Didn’t the Paramount on Times Square have a similar feature? I seem to remember reading that it was closed quite early in the theaters history because of noise drifting down to the audience.
The Queen Anne Theater is in Bogota, New Jersey. It’s been closed for many years. I think the last time it was open was in the mid-80’s when it was a porno theater. I’ve never been inside, but I know that some light fixtures were taken out at some point, so it may have been stripped of salvageable materials.
I used to work for Jerry Lewis. He told me that he and Dean were having so much fun in those early days, it didn’t bother them how many shows they did a day. They probably didn’t finish at the Copa until 3 or 4 AM, and then would have to be at the Roxy for the first show in the morning.
I know when they played at the Paramount, the first stage show was around 10 or 11 AM! I don’t know how they did it.
Fascinating information, thanks Warren. I should add that Martin and Lewis were also playing at the Copacabana during their engagement at the Roxy. Their star was certainly rising!
I had heard the organ was damaged when they converted to the ice shows. Is that true?
I attended the World Premiere of “Harry Potter and the Prisoner of Azkaban” at RCMH last May. The theater was packed, and I was sitting in the orchestra section, about 20 rows from the stage on the right side. There was a really pronounced echo in the theater, and I was very surprised. At times it was so bad, you couldn’t understand the dialogue. I thought with all those people, the standard acoustical reverb that you normally hear in such an immense theater would have been dissipated.
I am too young to have seen any shows at the Roxy. Were the acoustics similar in that showplace?
About ten-fifteen years ago, I was driving into Philadelphia. In a rather run-down neighborhood on the outskirts of town, I saw this immense building that took up what seemed like the entire city block. It was massive, and certainly got my attention. It looked like it might have been an opera house at one time, and there were two separate entrances. It was being used as a church, and was in pretty poor condition. The caretaker let me see the interior, and they had strung netting across the auditorium to catch loose plaster that was falling from the ceiling.
I scanned all the Philadelphia theater listings on this site, and this is the only one which seems to match the building which I had seen. Is this the same structure? If not, does anyone know which theater I am describing?
To get an idea of how it looked, check out the opening and closing scenes in Martin and Lewis' 1953 Paramount feature, THE CADDY. It not only includes actual newsreel footage from 1951 of the pandemonium created by Dean and Jerry throwing autographs out of their dressing room window onto 45th street, it also features a fairly accurate recreation of the Paramount stage set-up.
Incidentally, those dressing room windows are still visible on 45th street! I believe the space is used for offices now. What a shame.
I just heard about the extras for this weeks Big Screen Classics program, “It’s a Wonderful Life.” They’re showing a rare 35mm print of the silent Laurel and Hardy classic “Big Business” plus a one-of-a-kind archival 35mm Technicolor print of the 1944 cartoon, “Rudolph the Red-Nosed Reindeer.” For all the details, visit their website at www.bigscreenclassics.com
With the always excellent organ accompaniment by Jeff Barker, this promises to be THE best Christmas holiday classic film program for the New York-area movie palace fan!
I’m sure the nice folks at Loew’s Jersey would welcome a volunteer crew with open arms! Just bring some work clothes, and they’ll let you visit any area of the theater. They’re very receptive to anybody that wants to do volunteer work for them.
I had the pleasure of attending the world premiere of “Harry Potter and the Prisoner of Azkaban” at RCMH this past May. It was so cool to see a movie in that grand showplace again, and every seat was full. When the stars of the film were brought on stage, the cheers and screams were deafening. It’s a shame the film couldn’t have played its regular New York engagement there. I’m sure it would have been a smash!
Ziggy, I’ll be happy to offer any advice I can via e-mail. But, my days of volunteering and working in old theaters are far behind me!
Letters of support will accomplish a few things: good PR, and you can read them at council meetings and send them to local papers. That’s about it. We had several high profile ones for Loew’s Jersey (Jerry Lewis, Leonard Maltin, etc.) but they don’t save the theater. It certainly wouldn’t hurt Ms. Streisand to write one.
One of the key factors in saving the Jersey was creating public awareness of what’s there. When we began doing film shows in the lobby, the exterior looked horrendous. The marquee was full of broken glass; the underside was covered with peeling paint, and the entrance was completely boarded up. People had to enter the outer lobby through a small entry door. But, once inside, the lobby astounded them. (At that time, the auditorium was divided into 3 and looked terrible!) We presented 16mm film shows in the lobby space and got people back to the theater and to Journal Square again. Many people commented on the fact that they had no idea what a magnificent showplace existed beyond that decrepit exterior. The momentum built, petitions were signed, council meetings were attended, and the theater was saved. But, I’ve got to be honest, it was a LOT of very, very hard work.
Something should be done to increase awareness of the Kings, but I don’t know if the lobby is even usable at this point.
It’s one thing to sit at a computer and type messages on how important the Kings is, etc. It’s another thing to get down there and become involved. Be prepared to give up all of your free time, and (if you’re lucky to gain access) to work in a dirty, cold, decaying building with no running water. And, it’s going to take years to make even a little bit of progress. Ask any of the long-term volunteers at the Jersey. Also, be prepared for seedy officials and politicians who will say and do things behind your back to make themselves look better. Again, it’s all happened at the Jersey.
While it may sound fun and exciting, the concept of saving and restoring a movie palace is no easy task! I wish anyone involved with Loew’s Kings all the very best of luck.
Jim is right, and the politics of the situation at the Kings is a very serious issue. I had ten years of that over at the Jersey, and it’s not pretty folks!
As bad as the Jersey was (and don’t forget – it was triplexed,) at least it never had holes in the roof where it was exposed to the elements. The Kings is going to need a LOT of help.
I know some people that did a walk through in the building a few years ago. There was so much water damage to the stage, they couldn’t safely walk on it. The stage roof was wide open to the elements, and rain/snow had been pouring in for years. The place was a mess.
I remember passing by the theater in the late 70’s, and it was boarded up and looked terrible. It had a very cool marquee, with lots of bulbs and neon. But it appeared to have been closed for some time.
Vincent, I’m glad that you enjoyed the Martin and Lewis program. That was typical of the kind of show that I like to do: a rare archival print with unique extras that you can’t see anywhere else. Many people commented on the live performance footage of Dean and Jerry, and how cool it was to see it in comparison with their work on film.
The balcony IS huge – it has just about as many seats as the orchestra section!
Thank you very much Vincent. For the record, here is a timeline on the classic film programming which I presented as Director of Film Programming at Loew’s Jersey.
August, 1992: In an effort to increase public support to save the Loew’s, 16mm programs are presented in the lobby. At this time, the auditorium is in terrible condition and is divided into a tri-plex. The front of the theater is boarded up, and the building is scheduled for demolition (The original 35mm projection booth was stripped of equipment, and left open to the elements. It is basically a pigeon coup.) My initial two events are “Classic Comedy Teams – Teaming Up to Save the Loew’s” and THIS ISLAND EARTH shown in an original 16mm Technicolor print. Response to this presentation is tremendous, and the lobby is filled to capacity. Extra shows are added to accommodate the huge crowds. These film programs are the most successful events presented in the lobby during the fight to save the theater. They draw attention from the media, resulting in coverage in most all area newspapers, including those in New York City. During this time, I also use my industry contacts to bring Jerry Lewis and Leonard Maltin on board to support the “Save the Loew’s” effort. They both write letters in support of the project.
Over the course of the next few years, additional film events are held in the lobby, including an ambitious 35mm presentation of CREATURE FROM THE BLACK LAGOON with carbon arc illumination!
February 2, 1993: Loew’s Jersey is saved from demolition thanks to Friends of the Loew’s.
October 20 & 21, 2000: After 7 volunteer years of working to un-divide the auditorium and restore the original projection booth to 35mm and carbon arc capability, we present two free presentations of THAT’S ENTERTAINMENT. (This is shown on the old screen which had to be severely masked off in order to hide graffiti damage when the building sat vacant.) The free shows are a huge success, and give the audience a sneak preview of things to come.
Around this time, I bring in Nick Clooney and American Movie Classics to host an invitation-only event, celebrating the re-opening of the original center aisle. Footage is taken and shown on Nick Clooney’s AMC Coming Attractions show. Classic cartoons and comedy shorts are presented in 35mm, and (as a surprise) a jazz/swing band performs on stage.
December 7 – 9, 2001: In remembrance of the 60th anniversary of the attack on Pearl Harbor, we present THIRTY SECONDS OVER TOKYO, CASABLANCA and BUCK PRIVATES. The programs also include rare World War 2-era shorts such as Draftee Daffy, Falling Hare, America Sings with Kate Smith and You Nazty Spy.
January 2002: A new full-stage screen is donated by Comcast. We also add a Sony Digital Cinema Processor to the booth which allows us to play 4 track stereo sound (left, center and right on stage with mono surrounds.) On 2/22/02, GLORY is the first film on the new 50 foot screen and is the first stereo film heard in the theater since the 1960’s. That same weekend, as part of Black History Month, we present THE TUSKEGEE AIRMEN and MALCOLM X.
April 5 – 7 2002 – The first annual comedy weekend. We present RAISING ARIZONA; A Salute to Laurel and Hardy featuring WAY OUT WEST, the East Coast premiere of a newly restored Technicolor trailer to THE ROGUE SONG, and a Hearst Metrotone newsreel not shown in nearly 70 years. Saturday night we present an archival dye-transfer Technicolor print of IT’S A MAD, MAD, MAD, MAD WORLD, complete with overture, intermission and police radio calls. (The lines wrap around Journal Square for this show, and we bring in over 600 admissions!) On Sunday, 4/7, we present the 50th anniversary of the New Jersey premiere of Abbott and Costello’s JACK AND THE BEANSTALK, shown in a pristine archival SuperCineColor print. Members of Costello’s family attend, and rare shorts/cartoons are included in the program.
April 20, 2002: The 90th anniversary of the Titanic includes a screening of the seldom shown A NIGHT TO REMEMBER, and James Cameron’s TITANIC. Special guests include Charles A. Haas & John P. Eaton, authors of Titanic: A Journey through Time; Titanic: Triumph & Tragedy; and Titanic: Destination Disaster. Many rare artifacts are displayed in the lobby.
April 26 & 27, 2002: Our first Science-Fiction weekend includes CLOSE ENCOUNTERS OF THE THIRD KIND; a classic double-feature Kiddie Matinee of THE BRAIN FROM PLANET AROUS with DR. WHO AND THE DALEKS – presented in dye-transfer Technicolor. The highlight of the weekend is a pristine print of FORBIDDEN PLANET, shown for the first time since 1956 in its original 3 channel Perspecta Stereophonic Sound. Rare Perspecta shorts include an MGM Symphony and Tom and Jerry cartoon, plus a Perspecta demo film. Special guests include the family of Robert Fine, the man who developed Perspecta for MGM in 1954. Rare posters and collectibles are on display in the lobby, and more lines wrap around the block for this unique event. Over 700 people attend this presentation.
May 3 & 4, 2002: The final event of the first “official” classic film season is a James Bond weekend, with more archival dye-transfer Technicolor prints of GOLDFINGER; ON HER MAJESTY’S SECRET SERVICE and DR. NO. Also, loads of rare trailers, production shorts and TV spots are shown between films.
October 25 & 26, 2002: Our second film season opens with a Halloween Spooktacular Weekend. Horror classics KING KONG and FRANKENSTEIN MEETS THE WOLFMAN are shown in brand new prints, GHOSTBUSTERS is presented as a Saturday matinee, and HORROR OF DRACULA is screened in yet another rare archival Technicolor print. Rare shorts include BOO MOON and THE GREAT PIGGY BANK ROBBERY.
November 22 – 24, 2002: Great Teams are saluted with brand new restored prints of the Sherlock Holmes classics THE SCARLET CLAW with THE PEARL OF DEATH, courtesy of the UCLA Film Archive. Laurel and Hardy return with BABES IN TOYLAND, the only 16mm print shown while I was involved. (The only available 35mm print was an edited re-issue, and I felt it was more important to present the original un-cut version. Surprisingly, the 16mm looks very good on the big screen with xenon illumination.) The highlight of this weekend is the proclamation by Governor James E. McGreevey of Martin and Lewis Weekend throughout the State of New Jersey. We present an archival Technicolor print of ARTISTS AND MODELS, plus rare Martin and Lewis performance footage in 35mm newsreels and 16mm TV kinescopes.
January 31 – February 1, 2003: Alfred Hitchcock is saluted with PSYCHO, SABOTEUR and yet another archival Technicolor print – THE BIRDS.
February 28 – March 1, 2003: Chivalry returns to Journal Square with MGM’s first CinemaScope feature KNIGHTS OF THE ROUNDTABLE; IVANHOE and another Technicolor print – THE VIKINGS.
March 29 & 30, 2003: The second annual Classic Comedy Weekend includes: SONS OF THE DESERT, A NIGHT AT THE OPERA, ROAD TO MOROCCO, THE SEVEN LITTLE FOYS (in Technicolor) plus rare shorts including THREE LITTLE BEERS, A-PLUMBING WE WILL GO, BRIDELESS GROOM and MUSH AND MILK.
APRIL 26 & 27, 2003: “The Many Faces of Frankenstein” includes the re-premiere of Thomas Edison’s long-lost 1910 FRANKENSTEIN; Boris Karloff’s 1931 FRANKENSTEIN; the 1958 Hammer classic REVENGE OF FRANKENSTEIN (in Technicolor) and Mel Brooks' YOUNG FRANKENSTEIN. Shorts include THIRD-DIMENSIONAL MURDER, and ultra-rare 35MM trailers of many Universal Horror Frankenstein classics. This special event was co-sponsored by the Fort Lee Film Commission.
These are the programs which I brought to the Loew’s Jersey during my tenure as Director of Film Programming. All films were 35mm and were presented in their original theatrical aspect ratios, from 1.37 to 2.35. Through my connections with the UCLA Film Archive; the Lobby of Congress as well as private film collectors, many rare archival prints were presented. The original dye-transfer Technicolor prints looked magnificent with carbon arc illumination, replicating the way these great films were shown in their original theatrical release. I always felt the classic Movie Palace Experience should be replicated, with rare shorts, trailers and cartoons as part of each show. In addition, each program also included loads of unique posters and collectibles on display in the Grand Lobby.
None of this would have happened without the invaluable contributions of Bob Eberenz and Steve Levy. They secured the equipment and restored the 35mm capability to this great theater. Mr. Eberenz in particular has worked hundreds of volunteer hours on this project. Classic film fans in the New York area should be very grateful for their volunteer efforts.
In closing, I’m very proud of my contributions to saving and restoring the film capability to the Loew’s Jersey.
When I worked for Jerry Lewis, I found color 35mm film of Mr. Lewis appearing at the Paradise in 1960 promoting his new movie, “The Bellboy.” A short portion of this footage is on the newly released DVD. I’m not sure if the Paradise shots are included.
Didn’t the last developer cut a huge hole in the atmospheric ceiling to place lighting equipment? If so, wouldn’t that seriously affect the atmospheric quality of the auditorium?
Jiffy, I transferred that footage to video when I worked for Jerry Lewis. It was taken from the 35mm color camera negative, and the quality was outstanding. The original reel was about ten minutes. How much did they use on the DVD?
Lewis toured the Loew’s New York circuit for THE BELLBOY, appearing at just about every large Loew’s theater in the New York area. There was great color footage of the Paradise, Pitkin, King’s, Oriental, and many others.
He did a similar tour of the New York area RKO theaters in 1961 for THE LADIES' MAN. However, that film footage was 16mm black and white.
Didn’t the Paramount on Times Square have a similar feature? I seem to remember reading that it was closed quite early in the theaters history because of noise drifting down to the audience.
The Queen Anne Theater is in Bogota, New Jersey. It’s been closed for many years. I think the last time it was open was in the mid-80’s when it was a porno theater. I’ve never been inside, but I know that some light fixtures were taken out at some point, so it may have been stripped of salvageable materials.
I used to work for Jerry Lewis. He told me that he and Dean were having so much fun in those early days, it didn’t bother them how many shows they did a day. They probably didn’t finish at the Copa until 3 or 4 AM, and then would have to be at the Roxy for the first show in the morning.
I know when they played at the Paramount, the first stage show was around 10 or 11 AM! I don’t know how they did it.
Fascinating information, thanks Warren. I should add that Martin and Lewis were also playing at the Copacabana during their engagement at the Roxy. Their star was certainly rising!
I had heard the organ was damaged when they converted to the ice shows. Is that true?
Bob
I attended the World Premiere of “Harry Potter and the Prisoner of Azkaban” at RCMH last May. The theater was packed, and I was sitting in the orchestra section, about 20 rows from the stage on the right side. There was a really pronounced echo in the theater, and I was very surprised. At times it was so bad, you couldn’t understand the dialogue. I thought with all those people, the standard acoustical reverb that you normally hear in such an immense theater would have been dissipated.
I am too young to have seen any shows at the Roxy. Were the acoustics similar in that showplace?
About ten-fifteen years ago, I was driving into Philadelphia. In a rather run-down neighborhood on the outskirts of town, I saw this immense building that took up what seemed like the entire city block. It was massive, and certainly got my attention. It looked like it might have been an opera house at one time, and there were two separate entrances. It was being used as a church, and was in pretty poor condition. The caretaker let me see the interior, and they had strung netting across the auditorium to catch loose plaster that was falling from the ceiling.
I scanned all the Philadelphia theater listings on this site, and this is the only one which seems to match the building which I had seen. Is this the same structure? If not, does anyone know which theater I am describing?
Thanks so much for any information.
Bob
To get an idea of how it looked, check out the opening and closing scenes in Martin and Lewis' 1953 Paramount feature, THE CADDY. It not only includes actual newsreel footage from 1951 of the pandemonium created by Dean and Jerry throwing autographs out of their dressing room window onto 45th street, it also features a fairly accurate recreation of the Paramount stage set-up.
Incidentally, those dressing room windows are still visible on 45th street! I believe the space is used for offices now. What a shame.
I just heard about the extras for this weeks Big Screen Classics program, “It’s a Wonderful Life.” They’re showing a rare 35mm print of the silent Laurel and Hardy classic “Big Business” plus a one-of-a-kind archival 35mm Technicolor print of the 1944 cartoon, “Rudolph the Red-Nosed Reindeer.” For all the details, visit their website at www.bigscreenclassics.com
With the always excellent organ accompaniment by Jeff Barker, this promises to be THE best Christmas holiday classic film program for the New York-area movie palace fan!
I’m sure the nice folks at Loew’s Jersey would welcome a volunteer crew with open arms! Just bring some work clothes, and they’ll let you visit any area of the theater. They’re very receptive to anybody that wants to do volunteer work for them.
I had the pleasure of attending the world premiere of “Harry Potter and the Prisoner of Azkaban” at RCMH this past May. It was so cool to see a movie in that grand showplace again, and every seat was full. When the stars of the film were brought on stage, the cheers and screams were deafening. It’s a shame the film couldn’t have played its regular New York engagement there. I’m sure it would have been a smash!
Even in that picture, you could see the facade was in desperate need of a good cleaning.
Ziggy, I’ll be happy to offer any advice I can via e-mail. But, my days of volunteering and working in old theaters are far behind me!
Letters of support will accomplish a few things: good PR, and you can read them at council meetings and send them to local papers. That’s about it. We had several high profile ones for Loew’s Jersey (Jerry Lewis, Leonard Maltin, etc.) but they don’t save the theater. It certainly wouldn’t hurt Ms. Streisand to write one.
One of the key factors in saving the Jersey was creating public awareness of what’s there. When we began doing film shows in the lobby, the exterior looked horrendous. The marquee was full of broken glass; the underside was covered with peeling paint, and the entrance was completely boarded up. People had to enter the outer lobby through a small entry door. But, once inside, the lobby astounded them. (At that time, the auditorium was divided into 3 and looked terrible!) We presented 16mm film shows in the lobby space and got people back to the theater and to Journal Square again. Many people commented on the fact that they had no idea what a magnificent showplace existed beyond that decrepit exterior. The momentum built, petitions were signed, council meetings were attended, and the theater was saved. But, I’ve got to be honest, it was a LOT of very, very hard work.
Something should be done to increase awareness of the Kings, but I don’t know if the lobby is even usable at this point.
It’s one thing to sit at a computer and type messages on how important the Kings is, etc. It’s another thing to get down there and become involved. Be prepared to give up all of your free time, and (if you’re lucky to gain access) to work in a dirty, cold, decaying building with no running water. And, it’s going to take years to make even a little bit of progress. Ask any of the long-term volunteers at the Jersey. Also, be prepared for seedy officials and politicians who will say and do things behind your back to make themselves look better. Again, it’s all happened at the Jersey.
While it may sound fun and exciting, the concept of saving and restoring a movie palace is no easy task! I wish anyone involved with Loew’s Kings all the very best of luck.
Jim is right, and the politics of the situation at the Kings is a very serious issue. I had ten years of that over at the Jersey, and it’s not pretty folks!
As bad as the Jersey was (and don’t forget – it was triplexed,) at least it never had holes in the roof where it was exposed to the elements. The Kings is going to need a LOT of help.
I initiated the marquee restoration at the Jersey – and I’m afraid of heights!
If I could do that, ANYTHING is possible!
I know some people that did a walk through in the building a few years ago. There was so much water damage to the stage, they couldn’t safely walk on it. The stage roof was wide open to the elements, and rain/snow had been pouring in for years. The place was a mess.
So much for it’s atmospheric qualities…
I remember passing by the theater in the late 70’s, and it was boarded up and looked terrible. It had a very cool marquee, with lots of bulbs and neon. But it appeared to have been closed for some time.
Does anyone know if they’ve repaired the hole cut into the atmospheric ceiling by the previous owner?
I certainly hope so. That would totally ruin the atmospheric qualities.
Vincent, I’m glad that you enjoyed the Martin and Lewis program. That was typical of the kind of show that I like to do: a rare archival print with unique extras that you can’t see anywhere else. Many people commented on the live performance footage of Dean and Jerry, and how cool it was to see it in comparison with their work on film.
The balcony IS huge – it has just about as many seats as the orchestra section!
In many ways, the art of movie exhibition has come full circle. Architecturally, we’re back to the tiny shoebox style nickelodeons.
Thank you very much Vincent. For the record, here is a timeline on the classic film programming which I presented as Director of Film Programming at Loew’s Jersey.
August, 1992: In an effort to increase public support to save the Loew’s, 16mm programs are presented in the lobby. At this time, the auditorium is in terrible condition and is divided into a tri-plex. The front of the theater is boarded up, and the building is scheduled for demolition (The original 35mm projection booth was stripped of equipment, and left open to the elements. It is basically a pigeon coup.) My initial two events are “Classic Comedy Teams – Teaming Up to Save the Loew’s” and THIS ISLAND EARTH shown in an original 16mm Technicolor print. Response to this presentation is tremendous, and the lobby is filled to capacity. Extra shows are added to accommodate the huge crowds. These film programs are the most successful events presented in the lobby during the fight to save the theater. They draw attention from the media, resulting in coverage in most all area newspapers, including those in New York City. During this time, I also use my industry contacts to bring Jerry Lewis and Leonard Maltin on board to support the “Save the Loew’s” effort. They both write letters in support of the project.
Over the course of the next few years, additional film events are held in the lobby, including an ambitious 35mm presentation of CREATURE FROM THE BLACK LAGOON with carbon arc illumination!
February 2, 1993: Loew’s Jersey is saved from demolition thanks to Friends of the Loew’s.
October 20 & 21, 2000: After 7 volunteer years of working to un-divide the auditorium and restore the original projection booth to 35mm and carbon arc capability, we present two free presentations of THAT’S ENTERTAINMENT. (This is shown on the old screen which had to be severely masked off in order to hide graffiti damage when the building sat vacant.) The free shows are a huge success, and give the audience a sneak preview of things to come.
Around this time, I bring in Nick Clooney and American Movie Classics to host an invitation-only event, celebrating the re-opening of the original center aisle. Footage is taken and shown on Nick Clooney’s AMC Coming Attractions show. Classic cartoons and comedy shorts are presented in 35mm, and (as a surprise) a jazz/swing band performs on stage.
December 7 – 9, 2001: In remembrance of the 60th anniversary of the attack on Pearl Harbor, we present THIRTY SECONDS OVER TOKYO, CASABLANCA and BUCK PRIVATES. The programs also include rare World War 2-era shorts such as Draftee Daffy, Falling Hare, America Sings with Kate Smith and You Nazty Spy.
January 2002: A new full-stage screen is donated by Comcast. We also add a Sony Digital Cinema Processor to the booth which allows us to play 4 track stereo sound (left, center and right on stage with mono surrounds.) On 2/22/02, GLORY is the first film on the new 50 foot screen and is the first stereo film heard in the theater since the 1960’s. That same weekend, as part of Black History Month, we present THE TUSKEGEE AIRMEN and MALCOLM X.
April 5 – 7 2002 – The first annual comedy weekend. We present RAISING ARIZONA; A Salute to Laurel and Hardy featuring WAY OUT WEST, the East Coast premiere of a newly restored Technicolor trailer to THE ROGUE SONG, and a Hearst Metrotone newsreel not shown in nearly 70 years. Saturday night we present an archival dye-transfer Technicolor print of IT’S A MAD, MAD, MAD, MAD WORLD, complete with overture, intermission and police radio calls. (The lines wrap around Journal Square for this show, and we bring in over 600 admissions!) On Sunday, 4/7, we present the 50th anniversary of the New Jersey premiere of Abbott and Costello’s JACK AND THE BEANSTALK, shown in a pristine archival SuperCineColor print. Members of Costello’s family attend, and rare shorts/cartoons are included in the program.
April 20, 2002: The 90th anniversary of the Titanic includes a screening of the seldom shown A NIGHT TO REMEMBER, and James Cameron’s TITANIC. Special guests include Charles A. Haas & John P. Eaton, authors of Titanic: A Journey through Time; Titanic: Triumph & Tragedy; and Titanic: Destination Disaster. Many rare artifacts are displayed in the lobby.
April 26 & 27, 2002: Our first Science-Fiction weekend includes CLOSE ENCOUNTERS OF THE THIRD KIND; a classic double-feature Kiddie Matinee of THE BRAIN FROM PLANET AROUS with DR. WHO AND THE DALEKS – presented in dye-transfer Technicolor. The highlight of the weekend is a pristine print of FORBIDDEN PLANET, shown for the first time since 1956 in its original 3 channel Perspecta Stereophonic Sound. Rare Perspecta shorts include an MGM Symphony and Tom and Jerry cartoon, plus a Perspecta demo film. Special guests include the family of Robert Fine, the man who developed Perspecta for MGM in 1954. Rare posters and collectibles are on display in the lobby, and more lines wrap around the block for this unique event. Over 700 people attend this presentation.
May 3 & 4, 2002: The final event of the first “official” classic film season is a James Bond weekend, with more archival dye-transfer Technicolor prints of GOLDFINGER; ON HER MAJESTY’S SECRET SERVICE and DR. NO. Also, loads of rare trailers, production shorts and TV spots are shown between films.
October 25 & 26, 2002: Our second film season opens with a Halloween Spooktacular Weekend. Horror classics KING KONG and FRANKENSTEIN MEETS THE WOLFMAN are shown in brand new prints, GHOSTBUSTERS is presented as a Saturday matinee, and HORROR OF DRACULA is screened in yet another rare archival Technicolor print. Rare shorts include BOO MOON and THE GREAT PIGGY BANK ROBBERY.
November 22 – 24, 2002: Great Teams are saluted with brand new restored prints of the Sherlock Holmes classics THE SCARLET CLAW with THE PEARL OF DEATH, courtesy of the UCLA Film Archive. Laurel and Hardy return with BABES IN TOYLAND, the only 16mm print shown while I was involved. (The only available 35mm print was an edited re-issue, and I felt it was more important to present the original un-cut version. Surprisingly, the 16mm looks very good on the big screen with xenon illumination.) The highlight of this weekend is the proclamation by Governor James E. McGreevey of Martin and Lewis Weekend throughout the State of New Jersey. We present an archival Technicolor print of ARTISTS AND MODELS, plus rare Martin and Lewis performance footage in 35mm newsreels and 16mm TV kinescopes.
January 31 – February 1, 2003: Alfred Hitchcock is saluted with PSYCHO, SABOTEUR and yet another archival Technicolor print – THE BIRDS.
February 28 – March 1, 2003: Chivalry returns to Journal Square with MGM’s first CinemaScope feature KNIGHTS OF THE ROUNDTABLE; IVANHOE and another Technicolor print – THE VIKINGS.
March 29 & 30, 2003: The second annual Classic Comedy Weekend includes: SONS OF THE DESERT, A NIGHT AT THE OPERA, ROAD TO MOROCCO, THE SEVEN LITTLE FOYS (in Technicolor) plus rare shorts including THREE LITTLE BEERS, A-PLUMBING WE WILL GO, BRIDELESS GROOM and MUSH AND MILK.
APRIL 26 & 27, 2003: “The Many Faces of Frankenstein” includes the re-premiere of Thomas Edison’s long-lost 1910 FRANKENSTEIN; Boris Karloff’s 1931 FRANKENSTEIN; the 1958 Hammer classic REVENGE OF FRANKENSTEIN (in Technicolor) and Mel Brooks' YOUNG FRANKENSTEIN. Shorts include THIRD-DIMENSIONAL MURDER, and ultra-rare 35MM trailers of many Universal Horror Frankenstein classics. This special event was co-sponsored by the Fort Lee Film Commission.
These are the programs which I brought to the Loew’s Jersey during my tenure as Director of Film Programming. All films were 35mm and were presented in their original theatrical aspect ratios, from 1.37 to 2.35. Through my connections with the UCLA Film Archive; the Lobby of Congress as well as private film collectors, many rare archival prints were presented. The original dye-transfer Technicolor prints looked magnificent with carbon arc illumination, replicating the way these great films were shown in their original theatrical release. I always felt the classic Movie Palace Experience should be replicated, with rare shorts, trailers and cartoons as part of each show. In addition, each program also included loads of unique posters and collectibles on display in the Grand Lobby.
None of this would have happened without the invaluable contributions of Bob Eberenz and Steve Levy. They secured the equipment and restored the 35mm capability to this great theater. Mr. Eberenz in particular has worked hundreds of volunteer hours on this project. Classic film fans in the New York area should be very grateful for their volunteer efforts.
In closing, I’m very proud of my contributions to saving and restoring the film capability to the Loew’s Jersey.
Bob Furmanek
That’s great news, thanks! Please keep us posted.
When I worked for Jerry Lewis, I found color 35mm film of Mr. Lewis appearing at the Paradise in 1960 promoting his new movie, “The Bellboy.” A short portion of this footage is on the newly released DVD. I’m not sure if the Paradise shots are included.
Didn’t the last developer cut a huge hole in the atmospheric ceiling to place lighting equipment? If so, wouldn’t that seriously affect the atmospheric quality of the auditorium?
Jiffy, I transferred that footage to video when I worked for Jerry Lewis. It was taken from the 35mm color camera negative, and the quality was outstanding. The original reel was about ten minutes. How much did they use on the DVD?
Lewis toured the Loew’s New York circuit for THE BELLBOY, appearing at just about every large Loew’s theater in the New York area. There was great color footage of the Paradise, Pitkin, King’s, Oriental, and many others.
He did a similar tour of the New York area RKO theaters in 1961 for THE LADIES' MAN. However, that film footage was 16mm black and white.