Galaxy Theatres is going to open an eight-plex at this location in October, 2012; this article is not exactly clear if the new operation is a retrofit of this theater or a new build.
The website gives the address as 1028 Park St. As there is a menu page showing offerings that include sandwiches, pizza, beer, and wine, it appears that the theater has become more of a dine-and-view.
Apparently, according to the articles, the new business model is to continue running porn during the day and switching to independent and alternative fare in the evenings after a thorough daily cleaning of the theater with isopropyl alcohol. I think I will go elsewhere when I am next in Toronto.
The listed Official Website is now a dead link. This now appears to be the official website that at least implies that it is now under the same management as the Oaks Theater: http://www.theoakstheater.com/penn_hills_cinemas.html
Here is another piece of information that would help to support the idea that the determination to abandon three-strip Cinerama was made in 1962: according to the IMDB, filming of “The Greatest Story Ever Told” in three-strip was ordered stopped by United Artists after thirty days of filming in 1962. (The film actually would not be released – in Ultra Panavision 70 at the Dome – until 1965 due to many problems in the making of the film). As I noted earlier, filming in three-strip on “Mad World”, also a UA film, also apparently stopped in 1962.
Looking at that photo from the Boxoffice Archive, I doubt very much that the building faced with gray tiles in Silicon Sam’s comment of 03-01-2010 is what survives of the Alaska. The archived article’s photo shows a three-story building, and there is evidence that there was an old painted sign on the building to left of gray-tiled building. I think any real traces of the Alaska are gone.
BigJoe59, this link will take you to Michael Coate’s carefuly-researched chronology of Cinerama exhibition in Los Angeles; as you will see, both the Cinerama Dome and the Warner Hollywood were used for initial runs of 70mm Cinerama films.
The Dome was able to be built so quickly for two reasons. First, Cinerama Inc. intended to build hundreds of these theaters around the world and had developed a prototype design before Pacific Theaters decided to construct the first one, Secondly, some parts of the building were prefabricated, such as the ceiling hexagonal ceiling sections.
Perhaps John Sittig could tell you at what point the decision was made not to install the three projectors and soundtrack processor at the Dome. Online sources indicate that construction of the Dome was announced in April, 1963. Since “Mad World" opened at the Dome on November 7, 1963, actual construction probably started in July, 1963 (though preparation of the site probably started before). The final decision not install the equipment may have been after the premiere of “Mad World” once it was clear the film was a success.
One other point that may have a bearing on the question: The Dome never installed the original deep curve Cinerama screen of about 146 degrees. The one installed at the Dome originally had a shallower arc, I think of about 123 degrees. (At least it was a strip screen then; that single sheet one they have now which has the same shallower arc cannot hold a candle to the authentic deep curve strip-screen at the Cinerama Theater in Seattle, but it is better than that abominable flat screen that was installed for the opening of “Evita” before the Dome’s renovation).
The decision to install the shallower screen probably was due to the fact that the Dome’s owners knew that 35mm films and films in other widescreen processes would be shown at the Dome in coming years, and that showing films other than three-strip Cinerama on a deeply curved screen resulted in a somewhat distorted image. (I know; I saw “In Search of the Castaways” on the deeply curved Cinerama screen at the Palace in Cleveland, and was very odd to see it projected this way). The decision not install the deeply curved screen may have been a useful compromise at the time, but I suppose it may have been evidence that some people at Pacific Theaters knew that three-panel Cinerama was on its way out.
The agreement between MGM and Cinerama, Inc. to produce two films in three-panel Cinerama appears to have been struck in 1958. I have not been able to find a start date for principal photography for “Brothers Grimm” but it probably was late 1960 or early 1961 and probably had a long shooting schedule as George Pal insisted on filming in Europe on authentic locations.The film had its world premiere in the United States on 08-07-1962. Principal photography on “HTWWW” began of May 26, 1961. “HTWWW” premiered in London, on November 1, 1962 and in the U.S. on February 20, 1963 at the Warner Hollywood (where it would play for 93 weeks). After that, the Warner Hollywood would only play 70mm Cinerama films.
I do not know when the decision was made to switch filming “Mad World” from three-strip to 70mm Ultra Panavision, but it was probably in 1962 soon after the beginning of filming, as I have found a note that Kramer needed to do substantial filming in the summer of 1962 as that was when many of the large and famous cast would be available for location work. It should be kept in mind that in addition to 166 days of filming, “Mad World” would be in post-production for quite some time for the numerous effects shots; in addition, I have read that there was much work that had to be done in getting the projection as close to perfect using 70mm equipment; also the printing of the release print involved what was called “rectificaton” to reduced the image distortion on a curved screen, a process which appears to never to have been used before.
Complicating matters further, one source indicates that Cinerama itself was in development of a single lens process when the decision was made use the already-established Ultra Panavision lenses and 70mm film.
So when was the decision made? My guess would be sometime in 1962, but it may not have been so much a decision – at that point – to abandon three-strip as it was a decision to see what the reaction was to the 70mm version. It seems more likely that the decision to finally abandon three-strip was only actually made after it became clear that 1) 70mm was at least to some extent useful in making a Cinerama production (“HTWWW” basically proved that) and that 2) the moviegoers (well, at least some of them) would still go to roadshow 70mm Cinerama productions in large numbers (as proved by “Mad World” and “2001”). However, it only took a few turkeys such as “Custer of the West” and “Krakatoa” to show that advertising a film as “presented in Cinerama” was no assurance of success. But I think it is possible that had additional three-strip Cinerama films been made after 1962, that the Dome might have installed the requisite projectors or maintained the Warner Hollywood as three-strip venue.
I am not sure that you will actually be able to find a an actual date for abandonment of Cinerama. More likely, it simply just passed away from disuse over time when no director or studio chose to use it or spend the money to film with it. Much as I and others are passionate about it, it was admittedly a difficult to use and expensive process to use on narrative films especially. It is perhaps similar to asking on what day was decided to essentially stop using B&W film except for occasional artistic reasons.
I am sorry for the length of this, but I do not think your question really has a simple answer.
I also think it may be a typo; I found two quotes about this theater in online archived publications.
1) Motion Picture World, 1908: “Manager Ganes, of the Manhattan Theater, extended an invitation to the jackies at the Navy Yard to visit his theater and see Pathe’s fine picture of the reception of the American fleet in Australia. They came, they saw and they thoroughly enjoyed the spectacle and made many audible comments on the show. The incident in the film which received the most applause was the march past of the regiment of Highlanders. The military precision and fitness of this kilted regiment was a fine subject for the camera and well rendered.”
2) New York Dramatic Mirror, 01-31-1912: “First-run pictures, as they are called on the day of release, can be seen at the following houses: Three new reels daily at Ganes Manhattan Theatre,
Broadway and Thirty-first Street..”
I am guessing that it is an earlier theater that was closer to the actual junction of Clinton and Avon Avenues. The archived article indicates that the seating capacity for the pictured Avon Theater was 300 whereas the listed capacity (noted above) for this Avon was over three times that. I can’t see any similarities in the respective facades, though I suppose the theater could have been given a radical facelift at some point.
This webpage has a small picture of the theatre; scroll down about two-thirds of the way. In addition, this webpage has additional historical detail.
There is some information about this traveling Cinerama theatre here.
Galaxy Theatres is going to open an eight-plex at this location in October, 2012; this article is not exactly clear if the new operation is a retrofit of this theater or a new build.
Official website: http://www.sunraycinema.com/
The website gives the address as 1028 Park St. As there is a menu page showing offerings that include sandwiches, pizza, beer, and wine, it appears that the theater has become more of a dine-and-view.
Apparently, according to the articles, the new business model is to continue running porn during the day and switching to independent and alternative fare in the evenings after a thorough daily cleaning of the theater with isopropyl alcohol. I think I will go elsewhere when I am next in Toronto.
The Amuse U Theatre was destroyed by fire on Christmas Eve, 1911: View article
A picture of the former theater now an Asian supermarket can be seen here, still recognizable as a former cinema.
A picture of the theater’s roadside marquee from its gallery at Drive-ins.com is here.
I was referring to the picture of the"New Allen" in in the article posted by Tinseltoes; the picture in the article is definitely the Tivoli.
The Allen became the Tivoli in 1923.
The listed Official Website is now a dead link. This now appears to be the official website that at least implies that it is now under the same management as the Oaks Theater: http://www.theoakstheater.com/penn_hills_cinemas.html
A photo tour and other information about the revamped theater is here.
A photo tour and other information about the revamped theater is here.
Former operator Kiefaber arrested for trespassing and harassing workers at the Senator: View article
Here is another piece of information that would help to support the idea that the determination to abandon three-strip Cinerama was made in 1962: according to the IMDB, filming of “The Greatest Story Ever Told” in three-strip was ordered stopped by United Artists after thirty days of filming in 1962. (The film actually would not be released – in Ultra Panavision 70 at the Dome – until 1965 due to many problems in the making of the film). As I noted earlier, filming in three-strip on “Mad World”, also a UA film, also apparently stopped in 1962.
This YouTube video includes footage taken inside of what the Picture House.
Looking at that photo from the Boxoffice Archive, I doubt very much that the building faced with gray tiles in Silicon Sam’s comment of 03-01-2010 is what survives of the Alaska. The archived article’s photo shows a three-story building, and there is evidence that there was an old painted sign on the building to left of gray-tiled building. I think any real traces of the Alaska are gone.
Here is a press release announcing the installation of 70mm projectors at this theater and of an upcoming 70mm festival. Bravo!
BigJoe59, this link will take you to Michael Coate’s carefuly-researched chronology of Cinerama exhibition in Los Angeles; as you will see, both the Cinerama Dome and the Warner Hollywood were used for initial runs of 70mm Cinerama films.
The Dome was able to be built so quickly for two reasons. First, Cinerama Inc. intended to build hundreds of these theaters around the world and had developed a prototype design before Pacific Theaters decided to construct the first one, Secondly, some parts of the building were prefabricated, such as the ceiling hexagonal ceiling sections.
Perhaps John Sittig could tell you at what point the decision was made not to install the three projectors and soundtrack processor at the Dome. Online sources indicate that construction of the Dome was announced in April, 1963. Since “Mad World" opened at the Dome on November 7, 1963, actual construction probably started in July, 1963 (though preparation of the site probably started before). The final decision not install the equipment may have been after the premiere of “Mad World” once it was clear the film was a success.
One other point that may have a bearing on the question: The Dome never installed the original deep curve Cinerama screen of about 146 degrees. The one installed at the Dome originally had a shallower arc, I think of about 123 degrees. (At least it was a strip screen then; that single sheet one they have now which has the same shallower arc cannot hold a candle to the authentic deep curve strip-screen at the Cinerama Theater in Seattle, but it is better than that abominable flat screen that was installed for the opening of “Evita” before the Dome’s renovation).
The decision to install the shallower screen probably was due to the fact that the Dome’s owners knew that 35mm films and films in other widescreen processes would be shown at the Dome in coming years, and that showing films other than three-strip Cinerama on a deeply curved screen resulted in a somewhat distorted image. (I know; I saw “In Search of the Castaways” on the deeply curved Cinerama screen at the Palace in Cleveland, and was very odd to see it projected this way). The decision not install the deeply curved screen may have been a useful compromise at the time, but I suppose it may have been evidence that some people at Pacific Theaters knew that three-panel Cinerama was on its way out.
The agreement between MGM and Cinerama, Inc. to produce two films in three-panel Cinerama appears to have been struck in 1958. I have not been able to find a start date for principal photography for “Brothers Grimm” but it probably was late 1960 or early 1961 and probably had a long shooting schedule as George Pal insisted on filming in Europe on authentic locations.The film had its world premiere in the United States on 08-07-1962. Principal photography on “HTWWW” began of May 26, 1961. “HTWWW” premiered in London, on November 1, 1962 and in the U.S. on February 20, 1963 at the Warner Hollywood (where it would play for 93 weeks). After that, the Warner Hollywood would only play 70mm Cinerama films.
I do not know when the decision was made to switch filming “Mad World” from three-strip to 70mm Ultra Panavision, but it was probably in 1962 soon after the beginning of filming, as I have found a note that Kramer needed to do substantial filming in the summer of 1962 as that was when many of the large and famous cast would be available for location work. It should be kept in mind that in addition to 166 days of filming, “Mad World” would be in post-production for quite some time for the numerous effects shots; in addition, I have read that there was much work that had to be done in getting the projection as close to perfect using 70mm equipment; also the printing of the release print involved what was called “rectificaton” to reduced the image distortion on a curved screen, a process which appears to never to have been used before.
Complicating matters further, one source indicates that Cinerama itself was in development of a single lens process when the decision was made use the already-established Ultra Panavision lenses and 70mm film.
So when was the decision made? My guess would be sometime in 1962, but it may not have been so much a decision – at that point – to abandon three-strip as it was a decision to see what the reaction was to the 70mm version. It seems more likely that the decision to finally abandon three-strip was only actually made after it became clear that 1) 70mm was at least to some extent useful in making a Cinerama production (“HTWWW” basically proved that) and that 2) the moviegoers (well, at least some of them) would still go to roadshow 70mm Cinerama productions in large numbers (as proved by “Mad World” and “2001”). However, it only took a few turkeys such as “Custer of the West” and “Krakatoa” to show that advertising a film as “presented in Cinerama” was no assurance of success. But I think it is possible that had additional three-strip Cinerama films been made after 1962, that the Dome might have installed the requisite projectors or maintained the Warner Hollywood as three-strip venue.
I am not sure that you will actually be able to find a an actual date for abandonment of Cinerama. More likely, it simply just passed away from disuse over time when no director or studio chose to use it or spend the money to film with it. Much as I and others are passionate about it, it was admittedly a difficult to use and expensive process to use on narrative films especially. It is perhaps similar to asking on what day was decided to essentially stop using B&W film except for occasional artistic reasons.
I am sorry for the length of this, but I do not think your question really has a simple answer.
Some pictures of the Savoy:
1, 2, 3,4, 5
I also think it may be a typo; I found two quotes about this theater in online archived publications.
1) Motion Picture World, 1908: “Manager Ganes, of the Manhattan Theater, extended an invitation to the jackies at the Navy Yard to visit his theater and see Pathe’s fine picture of the reception of the American fleet in Australia. They came, they saw and they thoroughly enjoyed the spectacle and made many audible comments on the show. The incident in the film which received the most applause was the march past of the regiment of Highlanders. The military precision and fitness of this kilted regiment was a fine subject for the camera and well rendered.”
2) New York Dramatic Mirror, 01-31-1912: “First-run pictures, as they are called on the day of release, can be seen at the following houses: Three new reels daily at Ganes Manhattan Theatre, Broadway and Thirty-first Street..”
This webpage has additional information about the the theater, including several pictures of how it looked over the years.
I am guessing that it is an earlier theater that was closer to the actual junction of Clinton and Avon Avenues. The archived article indicates that the seating capacity for the pictured Avon Theater was 300 whereas the listed capacity (noted above) for this Avon was over three times that. I can’t see any similarities in the respective facades, though I suppose the theater could have been given a radical facelift at some point.
This webpage includes what is probably the photo previously posted by Warren G. Harris (those links are dead).
This article abut the couple’s plans includes a video that shows what remains of the theater.