…..and a new a/c unit is coming, they have to fly it in and install it by helicopter, can not use a crane.
I talked with Rosemary, the new owner, and will meet up with her this week. Update to follow. Meanwhile anyone interested in helping out should call Rosemary at 718 979 1900
I was happy to learn the Ziegfeld is presenting Day after Tommorrow in 35mm film format rather than with Digital projection, which the theatre had installed and recently removed. I want to see movies on film and no other way. Digital projection is ok I guess on a small screen but NOT on the Ziegfeld screen.
Thanks William, Yes the end off 4-track mag came along with Dolby optical noise reduction prints and then Dolby stereo, although most studios had stop making mag prints available in the early 60s. Even Fox which released all of their films prior to 1960 in 4-track
mag-optical, switched to straight optical mono prints.I can recall the joy of getting a rare post 1960 mag print like “Hello Dolly”, “Star”, “2001” amoung a few others,and then presenting the film in stereo. We would put it on the marguee, presented in 4 track sterophonic sound. As for the Music Hall’s image size I believe you are quite right, it was rather small but the alternative Magnascope added much to much grain and robbed more light, even with carbon arc ,then the Hall could afford to lose.
The image was true to the original 1.33 ratio which made the picture look small but it was shown the way it was meant to be seen and how it was presented originally. As for the sound I think perhaps you have gotten used to modern day Dolby sound and have forgotten or are too young to remember what is what like back then, Warren, William, Vincent…
any comments?
Has anyone ben in the Music Halls projection booth lately? I visited the booth several years ago when there were five projectors,
three Simplex 35/70 with Dolby Digital capability as well as magnetic penthouses, and two Simplex XL 35mm with optical capability only. There were no platters, thankfully, although I was told that “Lion King” was presented in 70mm, but not with standard 70mm six track magnetic sound, a seperate 35mm Dolby Digital sound print was interlocked using platters. What is in the booth today?
I was very interested in Williams notes about the Hall’s 70mm presentations. I knew the 35mm prints were made a little lighter because I worked at Deluxe labs in New York during that time. I believe before Dolby came along many 35mm prints were struck with magnetic stereo tracks and although after 1960 such prints were hard to come by, Radio City still played a lot of films in 35mm 4 track magnetic. Anyone know more about this?
Well actually Sinatra played there just recently, yes I know he’s dead but he performed anyway. Anyone see that show or know anything about the process used to create it?
The Paramount was of course part of the Fabian circuit, along with St. George, Ritz, Liberty and SI Drive in, in the final years UA ran it for a while.
Yes the people running the Paramount at that time were very respectful of her. The father of a relative of mine ran the light shows. I visited a few times during rehersals etc and remember how excited the guys running the theatre were when they were able to get the marguee to light up, it was a fun to see. Unfortunatly they went out of business and new people rented the theatre and wreaked the place, taking out seats,painting everything black,destroying light fixtures etc.
As a projectionist at The Lynbrook during the 60s and 70s I can tell you the booth was not equiped for D-150, We had two Norelco 35/70 projectors and ran a lot of 70mm during which two projectionists on duty at all times. I remember “Oliver” as my favorite. “The Sound Of Music” played there a second time in 35mm with four track mag stereo sound.
Just look at that photo. The manager should be ashamed, how about featuring the titles of the movies playing? What a shameful, lazy way to present a marquee. So typical of todays thinking, in the good ole days a marquee would NEVER look like that.
I remember back in 1954 when “The French Line”
starring Jane Russell played in 3-D and played to record crowds.
Remember the giant billboard above the marguee?
JR in 3-D Need we say more?
Warren, the way I understand it, the Magnascope lens was a wide angle lens, about 7" that increased the size of the picture dramatically but also increased some of the grain, but was fine for projecting a special event in a movie such as the train wreck in “The Greatest Show on Earth” which was on a reel by itself and a changeover (remember those?)was made to one of the projectors installed with the Magna lens. Magnascope was actually invented back in the 20s and installed at New York’s Rivoli theatre in 1926 for the engagement of “Old Ironsides” It was billed as “The biggest screen in the world”
Yes Vincent, the lines for the holiday shows were rather long, I would think a 3 hour wait for the Christmas show was not usual.
In 1954 when “White Christmas” played the Music Hall and
“There’s no buisness like show buisness” was down the block to the Roxy, a lot of people spent a great deal of time on line, ah those were the days
Warren reminded me of that awfull destruction of the Roxy made in 1958, the 100-foot screen installed for Cinemiracle swallowed up the Roxy’s vast proscenium arch, the ornamental boxes and staircases, and then hardly anyone came to see this silly movie
I worked as a projectionist at the D-150 in Syosset. We had been hearing for years that the landloard wanted UA out in order to redevelop the valuable property the theater stood on. We were told the rent was increased many times and finally to a point where UA could not operate the theater with a profit. It weas a sad time because we had already just recently lost the last of the major Long Island Roadshow theatres, the Syosset, which had been cut up into three theaters, or should we say screening rooms,and then torn down.While it may not have been a movie palace, the D-150 was still the best place on Long Island to see as well as hear a movie with it’s amasing sound system (thanks Joe Kelly)
I agree with all that Paulb wrote regarding all the widescrens, however it does not apply to VistaVision which was projected in the VistaVision format in New York at Radio City Music Hall and The Paramount. VistaVision projectors were built to run the print thru the gate horizontally, which is how the film was shot. To my knowledge only a few of these projectors were made and installed in theatres, I believe Paramount Pictures had a pair in their screening room in L.A.
The posting by p7350 brought back memories, I worked as an usher during the during the engaement of House On Haunted hill run and we were posted in front of the cage to prevent anyone from jumping up and touching the cage that housed the skelton which flew across the theatre up to the balcony during the movie, (what fun) The theatre did close for a time in 1962 and was reopened with refurbished seats and a new look to thew lobby was also completed. The opening movie was indead “Flower Drum Song” I remember how proud and excited we all were that day. Thanks for the memory of that.“))
That would be wonderful vincent, I would be there every week, in my favorite seat, front row in the first balcony. As for movies, I don’t understand why the Hall never shows them anymore. What a magnificent experience for all the young people who have to endure a movie sitting in a tiny multiplex and have never experienced seeing a movie in a theatre like RCMH. The last time I believe a movie was shown there at all was back in 2002 with a special 40th anniversary presentation of “West Side Story” I believe the same was done for the 50th anniversaty of “Singin In The Rain” We should, all of us, write the management and suggest something like a movie now and then accompanied by a stage show.
Well I did a litle more research on the Cinemascope 55 question.
According to the info I received from an old local 306 projectionist, Carousel opened in February 1956 at the Roxy and was indead shown in a reduction 35mm print. That is not to say that Edd is incorrect because there were a few experimental 55mm prints made and in fact Fox did want to show the film in 55 but it never materialized at least not to his knowledge and certainly not in The Roxy. The advantage to shooting the film in 55mm and then reducing to 35mm for projection was improved picure quality and lower grain.
The idea was only used one other time for “The King And I” which was also shown at The Roxy in 35mm. As for Kitty’s comment about the advertising, I don’t believe the ad actually said “shown in"
Cinemascope 55. It was the same for VistaVision which was shown all over during the late 50s, the ads read VistaVision but were shown in regular 35mm. The only theatres in New York to install VistaVision projectors were Radio City "White Christmas” and The Paramount “Were No Angels”
The restoration lives!
www.stgeorgetheatre.com
…..and a new a/c unit is coming, they have to fly it in and install it by helicopter, can not use a crane.
I talked with Rosemary, the new owner, and will meet up with her this week. Update to follow. Meanwhile anyone interested in helping out should call Rosemary at 718 979 1900
I was happy to learn the Ziegfeld is presenting Day after Tommorrow in 35mm film format rather than with Digital projection, which the theatre had installed and recently removed. I want to see movies on film and no other way. Digital projection is ok I guess on a small screen but NOT on the Ziegfeld screen.
Thanks William, Yes the end off 4-track mag came along with Dolby optical noise reduction prints and then Dolby stereo, although most studios had stop making mag prints available in the early 60s. Even Fox which released all of their films prior to 1960 in 4-track
mag-optical, switched to straight optical mono prints.I can recall the joy of getting a rare post 1960 mag print like “Hello Dolly”, “Star”, “2001” amoung a few others,and then presenting the film in stereo. We would put it on the marguee, presented in 4 track sterophonic sound. As for the Music Hall’s image size I believe you are quite right, it was rather small but the alternative Magnascope added much to much grain and robbed more light, even with carbon arc ,then the Hall could afford to lose.
The image was true to the original 1.33 ratio which made the picture look small but it was shown the way it was meant to be seen and how it was presented originally. As for the sound I think perhaps you have gotten used to modern day Dolby sound and have forgotten or are too young to remember what is what like back then, Warren, William, Vincent…
any comments?
Has anyone ben in the Music Halls projection booth lately? I visited the booth several years ago when there were five projectors,
three Simplex 35/70 with Dolby Digital capability as well as magnetic penthouses, and two Simplex XL 35mm with optical capability only. There were no platters, thankfully, although I was told that “Lion King” was presented in 70mm, but not with standard 70mm six track magnetic sound, a seperate 35mm Dolby Digital sound print was interlocked using platters. What is in the booth today?
I was very interested in Williams notes about the Hall’s 70mm presentations. I knew the 35mm prints were made a little lighter because I worked at Deluxe labs in New York during that time. I believe before Dolby came along many 35mm prints were struck with magnetic stereo tracks and although after 1960 such prints were hard to come by, Radio City still played a lot of films in 35mm 4 track magnetic. Anyone know more about this?
Anyway of contacting her?
I guess it’s really over. I won’t want to even drive by the old girl while they destroy her
Well actually Sinatra played there just recently, yes I know he’s dead but he performed anyway. Anyone see that show or know anything about the process used to create it?
The Paramount was of course part of the Fabian circuit, along with St. George, Ritz, Liberty and SI Drive in, in the final years UA ran it for a while.
Anything new going on with the restoration?
Yes the people running the Paramount at that time were very respectful of her. The father of a relative of mine ran the light shows. I visited a few times during rehersals etc and remember how excited the guys running the theatre were when they were able to get the marguee to light up, it was a fun to see. Unfortunatly they went out of business and new people rented the theatre and wreaked the place, taking out seats,painting everything black,destroying light fixtures etc.
As a projectionist at The Lynbrook during the 60s and 70s I can tell you the booth was not equiped for D-150, We had two Norelco 35/70 projectors and ran a lot of 70mm during which two projectionists on duty at all times. I remember “Oliver” as my favorite. “The Sound Of Music” played there a second time in 35mm with four track mag stereo sound.
Just look at that photo. The manager should be ashamed, how about featuring the titles of the movies playing? What a shameful, lazy way to present a marquee. So typical of todays thinking, in the good ole days a marquee would NEVER look like that.
I remember back in 1954 when “The French Line”
starring Jane Russell played in 3-D and played to record crowds.
Remember the giant billboard above the marguee?
JR in 3-D Need we say more?
Warren, the way I understand it, the Magnascope lens was a wide angle lens, about 7" that increased the size of the picture dramatically but also increased some of the grain, but was fine for projecting a special event in a movie such as the train wreck in “The Greatest Show on Earth” which was on a reel by itself and a changeover (remember those?)was made to one of the projectors installed with the Magna lens. Magnascope was actually invented back in the 20s and installed at New York’s Rivoli theatre in 1926 for the engagement of “Old Ironsides” It was billed as “The biggest screen in the world”
Yes Vincent, the lines for the holiday shows were rather long, I would think a 3 hour wait for the Christmas show was not usual.
In 1954 when “White Christmas” played the Music Hall and
“There’s no buisness like show buisness” was down the block to the Roxy, a lot of people spent a great deal of time on line, ah those were the days
Warren reminded me of that awfull destruction of the Roxy made in 1958, the 100-foot screen installed for Cinemiracle swallowed up the Roxy’s vast proscenium arch, the ornamental boxes and staircases, and then hardly anyone came to see this silly movie
I worked as a projectionist at the D-150 in Syosset. We had been hearing for years that the landloard wanted UA out in order to redevelop the valuable property the theater stood on. We were told the rent was increased many times and finally to a point where UA could not operate the theater with a profit. It weas a sad time because we had already just recently lost the last of the major Long Island Roadshow theatres, the Syosset, which had been cut up into three theaters, or should we say screening rooms,and then torn down.While it may not have been a movie palace, the D-150 was still the best place on Long Island to see as well as hear a movie with it’s amasing sound system (thanks Joe Kelly)
I agree with all that Paulb wrote regarding all the widescrens, however it does not apply to VistaVision which was projected in the VistaVision format in New York at Radio City Music Hall and The Paramount. VistaVision projectors were built to run the print thru the gate horizontally, which is how the film was shot. To my knowledge only a few of these projectors were made and installed in theatres, I believe Paramount Pictures had a pair in their screening room in L.A.
The posting by p7350 brought back memories, I worked as an usher during the during the engaement of House On Haunted hill run and we were posted in front of the cage to prevent anyone from jumping up and touching the cage that housed the skelton which flew across the theatre up to the balcony during the movie, (what fun) The theatre did close for a time in 1962 and was reopened with refurbished seats and a new look to thew lobby was also completed. The opening movie was indead “Flower Drum Song” I remember how proud and excited we all were that day. Thanks for the memory of that.“))
That would be wonderful vincent, I would be there every week, in my favorite seat, front row in the first balcony. As for movies, I don’t understand why the Hall never shows them anymore. What a magnificent experience for all the young people who have to endure a movie sitting in a tiny multiplex and have never experienced seeing a movie in a theatre like RCMH. The last time I believe a movie was shown there at all was back in 2002 with a special 40th anniversary presentation of “West Side Story” I believe the same was done for the 50th anniversaty of “Singin In The Rain” We should, all of us, write the management and suggest something like a movie now and then accompanied by a stage show.
Well I did a litle more research on the Cinemascope 55 question.
According to the info I received from an old local 306 projectionist, Carousel opened in February 1956 at the Roxy and was indead shown in a reduction 35mm print. That is not to say that Edd is incorrect because there were a few experimental 55mm prints made and in fact Fox did want to show the film in 55 but it never materialized at least not to his knowledge and certainly not in The Roxy. The advantage to shooting the film in 55mm and then reducing to 35mm for projection was improved picure quality and lower grain.
The idea was only used one other time for “The King And I” which was also shown at The Roxy in 35mm. As for Kitty’s comment about the advertising, I don’t believe the ad actually said “shown in"
Cinemascope 55. It was the same for VistaVision which was shown all over during the late 50s, the ads read VistaVision but were shown in regular 35mm. The only theatres in New York to install VistaVision projectors were Radio City "White Christmas” and The Paramount “Were No Angels”
Sorry Warren, I was refering to the Center theatre on B'way built in 1914 which I believe Roxy managed but did not build.