This theatre, exterior and interior, is featured on FoodTV Network’s “Good Eats with Alton Brown”, episode “Pop Culture” (Number EA1010) featuring popcorn. Interior view clearly shows new projection booth located under former balcony.
I wasn’t referring to the loge section, but to a separate enclosed area under the balcony (as I recall on the right side of the auditorium facing the screen). It even included a multi-channel array of loudspeakers.
Was the “enclosed” section under the balcony and used especially, I believe, for parents with babies, installed during the conversion to the DeMille in ‘59? Thanks
The only recollection I can share concerns the 1960 MGM remake of “Cimarron.” Though it played a standard engagement at the Hall, it did run on a roadshow-reserved seat basis in at least two engagements: Hollywood (at the Paramount), and Philadelphia (at the Stanton).
Hi, Ed. I don’t remember much about the ornamental detail, but there was a mezzanine lounge, though I don’t recall that it was as elaborate as shown in the above picture.
You could always buy tickets at the door for roadshows if seats were available as far back as the pre-Cinerama days. The Philly Boyd, for example, had dual boxoffices. One (inside the lobby) for pre-ordered ticket “pick up,” the other (outside) for time-of-performance sales. On the other hand, the “This Is Cinerama” (70mm version) engagement at the Ziegfeld and elsewhere was reserved performance, not reserved seating. In the early 70’s there were a number of “reserved performance” engagements including “James Joyce’s Uysses,” “Last Tango In Paris,” and “Little Dorrit” (in 2 parts, each part shown on separate days.) I actually can’t remember the last full roadshow (or “hard ticket,” as “Variety” used to call it), where seating was reserved and where ushers would escort the patrons to their correct row. It was probably back in the “Star” or “Hello Dolly” days.
At some theatres I recall, particularly the NY Rivoli or the Philly Midtown, there was a seating chart visible in or next to the boxoffice, and patrons could select their seats if they wished to and, of course, if those seats were available. At the Rivoli I specifically asked for the center section, center seat, about 10 rows back from the curtain. Almost always got my choice.
Does anybody on earth have fotos of the Cinerama installation at the Paramount? I have exterior, but am looking for auditorium shots. Thanks, all.Vince
Mr. Apruzzese, when you run 3-D again at the Lafayette, you can assure yourself of at least two customers. Me, and whoever’s driving. One question: is the entire width of the screen “silverized” or only the 1.44-1.85 portion.
Yes, why not bring back that 70mm print of the remastered “Vertigo” that played there a few years back? As for “Dial M…”, does that 3-D print that ran at the 8th St Playhouse in the 70’s still exist?
Vito (and others), I always wondered what the console guy —– when he/she was present —– was doing. Only saw one of them working (it was a 4-channel interlock mag Rolling Stones concert film way back in the 70’s). Just what the heck did they do (when they were there to do anything at all)?
“Thanks, Warren. That Kinopanorama ad is great.” You should also take a look at the opening day ads. Initially, the Russians called the process “Kinorama.” The Cinerama folks complained loudly, and the next day the process was renamed “Kinopanorama”
DennisZ, you bring up an interesting point. I cant answer your question, but can throw another one at you. What was the name of the Times Square theatre that ran a double-feature of “Deep Throat” and “Devil and Ms Jones” for practically 10 years? It began sometime in the mid-70’s and ran well into the 1980s. I would bet that this would be the longest-run engagement of all time in New York City.
Vincent, in most cases, no. The order of delivery was: NY opening, then LA, then CHI, then Philly. Usually within a month. However, and this the crux of the matter, distribs often restricted the suburbs until well after the “hard-ticket” engagement had ended. For an instance, and I hope this answers your question…“Ben-Hur” ended at the Philly Boyd in Jan or Feb 1961, replaced by “Exodus.” The 35mm prints of “BH” didnt get around into the burbs until late Spring (probably Easter time) or early Summer. But smaller locations in Pennsylvania had runs prior to that, too.
Yes, Ed, and I believe it was in the 90’s before Ballys Casino took over the block. The entranceway and lobby were intact. The auditorium had been razed and became a parking lot. As you faced the entrance, this parking lot was on the left (south) side of the building itself.
You might want to try to contact Mr. Allen F. Hauss, who has just authored “South Jersey Theatres” (Arkadia Press). I left more information on him and his book at the Warner/Warren (Atlantic City) site yesterday on here. Unfortunately, I dont have all my notes in front of me. But check the Warner/Warren site…I think I may have put more accurate info on there. Mr. Hauss, as i believe, is an acquaintance of the people who had started to renovate/reopen the Harwan, and may be involved with the Broadway in Pitman. Let us know, please.
This theatre, exterior and interior, is featured on FoodTV Network’s “Good Eats with Alton Brown”, episode “Pop Culture” (Number EA1010) featuring popcorn. Interior view clearly shows new projection booth located under former balcony.
yes, that’s what I thought. It was definitely operational during the DeMille period.
I wasn’t referring to the loge section, but to a separate enclosed area under the balcony (as I recall on the right side of the auditorium facing the screen). It even included a multi-channel array of loudspeakers.
Was the “enclosed” section under the balcony and used especially, I believe, for parents with babies, installed during the conversion to the DeMille in ‘59? Thanks
Rew, was this “special seating section in front” a separate section on the orchestra floor? Thanks.
The only recollection I can share concerns the 1960 MGM remake of “Cimarron.” Though it played a standard engagement at the Hall, it did run on a roadshow-reserved seat basis in at least two engagements: Hollywood (at the Paramount), and Philadelphia (at the Stanton).
Actually, its opening name was the cumbersome “United Artists All-Purpose D-150 Theatre.”
Hi, Ed. I don’t remember much about the ornamental detail, but there was a mezzanine lounge, though I don’t recall that it was as elaborate as shown in the above picture.
Anybody here ever take pics of the Ziegfel’s 27x63 foot screen used in the Spring of 1973 for the 70mm version of “This Is Cinerama.”?
Can one of you gentlemen (or ladies) state the width of the screen around-the-curve foot-to-foot?
Tues 12/19/39 Astor (all seats reserved, twice daily) and Capitol (no reserved seats, 3 shows daily)
You could always buy tickets at the door for roadshows if seats were available as far back as the pre-Cinerama days. The Philly Boyd, for example, had dual boxoffices. One (inside the lobby) for pre-ordered ticket “pick up,” the other (outside) for time-of-performance sales. On the other hand, the “This Is Cinerama” (70mm version) engagement at the Ziegfeld and elsewhere was reserved performance, not reserved seating. In the early 70’s there were a number of “reserved performance” engagements including “James Joyce’s Uysses,” “Last Tango In Paris,” and “Little Dorrit” (in 2 parts, each part shown on separate days.) I actually can’t remember the last full roadshow (or “hard ticket,” as “Variety” used to call it), where seating was reserved and where ushers would escort the patrons to their correct row. It was probably back in the “Star” or “Hello Dolly” days.
At some theatres I recall, particularly the NY Rivoli or the Philly Midtown, there was a seating chart visible in or next to the boxoffice, and patrons could select their seats if they wished to and, of course, if those seats were available. At the Rivoli I specifically asked for the center section, center seat, about 10 rows back from the curtain. Almost always got my choice.
The lounge was in the basement where the restrooms were located.
Does anybody on earth have fotos of the Cinerama installation at the Paramount? I have exterior, but am looking for auditorium shots. Thanks, all.Vince
Mr. Apruzzese, when you run 3-D again at the Lafayette, you can assure yourself of at least two customers. Me, and whoever’s driving. One question: is the entire width of the screen “silverized” or only the 1.44-1.85 portion.
Yes, why not bring back that 70mm print of the remastered “Vertigo” that played there a few years back? As for “Dial M…”, does that 3-D print that ran at the 8th St Playhouse in the 70’s still exist?
Vito (and others), I always wondered what the console guy —– when he/she was present —– was doing. Only saw one of them working (it was a 4-channel interlock mag Rolling Stones concert film way back in the 70’s). Just what the heck did they do (when they were there to do anything at all)?
“Thanks, Warren. That Kinopanorama ad is great.” You should also take a look at the opening day ads. Initially, the Russians called the process “Kinorama.” The Cinerama folks complained loudly, and the next day the process was renamed “Kinopanorama”
Stop this, guys!
Thanks, Al.
DennisZ, you bring up an interesting point. I cant answer your question, but can throw another one at you. What was the name of the Times Square theatre that ran a double-feature of “Deep Throat” and “Devil and Ms Jones” for practically 10 years? It began sometime in the mid-70’s and ran well into the 1980s. I would bet that this would be the longest-run engagement of all time in New York City.
Vincent, in most cases, no. The order of delivery was: NY opening, then LA, then CHI, then Philly. Usually within a month. However, and this the crux of the matter, distribs often restricted the suburbs until well after the “hard-ticket” engagement had ended. For an instance, and I hope this answers your question…“Ben-Hur” ended at the Philly Boyd in Jan or Feb 1961, replaced by “Exodus.” The 35mm prints of “BH” didnt get around into the burbs until late Spring (probably Easter time) or early Summer. But smaller locations in Pennsylvania had runs prior to that, too.
Yes, Ed, and I believe it was in the 90’s before Ballys Casino took over the block. The entranceway and lobby were intact. The auditorium had been razed and became a parking lot. As you faced the entrance, this parking lot was on the left (south) side of the building itself.
You might want to try to contact Mr. Allen F. Hauss, who has just authored “South Jersey Theatres” (Arkadia Press). I left more information on him and his book at the Warner/Warren (Atlantic City) site yesterday on here. Unfortunately, I dont have all my notes in front of me. But check the Warner/Warren site…I think I may have put more accurate info on there. Mr. Hauss, as i believe, is an acquaintance of the people who had started to renovate/reopen the Harwan, and may be involved with the Broadway in Pitman. Let us know, please.