeping all the boxoffice, after paying all the expenses, itself. At any rate, “This Is Cinerama” opened at the Towne as the 30th Cinerama operation on 8/28/57 running for only 16 weeks (as opposed to 100 wks in DC and 72 wks in Philly). The 2nd Cinerama travelogue, “Cinerama Holiday,” didn’t even run. “7 Wonders of The World,” number 3, opened in January of 1958, followed by “Search for Paradise” that Spring which lasted all of 3 weeks. “South Seas Adventure,” like “Cinerama Holiday,” didn’t even get a chance. After re-installation, the MGM Cinerama films began 4/11/63 and run only until September of that year. The 70mm flavor of Cinerama begin in February of 1964. On the other hand, the rival CineMiracle process utilized with the film “Windjammer” played the Mayfair for 12 weeks from February to May, 1960.
Replying to Vincent’s question of 11/29…yes, West Side Story, Cleopatra, and Sound of Music were shown on the 60-some foot curved screen. The D-150 installation, larger screen, same curve, came about in the mid-sixties. The smaller, less curved silvered screen was placed in front of the curtains and first used for the 3-d film “Dynasty.”
Vincent just mentioned above re showing Cinerama, “there’s nowhere to do it anymore in NY.” I don’t know if the Times Square multiplex known variously as the Embassy 2-3-4, and 1-2-3, and, long ago, as the DeMille, Mayfair, and Columbia is still standing. It was a few years back. The balcony had been plexed, but the orchestra was still intact. This was the auditorium in which the Russian flavor of Cinerama, called Kinopanorama, had a short run in 1959. Screen size was in excess of 60 feet, and the 3 projectors were the ones used at the nearby Roxy to show the CineMiracle “Windjammer.” It was also the theatre in which the new owner, Walter Reade, Jr., having just been elected to the Board of Directors of Cinerama, Inc., had planned to exhibit future Cinerama films.
Don’t give up hope. Keep in mind that back in 1995 somebody in Dayton, Ohio was probably saying “sad to say Dayton will probably never see Cinerama again.”
As to Vincent’s lament above. “63 feet for Cinerama and no curtain!”. There were a number of CineMiracle presentations on screens in excess of 80 (EIGHTY) feet with no curtains. Not that I approve, but I’d take it today in a “New York heartbeat”!
Let’s not forget that the Coronet was the San Francisco premiere house for Todd-AO, “Oklahoma” opening around 2/16/56, followed by Todd’s “Around the World in 80 Days” Christmas week, same year.
Russell McCullough, technical director of National Theatres, tested his 3-projector+mirror system here. The patent for this system was awarded to McCullough. For test material (as the cameras had not been developed), he was able to borrow from Lester Isaacs, at that time head of exhibition at Cinerama, Inc., the 2nd act of “This Is Cinerama.” Some reports, however, claim that he had access only to the Able and Charlie sections. McCullough’s patent, No. 3,101,643 was filed in August of 1954, though not awarded until August of 1963. Of note is the fact (and I do not know if this was actually tested at the Melrose) that in this patent the mirrors, or reflectors as he called then, were located on the side walls of the auditorium, not inside the single booth itself.
I think what is meant here when it is stated “on a 148ft curved…” is that it was a 146 degree curved screen. Same for “120ft curved screen.” This 2nd installation in fact had a 120 DEGREE screen measuring 76x30 feet.
Also, this is the house that gained some notoriety for instituting a policy that was doomed to failure. Located in a city where racial segregation was rampant, the Melbal instituted a policy where Thursday Cinerama showings were “For Negroes Only.” One of the many reasons that led to Cinerama’s financial downfall during the travelogue years was that there were a number of cities in the South with populations which could have sustained a Cinerama engagement but where at least half of the population was barred from going to the theatres. Cinerama showings in the South during the pre-MGM-Cinerama Inc-agreement years were available only in Atlanta. No wonder Cinerama played so well in Washington, DC.
Do you remember also a theatre just off the downtown area where every morning they would run trailers of upcoming attractions – regardless of where booked – for free? I even believe the concession stand was open during these showings.
Yes, Charles, I’d like a copy of that. Thanks, Vince
Thanks, would’ve been interesting to see, tho. What do you know about a process that tried out in Vegas called “SuperVision.”? Early 1980’s…basically a “high-quality” enlarging lens placed in front of the prime and/or anamorphic lens. I remember seeing a demo in Philly of 16mm “blown up” in this fashion to 35mm “dimensions.” I also have heard that this lens was used at one of the Oscar presentations many years ago, but that the theatrical experiments were in Las Vegas. Also, any pics/info available of the Nevada Drive-In in LV where CineMiracle was reportedly shown?
The theatre’s website (text in German) is at:
View link
Hi, whatever happened to the photos of the exterior & interior of the Denver Cooper that were mentioned here late last year?
Charles, a 3.27:1 aspect ratio for 70mm projection? And a screen 30-some feet wider than the largest recorded indoor 3-screen installations? Are you sure someone gave you the correct dimensions? If this is true, this theatre most certainly needs to be thoroughly researched. Keep us informed, please.
Michael Todd and his “Around the World in 80 Days” made a big splash at this Boardwalk theatre here in August of 1957 after the expiration of a “promotion” agreement between the Michael Todd Company and American Optical Co., inventors of the 65mm Todd-AO filming process. The expired agreement had called for Todd to devote his best efforts to promoting the 70mm Todd-AO projection process. It is well known that long before this time, Todd had been ceremoniously removed from the corporations that had ultimately brought Todd-AO to life. Todd apparently felt that he was free to point out that his film could be favorably screened by methods other than T-AO. On Thursday the 22nd, he invited 100 exhibitors to the Reade Paramount to view a 35mm presentation of “80D”. In keeping with the recommendations of his engineering staff, Todd had a new booth built on the orchestra floor, and encouraged the exhibitors to show his film in 35mm on the largest screens possible, with curvature. He demonstrated some 35mm footage of a United Artists film, “Patterns,” and of a CinemaScope travelogue, both projected from the original upstairs booth at a considerable angle. Most of the exhibitors seemed to be more favorably impressed with the 35mm “80D” footage projected from the orchestra-level booth, though not all. William Goldman of the Philadelphia area complained bitterly about having had to spend $50K for installing T-AO projection & sound equipment at his Midtown theatre, saying he had “ a whole warehouse full of 3-D and other trick projection equipment for special process pictures."
At one point Todd’s print-down from 70mm to 35mm process was called "Cinestage,” presumably named for the roadshow theatre in Chicago he operated. And, of course, 35mm printdowns from 65mm-originated negatives persist to this day.
Some Woods Trivia. In the Spring of 1957, the Essaness chain proudly announced to the world that the Woods Theatre “grosses more per seat than any other film house in the world.” Always excepting Radio City Music Hall and the Roxy in Manhattan, this statement might hold some water. For one thing, beginning during the war years, the Woods began a policy of being open 22 hours a day, closing only for cleaning. This was to attract service men and women and shift workers who wanted entertainment in the wee hours of the morning. In the March 20, 1957 statement Essaness pointed to the example of Paramount’s “High Society” raking in nearly $60,000 in its first week at the 1,206-seat house with a $1.50 top. Another reason given by the chain is that the house steadfastly refuses to stick to advertising material given it by the distributors. Citing “The Moon Is Blue” and “Man With The Golden Arm,” the chain’s executive praised his chain’s “unique and independent policies in respect to programming and advertising.” Continuing, he said, “…whole selling program has developed with the Essaness policy of training its advertising staff from the lower echelons of assistant managers and ushers….Moreover…a theatre must have a personality of its own to sell, especially in the video age.” Sage words even today, methinks.
Also out of the trivia box. In 1960, the Woods was one of Paramount’s biggest grossers for Hitchcock’s “Psycho” which broke all attendance and boxoffice records at the time.
Widescreen/Techno trivia: December 21, 1966 saw the world premiere here of Arch Obeler’s (he introduced “Bwana Devil” in 3D in 1953) “The Bubble” in what was called “Space Vision 3-d”!
A very versatile venue, being Chicago’s original Todd-AO house in 1955, then a moveover location of CineMiracle’s “Windjammer” from the Opera House; and then the 26 frame-per-second Cinerama in 1962. Only venue for the 3-strip “Russian Adventure” in the U.S., the 70mm version having a number of stateside runs. There is also a possiblity that horizontal VistaVision ran there. The McVickers was certainly not among the 10-12 original VV houses literally hand-picked by Paramount in 1954. But there are press releases beginning in mid-1956 that the distrib had plans to lease/rent VV projectors to “deluxers,” as “Variety” called them, that had booked “10 Commandments.” Along with the Chicago McVickers, that list would also include the New York Criterion, the LA Beverly, and the Philly Randolph. I vividly remember the Randolph run and the screen was gigantic compared to those I had seen there prior to the DeMille epic. Am I safe in assuming that if true VV ran in NY and LA (I can’t imagine Par not having it presented in at least those 2 prime premiere cities in VV), and Philly might have, then why not Chicago? Comments?
The Paramount has the honor of having Cinerama installed in 1956, removed in 1958; and then the rival 3-projector CineMiracle installed twice, once 1959, then removed, then re-installed in 1962. Any photos available during those eras?
I’ve been in dozens of Cinerama, CineMiracle and D-150 houses, but this is the ONLY one where there was a rising contour curtain on a curved track in front of the screen. Must’ve taken motors the size of a Volkswagen to lift that thing. Anybody have any info the UA70 right next door?
I remember a large projection booth positioned below the balcony but elevated off of the orchestra floor. There were also television sets on view in the downstairs lobby for those who wanted to view this latest wonder. It didn’t go out with a whimper, though. One of its final attractions, “One Flew Over The Cuckoos Nest,” ran for what seemed to be months on end.
Little known fact about the Mastbaum is that it was used in 1953 by Spyros Skouras and his Fox technicians as a test house for Fox' new CinemaScope process. The following year when the 3D craze kicked off, Stanley Warner quickly removed all of the 3D paraphenalia from its Aldine Theatre where “Bwana Devil” had just played a few blocks away and put it in the Mastbaum for the opening of “House of Wax.”
Correction: that’s Warner, not Warren in Atlantic City. And at that time the Lancaster Opera House was the King.
I dropped into this “plex” sometime before the fire. After seeing whatever it was I had come to see, I took a tour of the other auditoriums. Every screen seemed to be of the “common width” variety, so I left, never to return.
I dropped into this “plex” sometime before the fire. After seeing whatever it was I had come to see, I took a tour of the other auditoriums. Every screen seemed to be of the “common width” variety, so I left, never to return.
When I saw the 70mm version of “This Is Cinerama” in 1973 here, I had a long chat with the projectionist there who told me some startling information. I’ve never been able to verify it, but the gentleman told me that (1) the CineMiracle screen used there 1959/60 consisted of bedsheets sewn together. I really find this one hard to believe, given the sound transmission qualities of bedding material, not to mention the large number of visible seams. And (2) that the louvered screen at the Claridge was cleaned by using slices of bread! That one sounds so impossible, that it just might be possible. :)
If these pictures were taken recently, then this is a replica of the exterior. The entire frontage along the famed AC Boardwalk at Arkansas Ave. is a faux, and is now a wall of Bally’s Wild Wild West casino. In the 1959 or 1960 Summer season, the 3-projector CineMiracle film “Windjammer” was presented there. The screen, advertised as being 100 feet wide by 40 feet high and “the world’s largest screen” covered the entire front wall of the auditorium and was actually propped up between two rows in the front of the orchestra section. The 3 CineMiracle projectors were out in the open in the crossover aisle in the balcony. The CineMiracle 7-track sound system allowed for one track to contain a monophonic mix which was what was used here. Two or three performances only a day, seats were not reserved.
The Town’s theatre Cinerama history is rather checkered. The first “miscalculation” occured when it was decided to show Cinerama in Baltimore in the first place. Way back in 1953/54 when Stanley Warner was trying to get contracts with major producers such as Warner Brothers, one of the main points of contention was that SW insisted that Cinerama not be shown in theatres closer than 200 miles apart. This was not adhered to. It may be argued that the Philly engagement suffered from its proximity to New York. On the other hand, Detroit received much of its trade from Canada, despite its proximity to Chicago. With Baltimore (40 miles from DC, 100 miles from Philadelphia), there was a risk involved. Possibly sensing this, SW for the first time initiated an agreement with the theatre owner whereby the latter managed the house, as opposed to prior venues where SW operated the theatre on a “four-wall” basis keeping all the boxoffice, after paying all the expenses, itself. At any rate, “This Is Cinerama” opened at the Towne as the 30th Cinerama operation on 8/28/57 running for only 16 weeks (as opposed to 100 wks in DC and 72 wks in Philly). The 2nd Cinerama travelogue, “Cinerama Holiday,” didn’t even run. “7 Wonders of The World,” number 3, opened in January of 1958, followed by “Search for Paradise” that Spring which lasted all of 3 weeks. “South Seas Adventure,” like “Cinerama Holiday,” didn’t even get a chance. After re-installation, the MGM Cinerama films began 4/11/63 and run only until September of that year. The 70mm flavor of Cinerama begin in February of 1964. On the other hand, the rival CineMiracle process utilized with the film “Windjammer” played the Mayfair for 12 weeks from February to May, 1960.