Robert: sadly, curtains are a thing of the past, for one thing they just do not fit well in todays theatres, with wall to wall screens and virtually no stage area. Theatre owners just do not seem to want the extra cost of installing and maintaning curtains. The main reason is the slide presentations between shows which create additional revenues, with a mix of ads, puzzles, and jokes, slides have become popular with audiences.
John: The concept is alive and well, more Cinema De Lux locations are coming. National has always been very selective in the choice of new locations. Years are spent in location studies, planning, design and eventual construction. Look for one on Long Island soon to replace the Commack Multipex which will be the second one on Long Island. The last two opened a little over a year ago in White Plains, NY and Fairfax, VA. I am glad you like the one in PA, there is also one in Ohio, Mass, Kentucky, and of the course the one in L.A.
How about when the cutain got stuck half way and you would have to race down the stairs past the balcony, up the orchestra floor to the stage to pull the curtain open by hand. Then come from behind the curtain up the aisle to thunderous cheers and clapping.
John, I have not heard of any plans for N/A to build a Cinema De Lux, however it sure would be the way to go. The competion of all the new theatres hurt the ole Amboy and a Cinema De lux would be just the ticket to woo back those lost patrons. In a Cinema Delux, you can have a stop at Chatters and have a drink, if so inclined, or a great tasting hamburger or chicken platter in the restuarant, you can also go by Nathans for a hot dog or grap a slice of pizza at Sabarros. Then after watching a movie in one of the state of the art Directors Halls you can stop by Ben and Jerry’s for some ice cream on your way out.
Garth, I would agree, the Staten Island theatres leave a lot to be desired. I have family members living on S.I who always travel to New Jersey to see movies, of course the passes I give em help too :)
but seriously, at one time they have said they would rather travel off the island to see a movie, but I believe that situation has improved and some of the S.I. theatres have gotten better.
I would agre with most of what pzman84 wrote, however with respect to the 1920s sound conversion and today’s digital projection, there is a major difference. When sound was introduced people demanded more, silent filme were doomed and all theatres and studios had to make the change. We had a similar situation with the arrival of digital sound. In 1993 when Jurrassic Park opened in DTS sound, many theatres installled the new equipment. When the movie played in a multiplex on 2 or more screens, it was presented in both DTS digital as well as analog Dolby stereo versions, people would demand to see the DTS version which outgrossed the analog version on a regular basis. The same does not appear to apply to digital film. With the exception of a “Star Wars”, for the most part People do not seem to be choosing the showtimes in the digital format over film. In other words they just don’t care. Sound is a big deal but not the picture. So, as RCDTJ has written the savings and advantages are for the studios benefit, there is little for the theatre owners to gain here. The big fight now is, who is going to pay for this very, and I mean VERY, expensive conversion. A plan is underway for the studios to pool together and help with the cost. It would be a good investment for them since the savings down the line will be huge. I hate to see it happen, I will miss film as I do LPs.
Well guys, ya got me. I have to admit, as a movie palace lover, I always hated those cinder block boxes. However, today there is much improvement, if you have been to any of the newer N/A theatres, such as White Plains, you will appreciate the improvements. I wonder, had Century theatres survived,(I think they were one of the best) and started building multi-screen complexes, what would they have done.
John, your point about first class operations is very accurate. N/A has each and every location inspected from top to bottom by upper management, they are called unit evaluations and are held, with only about 18 hours prior notice to the theatre staff, twice a year.
After the inspection, management is given a list of items that need repair or replacement. In addition, I believe you would be hard pressed to find cleaner theatres than those operated by National Amusements.
Justin, I must respect National Amusements policy of not discussing theatre grosses etc. Edgewater is a busy theatre but by no means the busiest. I am not sure the Digital projection plays a very big factor in theatre grosses as yet. Edgewater has two digital houses and is the only National Amusements theatre in New Jersey having
digital capabilities. The only N.A digital theatres in New York are on Long Island, White Plains has an IMAX theatre. Of couse when it comes to sound that is another matter. All recently built N.A. theatres have 100% digital sound, and most of the older ones have installed Dolby digital as well. National Amusements ALWAYS installs all the best projection and sound equipment available. Most of the theatres are state of the art and have a reputation in the industry for top quality picture and sound presentation. The same thing applies to concession and box-ofice equipment, only the best and most reliable will do.
Well…. I have a feeling we have worked together or at least know a lot of the same National Amusements people. In any event it’s fun to chat about it all.
Justin, I heard, but have not seen, an announcement has been made from the owners that the theatre is closed for good. The Amboy was the place to go back in it’s day, a friend of mine was the Managing Director when it opened and tells stories of a very busy theatre.
CConnelly, It was Summner Redstone who first started building the Multiplex Cinema design. At the time, one of the first, the Sunrise Multiples in Valley Stream was the busiest theatre in the country.
I worked at Sunrise during the early 80s and we were so busy with certain movies, we would have to interlock (present movies on two or more screens) giving a film up to 1900 seats per showing.
Michael, do we know one another?
My memory tells me Michael is correct. Amboy Cinemas opened in 1979 as a six-plex and grew over the years with add-ons and splitting some of the auditoriums. The 70mm house (#7) he mentioned actually had two 35/70mm Century JJ projctors as well as a platter film transport system. When it closed as a 14-plex, five of the original auditoriums #5,6,7,13,14 were intact, each seating 500 people.
The telecast was a great way to see the hall, I don’t get there as much as I used to.I just wish they would lower and raise that curtain once in a while.
Watching the Tony’s on Sunday I noticed those four “Horn of Plenty” like devices hanging from the ceiling, two on each side of the stage.
Rob, what the heck are those?
Garth, I have communicated to Doreen my interest in helping in any way I can in the booking, promoting and even the projection ( a city of NY icence is required) of movies. Soon, perhaps in the fall, I hope we will get together and make it happen. I too am so very greatful to Doreen and Rosemary for what they have accomplished.
Talk about sticking with it and making it happen against all odds.
Brava!
Thanks Garth, I have a very warm spot in my heart for that theatre, having spent so many wonderful years there. Yes, it did get landmark statis, in fact the name was changed to the Landmark Lane.
I visited during the time it was being converted to a nightclub and they had made a lot of repairs. The orchestra seats were removed for tables and chairs but the balcony (stadium seating) was intact. It has been closed for quite a while now so it may have dereriated again. Please let us know what you find out.
Garth,I may have to go there just to satisfy myself as to where those red seats came from. The guy running that warehouse is mistaken, unless they are the original seats from way back when, those red seats are not from the Paramount.Speaking about the Lane, do you or anyone know what is going on there? I also worked the Lane in the late 50s early 60s. That window you can see near the top of the building, as you drive up New Dorp Lane from Hyland to the
RR station, is the booth window where I spent many hours staring at the crowds lined up past the bank to get in. Mr.Moses weas a good showman, who took great pride in the Lane.
Jean, I believe Jeffrey is correct in his suspisions. I am positive that the Paramount’s seats were Blue. As a matter of fact when I visited the theatre when Steckman sold it, I sat in one of the BLUE seats in the balcony and looked around thinking “My God what have they done to this place” I was there the day the new and present owners took over and there weren’t any sats in the orchestra at all, only the remaining, 500 or so, seats in the balcony remained. Something is not right with the Advance article and if the guy selling the seats is sure they came from the Paramount, then the only possibility I can think of is that they came from the original seats which were installed back when the theatre first opened. I don’t know what color they were, or where they may have been all those years.So they puzzle continues, where the heck did those red velvet seats come from? hmmmmmmmm
Jean, I am a bit confused, the Paramounts seats were blue not red. Are we sure those are seats from the S.I Paramount? Perhaps he got them from the Liberty or some other S.I or Paramount theatre.
Hi Jean, it’s been a while.
To answer Garth’s question, I remember working the Paramount on Christmas day 1953, the day “The Robe” opened in CinemaScope. We were closed the day before to install the 46 ft screen and stereo sound. I recall we were the only theatre open in Stapelton at the time. I don’t think the Liberty made it into the 50s, perhaps Jean knows when the Liberty closed, but I am sure it was closed by 1953.
Jeffrey and Jean, it would be wonderful if the marquee were preserved and kept, but have you seen it lately? I doubt it can be saved, but perhaps rebuilt or replaced with something simular to the what they did at the NY Paramount. Certainly, as Jean sugggested, the name of the building should include the name Paramount.
William, I worked post production at 20th Century fox and also at News of the Day for a while in the late 50s. It was tense but I enjoyed it a lot and we always had passes to the Roxy and Rivoli. The guys at News of the Day had a very stressful job with new footgae being delivered all day long and having to get two newsreels out every week.
Thanks Bill, that’s what I wantd to hear. My next trip to NY will include my long overdue tour of my favorite theatre. I will report what I see.
Rob, I realise now I may have put in an uncomfortable postion to answer if the tour was worth taking. Dumb question to ask an employee of the theatre.
I was the same way Rob, we used to try and get the two seats next to the control pit (as I clled it), to watch the stage show and then race up to the top mezz to sit directly under the booth to watch the movie. I can still here “hit it” coming from the booth as the 2nd changeover cue went by.
By the way, I don’t get into the city much anymore, but thought someday I might go on the tour. Is the tour worth taking? Do they go into the booth?
Another great story Rob, thanks. However you are wrong about your one and only time in the spotlight, you were ALWAYS in the spotlight at the hall. The stage and projection crew is what made it all the more spectacular. Without your heart and dedication it would just be another night at the movies with a stage show. With people like you around, RCMH will always be “The Showplace of the Nation”
Thanks Rob, appreciate the info, my only regret an operator is that I never had a chance to work RCMH. I actually stole the calling cues idea. In the theatres I worked prior to 1972, all 70mm engagements, roadshow or not, always had two men in the booth, so I always insisted on calling cues.
Perhaps either you or Richie can tell us more about how the stage crew handled the film presentaion. Who would actually raise the curtain and open and close the traveler?. Once again, I copied RCMH by doing a “Delux” between shorts, trailers, etc, and the actual feature, I always closed all curtains and re-opened them as you did.
It put a bit of showmanship into the presentation. I also wondered about that guy in the “pit” who would always be busy flipping switches and turning knobs, what did he actually control?
Robert: sadly, curtains are a thing of the past, for one thing they just do not fit well in todays theatres, with wall to wall screens and virtually no stage area. Theatre owners just do not seem to want the extra cost of installing and maintaning curtains. The main reason is the slide presentations between shows which create additional revenues, with a mix of ads, puzzles, and jokes, slides have become popular with audiences.
John: The concept is alive and well, more Cinema De Lux locations are coming. National has always been very selective in the choice of new locations. Years are spent in location studies, planning, design and eventual construction. Look for one on Long Island soon to replace the Commack Multipex which will be the second one on Long Island. The last two opened a little over a year ago in White Plains, NY and Fairfax, VA. I am glad you like the one in PA, there is also one in Ohio, Mass, Kentucky, and of the course the one in L.A.
How about when the cutain got stuck half way and you would have to race down the stairs past the balcony, up the orchestra floor to the stage to pull the curtain open by hand. Then come from behind the curtain up the aisle to thunderous cheers and clapping.
John, I have not heard of any plans for N/A to build a Cinema De Lux, however it sure would be the way to go. The competion of all the new theatres hurt the ole Amboy and a Cinema De lux would be just the ticket to woo back those lost patrons. In a Cinema Delux, you can have a stop at Chatters and have a drink, if so inclined, or a great tasting hamburger or chicken platter in the restuarant, you can also go by Nathans for a hot dog or grap a slice of pizza at Sabarros. Then after watching a movie in one of the state of the art Directors Halls you can stop by Ben and Jerry’s for some ice cream on your way out.
Garth, I would agree, the Staten Island theatres leave a lot to be desired. I have family members living on S.I who always travel to New Jersey to see movies, of course the passes I give em help too :)
but seriously, at one time they have said they would rather travel off the island to see a movie, but I believe that situation has improved and some of the S.I. theatres have gotten better.
View link
I would agre with most of what pzman84 wrote, however with respect to the 1920s sound conversion and today’s digital projection, there is a major difference. When sound was introduced people demanded more, silent filme were doomed and all theatres and studios had to make the change. We had a similar situation with the arrival of digital sound. In 1993 when Jurrassic Park opened in DTS sound, many theatres installled the new equipment. When the movie played in a multiplex on 2 or more screens, it was presented in both DTS digital as well as analog Dolby stereo versions, people would demand to see the DTS version which outgrossed the analog version on a regular basis. The same does not appear to apply to digital film. With the exception of a “Star Wars”, for the most part People do not seem to be choosing the showtimes in the digital format over film. In other words they just don’t care. Sound is a big deal but not the picture. So, as RCDTJ has written the savings and advantages are for the studios benefit, there is little for the theatre owners to gain here. The big fight now is, who is going to pay for this very, and I mean VERY, expensive conversion. A plan is underway for the studios to pool together and help with the cost. It would be a good investment for them since the savings down the line will be huge. I hate to see it happen, I will miss film as I do LPs.
Well guys, ya got me. I have to admit, as a movie palace lover, I always hated those cinder block boxes. However, today there is much improvement, if you have been to any of the newer N/A theatres, such as White Plains, you will appreciate the improvements. I wonder, had Century theatres survived,(I think they were one of the best) and started building multi-screen complexes, what would they have done.
John, your point about first class operations is very accurate. N/A has each and every location inspected from top to bottom by upper management, they are called unit evaluations and are held, with only about 18 hours prior notice to the theatre staff, twice a year.
After the inspection, management is given a list of items that need repair or replacement. In addition, I believe you would be hard pressed to find cleaner theatres than those operated by National Amusements.
Justin, I must respect National Amusements policy of not discussing theatre grosses etc. Edgewater is a busy theatre but by no means the busiest. I am not sure the Digital projection plays a very big factor in theatre grosses as yet. Edgewater has two digital houses and is the only National Amusements theatre in New Jersey having
digital capabilities. The only N.A digital theatres in New York are on Long Island, White Plains has an IMAX theatre. Of couse when it comes to sound that is another matter. All recently built N.A. theatres have 100% digital sound, and most of the older ones have installed Dolby digital as well. National Amusements ALWAYS installs all the best projection and sound equipment available. Most of the theatres are state of the art and have a reputation in the industry for top quality picture and sound presentation. The same thing applies to concession and box-ofice equipment, only the best and most reliable will do.
“Only in cyberspace”
Well…. I have a feeling we have worked together or at least know a lot of the same National Amusements people. In any event it’s fun to chat about it all.
Justin, I heard, but have not seen, an announcement has been made from the owners that the theatre is closed for good. The Amboy was the place to go back in it’s day, a friend of mine was the Managing Director when it opened and tells stories of a very busy theatre.
CConnelly, It was Summner Redstone who first started building the Multiplex Cinema design. At the time, one of the first, the Sunrise Multiples in Valley Stream was the busiest theatre in the country.
I worked at Sunrise during the early 80s and we were so busy with certain movies, we would have to interlock (present movies on two or more screens) giving a film up to 1900 seats per showing.
Michael, do we know one another?
My memory tells me Michael is correct. Amboy Cinemas opened in 1979 as a six-plex and grew over the years with add-ons and splitting some of the auditoriums. The 70mm house (#7) he mentioned actually had two 35/70mm Century JJ projctors as well as a platter film transport system. When it closed as a 14-plex, five of the original auditoriums #5,6,7,13,14 were intact, each seating 500 people.
Good luck Gustavelifting, you are to be commended for your dedication to giving the Kings a new life.
The telecast was a great way to see the hall, I don’t get there as much as I used to.I just wish they would lower and raise that curtain once in a while.
Watching the Tony’s on Sunday I noticed those four “Horn of Plenty” like devices hanging from the ceiling, two on each side of the stage.
Rob, what the heck are those?
Garth, I have communicated to Doreen my interest in helping in any way I can in the booking, promoting and even the projection ( a city of NY icence is required) of movies. Soon, perhaps in the fall, I hope we will get together and make it happen. I too am so very greatful to Doreen and Rosemary for what they have accomplished.
Talk about sticking with it and making it happen against all odds.
Brava!
Thanks Garth, I have a very warm spot in my heart for that theatre, having spent so many wonderful years there. Yes, it did get landmark statis, in fact the name was changed to the Landmark Lane.
I visited during the time it was being converted to a nightclub and they had made a lot of repairs. The orchestra seats were removed for tables and chairs but the balcony (stadium seating) was intact. It has been closed for quite a while now so it may have dereriated again. Please let us know what you find out.
Garth,I may have to go there just to satisfy myself as to where those red seats came from. The guy running that warehouse is mistaken, unless they are the original seats from way back when, those red seats are not from the Paramount.Speaking about the Lane, do you or anyone know what is going on there? I also worked the Lane in the late 50s early 60s. That window you can see near the top of the building, as you drive up New Dorp Lane from Hyland to the
RR station, is the booth window where I spent many hours staring at the crowds lined up past the bank to get in. Mr.Moses weas a good showman, who took great pride in the Lane.
A sad note, Tha Amboy 14 screen theatre Multiplex Cinema closed at the end of May. It may be temporary but it appears to be gone forever.
Jean, I believe Jeffrey is correct in his suspisions. I am positive that the Paramount’s seats were Blue. As a matter of fact when I visited the theatre when Steckman sold it, I sat in one of the BLUE seats in the balcony and looked around thinking “My God what have they done to this place” I was there the day the new and present owners took over and there weren’t any sats in the orchestra at all, only the remaining, 500 or so, seats in the balcony remained. Something is not right with the Advance article and if the guy selling the seats is sure they came from the Paramount, then the only possibility I can think of is that they came from the original seats which were installed back when the theatre first opened. I don’t know what color they were, or where they may have been all those years.So they puzzle continues, where the heck did those red velvet seats come from? hmmmmmmmm
Jean, I am a bit confused, the Paramounts seats were blue not red. Are we sure those are seats from the S.I Paramount? Perhaps he got them from the Liberty or some other S.I or Paramount theatre.
Hi Jean, it’s been a while.
To answer Garth’s question, I remember working the Paramount on Christmas day 1953, the day “The Robe” opened in CinemaScope. We were closed the day before to install the 46 ft screen and stereo sound. I recall we were the only theatre open in Stapelton at the time. I don’t think the Liberty made it into the 50s, perhaps Jean knows when the Liberty closed, but I am sure it was closed by 1953.
Jeffrey and Jean, it would be wonderful if the marquee were preserved and kept, but have you seen it lately? I doubt it can be saved, but perhaps rebuilt or replaced with something simular to the what they did at the NY Paramount. Certainly, as Jean sugggested, the name of the building should include the name Paramount.
I for one refuse to dignify ALALvarez’s remarks with a responce.
William, I worked post production at 20th Century fox and also at News of the Day for a while in the late 50s. It was tense but I enjoyed it a lot and we always had passes to the Roxy and Rivoli. The guys at News of the Day had a very stressful job with new footgae being delivered all day long and having to get two newsreels out every week.
Thanks Bill, that’s what I wantd to hear. My next trip to NY will include my long overdue tour of my favorite theatre. I will report what I see.
Rob, I realise now I may have put in an uncomfortable postion to answer if the tour was worth taking. Dumb question to ask an employee of the theatre.
I was the same way Rob, we used to try and get the two seats next to the control pit (as I clled it), to watch the stage show and then race up to the top mezz to sit directly under the booth to watch the movie. I can still here “hit it” coming from the booth as the 2nd changeover cue went by.
By the way, I don’t get into the city much anymore, but thought someday I might go on the tour. Is the tour worth taking? Do they go into the booth?
Another great story Rob, thanks. However you are wrong about your one and only time in the spotlight, you were ALWAYS in the spotlight at the hall. The stage and projection crew is what made it all the more spectacular. Without your heart and dedication it would just be another night at the movies with a stage show. With people like you around, RCMH will always be “The Showplace of the Nation”
Thanks Rob, appreciate the info, my only regret an operator is that I never had a chance to work RCMH. I actually stole the calling cues idea. In the theatres I worked prior to 1972, all 70mm engagements, roadshow or not, always had two men in the booth, so I always insisted on calling cues.
Perhaps either you or Richie can tell us more about how the stage crew handled the film presentaion. Who would actually raise the curtain and open and close the traveler?. Once again, I copied RCMH by doing a “Delux” between shorts, trailers, etc, and the actual feature, I always closed all curtains and re-opened them as you did.
It put a bit of showmanship into the presentation. I also wondered about that guy in the “pit” who would always be busy flipping switches and turning knobs, what did he actually control?