Thanks, when I’m in AC I’ll check the AC “Press” for the time period I was there and see if the address in the ad matches that of the Stanley. Stay tuned.
Yes, Ed, me, too. Do you have information about the Roxy on the boardwalk? Even Mr. Hauss hasn’t been able to uncover much history of that palace. I saw “The Big Country” there in October of 1958..a luxurious palace with a tremendous screen. All I know is that when I started researching “Windjammer” at the Warren/Warner which ran in the late summer of 1960, the Roxy was already not oprational, but I don’t know if had been demolished by then. I’m going to the A.C. library sometime in the next couple of weeks. Will keep you posted. Vince
Hi, Ed. I was just speaking yesterday with Allen Hauss, author of “Images of America: South Jersey Movie Houses.” In his book there is a little information on the Steel Pier and its theatres.“Steel Pier, Atlantic City, 1941. Built in 1900 at Virginia Avenue and the famous boardwalk, the Steel Pier is one of the most recognizable landmarks of Atlantic City. Movies arrived as an occasional attraction in the early 1900’s. By the 1930s, there were three theatres on the pier; the Music Hall (2,250 seats) with a vaudeville and film format, the Casino (2,000 seats), and the Ocean (1,406) seats.” That’s all that appears for the Pier itself, although the book goes into more detail about other locations in the Shore communities. Hope this helps.
Can anybody confirm if a group called the Retzler Development Group of Grand Island, Ne had any involvement in any of the reopenings or restorations of this theatre? Thanks.
Hi, sorry for the really dumb question, but following all of the River Oaks Theatre threads here and elsewhere is getting a bit confusing. So, here’s the question: is the original auditorium, under whatever numbering system whatsoever, that was equipped for 70mm projection with D-150 lenses on its very large screen still standing? Thanks.
Howard Haas just asked me if I had ever been in the Milgram and its predecessor, the Stanton. Here’s my long-winded answer.
“I had planned to add a bit to c.t. when the subject of "common width” masking pops up again to prove that this is not a new “phenomenon” (if that’s the right word.) I saw something or other at the Stanton as early as 1954 and was distressed that the ‘scope image was smaller than the screen on which the 'toons, newsreels, etc. were shown. The “widescreen” that was installed there that winter was entirely in front of the proscenium arch (and stage), and covered virtually the entire width of the theatre, masking being lowered for 'scope, which, of course I hated. This was the very first time I had ever seen anything like this. When renovated as the Milgram, the new screen, curtains, masking, etc. were once again within the proscenium, and, of necessity, rather smallish, even though Milgram had installed 70mm projection.
Saw quite a lot of schlock films there in the 50’s especially from William Castle (Tingler, House on Haunted Hill, Macabre) and fondly remember the skeleton that was rigged to fly out from behind a screen curtain and be pulled on wires up into the balcony during “Haunted Hill,” and those seats with buzzers that went off during “Tingler.” Much fun trying to determine beforehand which of the seats had been “Tingler-ized.”
More trivia since you asked, :–)
At some point the Milgrams decided to move away from the B product the house was famous for (and, that product line was dwindling anyway), and decided to go for the roadshow. MGM had remade its award-winning “Cimarron” for Spring, 1960 release, and somehow decided that Philadelphia and L.A. (and probably Chicago) would host the world premieres prior to New York, unheard of at the time. It opened at the Stanton as a 10-performances-per-week roadshow ahead of its engagement at the Music Hall. Didn’t perform well, however, and the film was pulled after just a few weeks. It didn’t even switch over to the “Now For The First Time at Popular Prices and Continuous Performances” policy. Just left the theatre never to be heard again. MGM and SW had also liberally “redone” the Stanton exterior for the engagement…new large and bright mylar display decorating the marquee instead of the usual plastic lettering; and over-sized three-dimensional posters covering the usual one-sheet boxes. I seem to remember an extra boxoffice outside for advance ticketing. It was quite impressive at the time, but, unfortunately, the film didn’t catch on. However, at any rate, the Stanton, like the Goldman some years earlier, had begun to shed its image as low-budget house and came firmly into the ranks of our classy first-run houses downtown.
“all kinds of things will go wrong …” Vito, I see what you mean…I once experienced the following at a neighboring Loews 24-plex: the feature ended, the end credits began to roll, the house lights can on full, the film soundtrack disappeared, the non-sync music began to play, the commercials (on slides) began to be projected on top of the end credits, and the masking closed from scope to flat…and, I swear, I was the only person in the auditorium to give a hoot, or to probably even notice. Thanks for the info.
“Maybe the new opening will be in IMAX, even though RCMH can’t show a format like that (only the Lincoln Square and Naturemax theaters show that format!!!)."
And the Beacon some years ago.
Thanks, Vito and Ed, for you answer re: scope/flat trailers. Vito said “…don’t hold our breath, I know no one who actually goes to the trouble of doing that."
Given automation, just how much "trouble” is it?
“What to do if you have a series of trailers of varying aspect ratios?"
This has always annoyed the stuffing out of me. Is it just laziness or lack of time that would prevent the operator from assembling the trailers (reassembling if they come from the lab already in a certain order regardless of ratio) with all the "flats” together and then the “scopes”? I know some contracts stipulate which trailers must be shown with a certain feature, but is it anywhere dictated by contract the order in which these trailers are shown?
Of course, this assumes that this same operator would have the sense to show “flat” first with masking closed, then “scope” with masking open, or am I really veering towards delirium?
RE: “I don’t have an address for it.” The Nittany was on South Allen and right around the corner from the Cathaum in the zero-hundred block. The Cathaum and the State (cinematreasures theatre #682) were both located on College Avenue. In 1965 (or 1966), another theatre, an arthouse called the Twelvetrees (after actress Helen Twelvetrees), opened a little off the downtown area on South Atherton. There was also a drive-in on North Atherton. I thought I had heard a few years back that the Cathaum had become a dinner theatre. The Nittany went through a remodeling sometime between in 1963 or 1964 .
“And who wrote the copy for the site? "
Probably the same person who got the entire first paragraph of "Early Development” under “Cinerama Technology” wrong.
If I may add to the “never-been-boo'ed” list. In the mid-1960’s I was the projectionist at the US Army base in Fort Totten, Bayside, Queens, NY (35mm installation). And I can firmly say, “You have also never been boo'ed until you’ve been boo'ed by 300 drunken servicemen on a payday Friday night!” It’s a scary sight, indeed.
I was just at a funeral service at this former theatre, now the Upper Room Baptist Church. I was never in the Renel, but from reading these posts now see why this theatre was called the “sister” of the Erlen further Northwest, since there was also a “sunrise proscenium” effect here (see Bobo’s post of 10/11/05) and a post of mine on the Erlen page on 1/21/05. The building, especially the lobby area, is in remarkably good shape. Now I wish I would have spent some Saturday afternoons here. BTW, the church lists its street number as 7236 not 7238.
Thanks, all. Saved me a trip to the A.C. library.
Thanks, when I’m in AC I’ll check the AC “Press” for the time period I was there and see if the address in the ad matches that of the Stanley. Stay tuned.
Yes, Ed, me, too. Do you have information about the Roxy on the boardwalk? Even Mr. Hauss hasn’t been able to uncover much history of that palace. I saw “The Big Country” there in October of 1958..a luxurious palace with a tremendous screen. All I know is that when I started researching “Windjammer” at the Warren/Warner which ran in the late summer of 1960, the Roxy was already not oprational, but I don’t know if had been demolished by then. I’m going to the A.C. library sometime in the next couple of weeks. Will keep you posted. Vince
Hi, Ed. I was just speaking yesterday with Allen Hauss, author of “Images of America: South Jersey Movie Houses.” In his book there is a little information on the Steel Pier and its theatres.“Steel Pier, Atlantic City, 1941. Built in 1900 at Virginia Avenue and the famous boardwalk, the Steel Pier is one of the most recognizable landmarks of Atlantic City. Movies arrived as an occasional attraction in the early 1900’s. By the 1930s, there were three theatres on the pier; the Music Hall (2,250 seats) with a vaudeville and film format, the Casino (2,000 seats), and the Ocean (1,406) seats.” That’s all that appears for the Pier itself, although the book goes into more detail about other locations in the Shore communities. Hope this helps.
Can anybody confirm if a group called the Retzler Development Group of Grand Island, Ne had any involvement in any of the reopenings or restorations of this theatre? Thanks.
Thanks. I’m going to Chicago this week and was hoping to plan a visit there. Oh, well….
Hi, sorry for the really dumb question, but following all of the River Oaks Theatre threads here and elsewhere is getting a bit confusing. So, here’s the question: is the original auditorium, under whatever numbering system whatsoever, that was equipped for 70mm projection with D-150 lenses on its very large screen still standing? Thanks.
South Jersey’s first CinemaScope presentation, “The Robe,” premiered here December 30, 1953.
Howard Haas just asked me if I had ever been in the Milgram and its predecessor, the Stanton. Here’s my long-winded answer.
“I had planned to add a bit to c.t. when the subject of "common width” masking pops up again to prove that this is not a new “phenomenon” (if that’s the right word.) I saw something or other at the Stanton as early as 1954 and was distressed that the ‘scope image was smaller than the screen on which the 'toons, newsreels, etc. were shown. The “widescreen” that was installed there that winter was entirely in front of the proscenium arch (and stage), and covered virtually the entire width of the theatre, masking being lowered for 'scope, which, of course I hated. This was the very first time I had ever seen anything like this. When renovated as the Milgram, the new screen, curtains, masking, etc. were once again within the proscenium, and, of necessity, rather smallish, even though Milgram had installed 70mm projection.
Saw quite a lot of schlock films there in the 50’s especially from William Castle (Tingler, House on Haunted Hill, Macabre) and fondly remember the skeleton that was rigged to fly out from behind a screen curtain and be pulled on wires up into the balcony during “Haunted Hill,” and those seats with buzzers that went off during “Tingler.” Much fun trying to determine beforehand which of the seats had been “Tingler-ized.”
More trivia since you asked, :–)
At some point the Milgrams decided to move away from the B product the house was famous for (and, that product line was dwindling anyway), and decided to go for the roadshow. MGM had remade its award-winning “Cimarron” for Spring, 1960 release, and somehow decided that Philadelphia and L.A. (and probably Chicago) would host the world premieres prior to New York, unheard of at the time. It opened at the Stanton as a 10-performances-per-week roadshow ahead of its engagement at the Music Hall. Didn’t perform well, however, and the film was pulled after just a few weeks. It didn’t even switch over to the “Now For The First Time at Popular Prices and Continuous Performances” policy. Just left the theatre never to be heard again. MGM and SW had also liberally “redone” the Stanton exterior for the engagement…new large and bright mylar display decorating the marquee instead of the usual plastic lettering; and over-sized three-dimensional posters covering the usual one-sheet boxes. I seem to remember an extra boxoffice outside for advance ticketing. It was quite impressive at the time, but, unfortunately, the film didn’t catch on. However, at any rate, the Stanton, like the Goldman some years earlier, had begun to shed its image as low-budget house and came firmly into the ranks of our classy first-run houses downtown.
Sorry for the rant. "
Another story on the hauntings at the Moore tonight (December 5, 2007) at 9PM Eastern on the Sci-Fi channel.
that’s the one I was thinking of, the Ridgewood.
Warren, didn’t someone say recently that the most postings was for some theatre in one of the other boroughs ?
“all kinds of things will go wrong …” Vito, I see what you mean…I once experienced the following at a neighboring Loews 24-plex: the feature ended, the end credits began to roll, the house lights can on full, the film soundtrack disappeared, the non-sync music began to play, the commercials (on slides) began to be projected on top of the end credits, and the masking closed from scope to flat…and, I swear, I was the only person in the auditorium to give a hoot, or to probably even notice. Thanks for the info.
Thanks, Vito. That makes sense.
“Maybe the new opening will be in IMAX, even though RCMH can’t show a format like that (only the Lincoln Square and Naturemax theaters show that format!!!)."
And the Beacon some years ago.
Thanks, Vito and Ed, for you answer re: scope/flat trailers. Vito said “…don’t hold our breath, I know no one who actually goes to the trouble of doing that."
Given automation, just how much "trouble” is it?
“What to do if you have a series of trailers of varying aspect ratios?"
This has always annoyed the stuffing out of me. Is it just laziness or lack of time that would prevent the operator from assembling the trailers (reassembling if they come from the lab already in a certain order regardless of ratio) with all the "flats” together and then the “scopes”? I know some contracts stipulate which trailers must be shown with a certain feature, but is it anywhere dictated by contract the order in which these trailers are shown?
Of course, this assumes that this same operator would have the sense to show “flat” first with masking closed, then “scope” with masking open, or am I really veering towards delirium?
RE: “I don’t have an address for it.” The Nittany was on South Allen and right around the corner from the Cathaum in the zero-hundred block. The Cathaum and the State (cinematreasures theatre #682) were both located on College Avenue. In 1965 (or 1966), another theatre, an arthouse called the Twelvetrees (after actress Helen Twelvetrees), opened a little off the downtown area on South Atherton. There was also a drive-in on North Atherton. I thought I had heard a few years back that the Cathaum had become a dinner theatre. The Nittany went through a remodeling sometime between in 1963 or 1964 .
“And who wrote the copy for the site? "
Probably the same person who got the entire first paragraph of "Early Development” under “Cinerama Technology” wrong.
Does anyone know when the Rivoli’s “Oklahoma”-pattern curtain was removed? Or was it just never used post “80 Days”?
DavidM and Frankie, I remember a “greenish” curtain effect. (Goldman theatre roadshow, Philly)
If I may add to the “never-been-boo'ed” list. In the mid-1960’s I was the projectionist at the US Army base in Fort Totten, Bayside, Queens, NY (35mm installation). And I can firmly say, “You have also never been boo'ed until you’ve been boo'ed by 300 drunken servicemen on a payday Friday night!” It’s a scary sight, indeed.
re: P&B. Has anyone ascertained if this is, indeed, a 70mm print?, not that I’ve got my fingers crossed.
Kong911, in 1959 in the New York area “Ben-Hur” (1959 version) was on view only at the Loew’s State.
I was just at a funeral service at this former theatre, now the Upper Room Baptist Church. I was never in the Renel, but from reading these posts now see why this theatre was called the “sister” of the Erlen further Northwest, since there was also a “sunrise proscenium” effect here (see Bobo’s post of 10/11/05) and a post of mine on the Erlen page on 1/21/05. The building, especially the lobby area, is in remarkably good shape. Now I wish I would have spent some Saturday afternoons here. BTW, the church lists its street number as 7236 not 7238.