Link to the Drive In ladder ad in the Atlanta paper on August 5, 1964. The blogger has also written up some of his memories of working at these places. Worth a look if you are interested in the drive in culture from 1970 – 1990.
Link to the Drive In ladder ad in the Atlanta paper on August 5, 1964. The blogger has also written up some of his memories of working at these places. Worth a look if you are interested in the drive in culture from 1970 – 1990.
Link to the Drive In ladder ad in the Atlanta paper on August 5, 1964. The blogger has also written up some of his memories of working at these places. Worth a look if you are interested in the drive in culture from 1970 – 1990.
Link to the Drive In ladder ad in the Atlanta paper on August 5, 1964. The blogger has also written up some of his memories of working at these places. Worth a look if you are interested in the drive in culture from 1970 – 1990.
Link to the Drive In ladder ad in the Atlanta paper on August 5, 1964. The blogger has also written up some of his memories of working at these places. Worth a look if you are interested in the drive in culture from 1970 – 1990.
Link to the Drive In ladder ad in the Atlanta paper on August 5, 1964. The blogger has also written up some of his memories of working at these places. Worth a look if you are interested in the drive in culture from 1970 – 1990.
In 1998, and again in 1999 I made the trek to Dayton to experience Cinerama at the Neon. In 1998, the Saturday feature was This Is Cinerama, and in 1999 it was Cinerama Holiday, in glorious Eastman pink. Both times the Sunday feature was How The West Was Won. Given the friendly and informal atmosphere of the New Neon Movies, we were invited to look the place over on Friday night.
Since the Cinerama projectors must be mounted at screen level to avoid the vertical keystone effect, we were able to get an up close look at the whole operation. The side projectors were located in the back corners of the auditorium while the center projector was located in the lobby itself with the beam shooting through a hole cut in the back wall of the auditorium. The 7 track sound projector/processor was located next to the center projector. The entire presentation was run by John Harvey who alone did the work of the four to seven man crew used in the Cinerama days.
Despite the somewhat slap dash nature of the set up, there was absolutely nothing wrong with the presentation. Although the New Neon was small, with about 220 seats, from the fifth row of seats we were treated to an experience equal to that at the Seattle Cinerama and superior to the one at the Dome. Great sound, incredible picture, and a great time was had by all.
An article recently appeared in Slate magazine on the subject of Cinerama. This is the paragraph that mentioned the Neon:
Cinerama faded before I was born, but my hometown of Dayton, Ohio, became the unlikely site of a Cinerama revival in the ‘90s, thanks to the efforts of Dayton projectionist John Harvey. Harvey had previously set up a Cinerama screening room in his ranch homeâ€"eliminating two bedrooms in the processâ€"and helped the National Media Museum in Bradford, England, set up Cinerama projection in 1993. In 1996, Harvey moved his home equipment to the Neon Movies, a downtown theater that had served as a pilgrimage site for Daytonians seeking art house fare since the mid-'80s. Harvey’s Cinerama setup was supposed to have a one-month stay. Instead, it stuck around for more than three years, attracting widescreen enthusiasts like Quentin Tarantino and Joe Dante.
Keith Phipps writes about movies for The A.V. Club, the entertainment section of the Onion.
Three screen Cinerama was long gone by the time I arrived in Atlanta. My only experiences with that format were at the Ritz in Birmingham, and the New Neon in Dayton. However, I do have some knowledge of the theatres mentioned in this article, so I will confine myself to that subject.
The Roxy (CT: /theaters/10331/ ) was the first Cinerama theatre in Atlanta, and like the Ritz was a conversion of a 30 year old movie palace. Some of the comments on the CT page are in error and some contradict each other, but one in particular is useful in describing the effects of the conversion. It had been reconverted to a traditional layout by the time I first attended a movie there in 1968, so there is not much I can add.
Martin Cinerama (CT: /theaters/4784/ ) started out life as the Erlanger before being renamed the Tower, or maybe it was vice versa, resembled the old Loews Grand in size and shape, and was a fine venue for live shows and movies for close to 30 years before being purchased by the Martin chain and converted to Cinerama. The conversion turned the theatre into a luxury showcase and was my favorite of all of the theatres that I have worked in during my 40 or so years in this business. By the time I showed up all of the Cinerama projection equipment was long gone, and the A and C projection booths were used for store rooms. The ribbon screen was still there, but it was removed in 1971.
After Circus World, Martin moved their Cinerama efforts to the new Georgia, which was in the northern suburbs and had acres of free parking. The Martin continued to do business as it became the home of the big musicals of the 60’s. Mary Poppins, Sound of Music, Thoroughly Modern Millie, and Camelot all had roadshow engagements here. Sound of Music played for 18 months. 2001 was the only other Cinerama to play here during the late 60’s. The only addition I have to make to Michael’s list is to state that both Custer of the West and Krakatoa East of Java did play here. Eventually. After Martin sold the location to Walter Reade Org. those two titles played as a double feature sometime in 1971, or perhaps 1970.
The removal of the Cinerama ribbon screen took place because of yet another big budget musical, Fiddler on the Roof. This was at the insistence of United Artists Pictures. Reade would not pay the extra bill for a 70MM print and UA would not allow it to be run in 35MM on the huge, curved Cinerama screen because of the light and focus problems. For the 70MM reissue of This Is Cinerama a solid 95 foot screen was installed.
The Georgia Cinerama was built in the mid 60’s strictly as a single strip 70MM Cinerama house. There was never any 3 screen plan for this site. (CT: /theaters/11568/ ) As Michael’s list shows, it ran most of the 70MM releases, and if my memory is correct all were big reserved seat, roadshow type presentations, usually far in excess of the quality of the film itself. The Cinerama screen, which was solid not ribbon, was removed in 1971 and a smaller screen with a more shallow curve installed.
The Georgia was later twinned and is now a church. Both the Martin and Roxy are in the landfill.
I was never aware of this place when it was a twin. I do know that it was opened by the Martin chain in 1965 (January I think) on the same day that they also opened the Village and Eastgate. The Eastgate was later renamed Suburban Plaza. All three were later purchased by Georgia Theatre Company.
On occasion it would do good business over the years, but for the most part GTC would put most of their booking efforts into the 1100 seat Greenbriar Mall theatre across the Lakewood Freeway, especially after the Greenbriar was twinned. It was fairly common for the bigger attractions to open at Greenbriar and later move across to Westgate.
The biggest year I can remember for the Westgate was 1974. During the spring and summer Westgate opened The Sting the day after it left its exclusive run at the Georgia Cinerama and The Exorcist the day it went wide from its run at the Phipps Penthouse. Both of these locations were so far away from SW Atlanta that it was like getting these pictures first run. That, combined with an unusually strong slate of movies opening wide rather than exclusive run, made for big business here. Some of those other features were Mr. Majestic, Paralax View, My Name Is Nobody, and the prequel to Billy Jack reissue of Born Losers.
With its three screens, a megaplex in those days, a poor year at the Lenox, which was tied to the fortunes of the United Artists Pictures release schedule, and the fact that the Greenbriar spent some time closed for twinning, Westgate was one of the top grossing theatres for GTC in 1974-5. The EFC Ben Hill Twin just down the road was never much of a factor.
Since its closing the theatre has been a church, and amusement hall and even had a go as a nightclub following the demise of the famous Mr. V’s Figure 8 Disco with its trademark “Earthquake Sound.”
That was during my college years so I was the theatre gofer. I would change the marquee, pick up film, change light bulbs, and fill in whenever there was a need on the floor crew. Jack was one of that unfortunate group of EFC managers and projectionists who were carted off to jail for the crime of managing a theatre that was booked with “Oh Calcutta” all in the name of getting some free publicity for the Fulton County solicitor. Jack was the relief manager for the Atlanta area theatres at that time, but the manager of the Ben Hill quit rather than take the chance of going to jail so Jack got sent out to take the fall. For a short while after that he ran the Belvedere.
That was in 1972. By 1973 he was at the Toco Hill and he stayed there until at least 1975. The only notable thing that I can remember about his tenure at Toco was that “Deliverance” was booked on the intermediate break the day after it left its first run engagement at the 12 Oaks. The 12 Oaks was only about 5 or 6 miles away, but “Deliverance” ran at Toco for 14 weeks in the days that 4 to 6 weeks was considered a long run. It left for two weeks then came back for two more.
I ran into Jack again in 1977. By then he was managing a theatre for Georgia Theatre Company, the Village, I think. Later he was relief manager at Village, Suburban Plaza, South DeKalb, Westgate, but not Greenbriar for some reason. I always thought Jack a nice guy and pleasant enough to work for. He had one remarkable habit that I would never have had the nerve to try to get away with. In all of the times I worked for or with him I never knew him to have a home telephone in those pre cell phone days. Or, if he did he never told the company the number. This eliminated the aggravation of the company calling you on your day off and telling you to get to work, or switching you assignment for the day to some hell hole on the far side of town.
First let me say that I have enjoyed your posts on the Ziegfeld and RCMH pages of this site. I need to say that the technical side of this business is not really my field. Having started out my theatre days downstairs, and later in management, this site, especially the Ziegfeld page which has turned into something of a blog on showmanship in general, is more in line with my interests.
Your Ben-Hur write up reminded me of something that I had known about but did not think to consider when this subject came up. As I remember the story, Ben-Hur was filmed in 2.76 to 1 but the action was centered within the frame in something like 2.55 to 1 so that the theatres of the day could show it without cropping out anything important. Sort of an early version of what I understand Super Panavision to be. If my understanding of that is correct then I guess I owe Mr. Wade an apology since it is possible that he did indeed see an earlier screening of Ben-Hur in the wider 2.55 version. There are a couple of reasons that this is possible.
First is the way the curtain and masking operate. Instead of the local megaplex method of having someone in the booth hitting a button to move the masking back and forth (or up and down as the case may be) to one of two preset positions, the masking at the Fox is set by stagehands pulling the ropes. This allows the masking to be set to accommodate even the smallest variables in the size of the image. Second is the fact that the head projectionist at the Fox, who has been there since that first showing 30 years ago, is a true perfectionist. Before each show, he makes sure that the side and top masking is set to expose every possible inch of screen surface. So, if the image on the print was greater than 2.35 to 1, I am sure that the masking marks were set at the points needed to show every bit of it. Also, the Fox has had several screens over the past 30 years, the first of which, like the projectors, was the refugee from the Loew’s Grand. It might have had different dimensions and been slightly wider than the ones that followed which were measured to fit the layout of the Fox.
As for your visit to the Fox booth, that must have been in the fall of 1974. The Fox was still a grind movie house in those days but would occasionally cancel an evening for live shows in an effort to keep the doors open. Those projectors are long gone. If you want to wade through my post from last year, that story is in there, somewhere. That was during my theatre managing days and was long before my days of working in the Fox booth.
Your comment on the Turner letterboxing story reminds me that there was a VHS release during the 80’s that was pan and scan except for the race which was letterboxed. I never actually saw it but have heard several people mention it so it is probably true.
Your mention of the Martin Cinerama brings back good memories as it was my favorite of all the theatres I worked in, even if I was only an usher working my way through college. It was located only a couple of blocks from the Fox, operated under several names over the years, and is listed on this site as the Atlanta Theatre. When Martin renovated it for Cinerama they put in the 146 degree ribbon screen. I never saw three screen Cinerama there, but did see numerous 70MM presentations using the projectors that were installed starting with Mad Mad World. I regret to say that the theatre now resides in the landfill and the site now serves as a parking lot.
Although not the point of this comment, I will note that as I write this at 6:28 PM on 7/17/2008, exactly 30 years ago, almost to the minute, I was walking into the Fox Theatre to see the first movie presented there since the place closed up on January 2, 1975. The feature: Ben-Hur, in glorious 70MM. I have described that event in more detail than anyone would care to read in my earlier post so I will get to the point. This comment will hopefully clear up a few of the technical questions raised by Mr. Wade in the above post.
As for the media used to present Ben-Hur, I can assure everyone that there was nothing digital about it, even, unfortunately, the sound. It was a 35MM print struck on May 9, 1993. This meant that while the sound was Dolby Stereo, it was analog since Dolby Digital did not come along until mid decade. Considering its 15 year age it was in pretty good shape, but I think that its condition could kindly be described as “Best Available”. As with any print that old there were numerous and noticeable dirt type scratches at the beginning and end of each reel, and repeated build ups and tear downs for platter screenings had resulted in missing frames. Fortunately, the Overture, Intermission tag, and second half walk in music were included although splices at the beginning of the Intermission tag and end of walk in music indicated that at least once someone had run this print straight through without an intermission. A real crime against showmanship in my opinion.
The size of the screen at the Fox is as large as it has ever been, and as large as it can be. Although there is some more room on the sides for a wider screen, there is no more room at the top. Since all of the vertical space is being used, expanding the width would cause the top and bottom to be cropped off. This is a problem I described in my original post where I pointed out that the Fox is a hybrid, designed as an auditorium, not a movie theatre or stage show venue. The image projected for Ben-Hur and other cinemascope pictures is as wide as it can be given the height limitations of the stage. If you are sitting the balcony, it may seem that the screen can go higher, but this is not the case. For anyone sitting under the balcony, especially near the back, the line of the bottom of the balcony meets the top of the screen, so anything projected on a taller screen would not be visible to these patrons.
When it comes to the screen size used for different movies, that is determined purely by the aspect ratio of the film in question. This is not a technical site, but simply put, there are three main screen shapes used in films. Describing the ratio of width to height, they are 1.33 to 1 (roughly the shape of a pre HD television), 1.85 to 1, called “flat” in the industry, and 2.35 (or wider) to 1, called scope, cinemascope, or widescreen. Some years ago someone who had attended a screening of “Gone With The Wind” at the Fox had written to the Q and A section of the AJC to ask why the Fox had taken out its huge screen and replaced it with a small square screen. The explanation for all of this is that the Fox is very careful to present the movies it shows in their correct aspect ratio. (When we ran “The Searchers” the 1.66 to 1 lens and screen width were used, a very rare event.) This means that when a classic such as “GWTW”, “Casablanca”, or “Wizard of Oz” plays, the side masking is brought in to make the screen the correct 1.33 to 1 size. It may look small in comparison to the massive Fox stage width, but the full height of the stage area is used. To try to widen the picture would result in the cropping that I described above. (For a perfect example of this, read the story of what happened to GWTW when they blew the image up to 1.85 to 1 for its 1967 70MM reissue.)
All of these notes apply to digital projection as well as film. The type of projection makes no difference in the size of the screen. Aspect ratio is the determining factor. A scope picture presented in digital projection will be the same size as one presented via film. The same goes for 1.85 and 1.33. I should point out that when I say digital I am talking about the new Digital Cinema Systems that are now being installed in theatres across the nation. I am most assuredly not talking about using some digital capable projector to show a DVD on the screen.
Speaking of this past Sunday, anyone who attended Ben-Hur was able to see all three aspect ratios in use. The preshow documentary Mr. Wade referred to was a Public TV production and was projected at 1.33 to 1 using the digital video projector. The rest of the program was all film. When the 35MM film projector was started for the previews, the masking was pulled back to the 1.85 to 1 mark. When the previews ended, there was a pause for the lens to be changed to 1.33 to 1 and the masking was brought back in so the cartoon could be presented in its proper 1.33 ratio. (Oddly enough, the film company logo on the front of the cartoon was modern and in 1.85 ratio so there were black bars at the top and bottom just like on a letterboxed DVD until the cartoon itself started and took up the full screen. When the cartoon ended, the 1.85 lens and masking were returned to present the Fox policy and feature presentation strips. At this point the curtain was closed and the curtain lights came on for the Overture. During the Overture, the masking was pulled back to its full open mark and the 2.35 to 1 scope lens was put in place. When the overture ended, the lights dimmed and the screen opened to its full width for the MGM logo.
With regard to some other points by Mr. Wade, I think that the newsreel in question is used because it features the World Premiere of “Gone With The Wind” as its final story. I am happy to see that he took note of the fact that the curtain and lights were properly used during the Overture. Very few theatres even have curtains anymore, and the applause from the audience when the lights dimmed and the curtain opened to reveal the MGM lion seemed to indicate that they appreciated an example of the long lost art of properly presenting a big, class, roadshow production. At least to the degree possible.
As for the debate between film as opposed to theatre grade Digital Cinema, let me say this. I have been working with film most of my life. Even though I now see my future job prospects being rapidly eliminated by the advent of Digital Cinema, I will have to admit that the picture quality of a movie properly presented (usually meaning being bright enough) using the Digital Cinema process is better than that of film. On Sunday afternoon, before the night showing of “Ben-Hur”, the Fox presented a Digital Cinema presentation of the Disney movie “Enchanted” using the digital projector. Both movies are 2.35 to 1 scopes so the picture size was the same, but the clarity of “Enchanted” to say nothing of the lack of scratches, specks, flecks, and splices, was greater than the 35MM film presentation of “Ben-Hur”. It is too bad that a 70MM print of Ben-Hur was not available for the Fox as it has been at least twice in the past. The last two times the Fox has presented “Ben-Hur” it has been with 35MM, so perhaps 70MM is no longer available. Next year is the 50th Anniversary of this great film so hopefully MGM, or whoever controls the rights now will order some 70MM DTS prints for an anniversary run the way “2001” is touring the country this year.
My apologies Jack. I do not know why I was so arrogant as to think that my memory was better than yours.
As for you R2, this makes three times you have had to correct me. I think that from now on I will just send you my comments for vetting prior to posting. Either that or just end each comment with “…I think.”
At the time TRON was released I was working at the Greens Corner Cinema where we had a Dolby 35MM print. The game room next door did more business with their TRON video game that we did with the movie, especially after the first week. I remember that it opened at the same time as the Secret Of NIMH. That one was the creation of the animators who had left Disney and formed their own company, but to the public it looked like a Disney. All day, parents would come up to the box office with their children in tow and ask for tickets to “the Disney movie”. Of course they meant NIMH as opposed TRON which based on the poster did not look like any Disney movie they saw when they were children. At that theatre at least, NIMH was a much bigger draw.
Atlanta did not get a 70MM release. The Phipps Plaza Twin #2 and the Tara #2 were among the very few 70MM theatres in Atlanta that retained 70MM ability after the twinning. Other 70MM locations, like the Rhoades were out of the first run business by then or closed down. TRON opened at several locations around Atlanta, but the central booking was at the Lenox Square Theatre. At one time, Lenox had a 70MM set up second only to the original Phipps, but in 1978 the 660 seat auditorium was divided into two 320 seaters. Although the Century 70MM projectors were still used, the screens were pathetically small and no 70MM was ever attempted on them.
In 1984, the Lenox was completely reorganized and the wall came down and a 500 seat auditorium was created. 70MM was restored, and Top Gun, Die Hard and Aliens were among the 70MM offerings there.
As Michael mentioned in his article, TRON did play in 70MM later that year in some of the neglected markets. In Atlanta this occurred at the Phipps Plaza in October. Two week run, very little business. It was preceded by a 70MM run of Deliverance. Again, not much business but they both looked impressive in 70.
I saw CE3K opening week at the Phipps Plaza Penthouse in Atlanta. 35MM only since the Penthouse did not have 70MM equipment. This was the first film to use the new Dolby system here, and my first impression was that it was too loud. Too many people confuse volume with effect and do not think that they are getting their stereo effect unless they leave the theatre with their ears ringing. In the late summer of 1978, the Fox Theatre in Atlanta added CE to the end of their summer movie schedule. The Fox did not have Dolby then, but I went to see it because they had a 70MM print that would use the 6 track mag sound system that was there. There was a huge crowd, but two of the reels were in terrible shape and there were half a dozen film breaks in that section.
As for the movie, I enjoyed it and thought that it was a good, well made movie, but a little long is some sections. It has never been on any all time favorite list of mine. My favorite scene is when Richard Dreyfus wrecks his car on the way to Devils Tower. As the camera follows him as he climbs up the embankment to look around, you get your first glimpse of the Tower at the edge of the screen. This subtle effect is completely wasted on the millions of people who have seen the movie P&S on TV as the Tower is cropped off. In 1981, or whenever it came out, I was working in a theatre that ran the SE version. I thought the changes made the first version look like a masterpiece, but it did great business for a couple of weeks.
As for my theatre employee experiences with CE3K, I have two. In 1996 I was working the projection booth at the Fox, and one of the Summer Film Series bookings was an all day Spielberg festival of Jaws, Raiders, and at 8 PM, CE3K. Some people were there all day, and by 8 there were enough people to fill about three fourths of the 4500 Fox seats. Those of you who worked in theatres in the early days of Dolby might recall that the early Dolby features were released in two different versions, some with Dolby soundtracks, and the rest with mono soundtracks. As our bad luck would have it, the Jaws and Raiders prints had been struck recently, but not only was the CE print an original from 1977, it was mono as well. It was in good condition, but sounded terrible.
My other memory dates back only to March, 2006. In the early 70’s I worked at the Atlanta Theatre, which at the time was operated by Walter Reade Org. All I ever heard about from the managers and other company people who came to town from New York was what a great theatre the Ziegfeld was. I always wanted to see a movie there to see just how the theatre measured up to its reputation. When the Ziegfeld put on its Cinema Classics series I made a day trip to NY and caught an afternoon showing of CE. The theatre was nice, but I would have been much more impressed in 1971 when I was new to the business. The presentation was just fair. No 70MM, but 35MM Dolby. The movie was the third edition, which I believe is also the directors cut.
As do most people, I thought the SE version was a joke, and liked the original version best, although both the first or third versions are fine.
Booth was equipped with Norelco 35/70MM projectors. These had the variable speed motors which allowed the 70MM version of “Oklahoma” to be run in its required 30 frames per second speed rather than the normal 24 frames per second. I do not know if it was ever run here, probably not, but the operator was known to run the moives at the 30 frame speed if he wanted to go home early.
During its final years it was operated by Georgia Theatre Company and was managed by Mr. Earnest Crowe, a former manager of the Martin Cinerama downtown. This was a pick up for GTC and did not have a house for the manager on site as was their usual custom.
You could get a nice overhead view of the Thunderbird when taking off to the east or landing to the west, although this proximity to the Atlanta airport probably did not do much for the moviegoing experience.
Although it has a Kentucky Avenue address, this theatre is part of a major retail development located on US 31 in the middle of Vestavia Hills which is a small suburban city just south of the Birmingham city limits. In the mid 60’s this vacant piece of land was cleared and a sort of hybrid shopping center / mall was built with a Sears and Parisians as anchors. In the mid 90’s the center was demolished and this large, glitzy, town square type development built in its place.
As for the theatre, nothing special about it. Typical Rave looking venue with lots of lights and an amusement park atmosphere. Not my kind of place to see a movie, but I am obviously in the minority as most of these Rave, Regal, AMC theatres built in the last 10 years are very popular. Actually, 10 screens seems kind of cozy these days. A few miles down 31 Rave has a 15 screen theatre next to the Galleria Mall in Hoover.
Link to the Drive In ladder ad in the Atlanta paper on August 5, 1964. The blogger has also written up some of his memories of working at these places. Worth a look if you are interested in the drive in culture from 1970 – 1990.
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Link to the Drive In ladder ad in the Atlanta paper on August 5, 1964. The blogger has also written up some of his memories of working at these places. Worth a look if you are interested in the drive in culture from 1970 – 1990.
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Link to the Drive In ladder ad in the Atlanta paper on August 5, 1964. The blogger has also written up some of his memories of working at these places. Worth a look if you are interested in the drive in culture from 1970 – 1990.
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Link to the Drive In ladder ad in the Atlanta paper on August 5, 1964. The blogger has also written up some of his memories of working at these places. Worth a look if you are interested in the drive in culture from 1970 – 1990.
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Link to the Drive In ladder ad in the Atlanta paper on August 5, 1964. The blogger has also written up some of his memories of working at these places. Worth a look if you are interested in the drive in culture from 1970 – 1990.
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Link to the Drive In ladder ad in the Atlanta paper on August 5, 1964. The blogger has also written up some of his memories of working at these places. Worth a look if you are interested in the drive in culture from 1970 – 1990.
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Newspaper ad and write up on the feature opening August 5, 1964:
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Newspaper ad from August 1964 and a write up on the feature opening that day:
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Newspaper ad from August 1964 and a write up on the feature opening that day:
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Newspaper ad from August 1964 along with a write up about the feature opening that day:
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Newspaper ad from 1964 with a nice write up of “A Hard Days Night.”
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Newspaper ad from 1964 along with a write up on “A Hard Days Night.”
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A past, present, and probably future projectionist at the Fox offers these comments on the recent Gone With The Wind screenings:
http://www.mikedurrett.com/
Scan down to the entries for May 7, May 1, and April 25, 2009.
In 1998, and again in 1999 I made the trek to Dayton to experience Cinerama at the Neon. In 1998, the Saturday feature was This Is Cinerama, and in 1999 it was Cinerama Holiday, in glorious Eastman pink. Both times the Sunday feature was How The West Was Won. Given the friendly and informal atmosphere of the New Neon Movies, we were invited to look the place over on Friday night.
Since the Cinerama projectors must be mounted at screen level to avoid the vertical keystone effect, we were able to get an up close look at the whole operation. The side projectors were located in the back corners of the auditorium while the center projector was located in the lobby itself with the beam shooting through a hole cut in the back wall of the auditorium. The 7 track sound projector/processor was located next to the center projector. The entire presentation was run by John Harvey who alone did the work of the four to seven man crew used in the Cinerama days.
Despite the somewhat slap dash nature of the set up, there was absolutely nothing wrong with the presentation. Although the New Neon was small, with about 220 seats, from the fifth row of seats we were treated to an experience equal to that at the Seattle Cinerama and superior to the one at the Dome. Great sound, incredible picture, and a great time was had by all.
An article recently appeared in Slate magazine on the subject of Cinerama. This is the paragraph that mentioned the Neon:
Cinerama faded before I was born, but my hometown of Dayton, Ohio, became the unlikely site of a Cinerama revival in the ‘90s, thanks to the efforts of Dayton projectionist John Harvey. Harvey had previously set up a Cinerama screening room in his ranch homeâ€"eliminating two bedrooms in the processâ€"and helped the National Media Museum in Bradford, England, set up Cinerama projection in 1993. In 1996, Harvey moved his home equipment to the Neon Movies, a downtown theater that had served as a pilgrimage site for Daytonians seeking art house fare since the mid-'80s. Harvey’s Cinerama setup was supposed to have a one-month stay. Instead, it stuck around for more than three years, attracting widescreen enthusiasts like Quentin Tarantino and Joe Dante.
Keith Phipps writes about movies for The A.V. Club, the entertainment section of the Onion.
Article URL: http://www.slate.com/id/2204189/
Three screen Cinerama was long gone by the time I arrived in Atlanta. My only experiences with that format were at the Ritz in Birmingham, and the New Neon in Dayton. However, I do have some knowledge of the theatres mentioned in this article, so I will confine myself to that subject.
The Roxy (CT: /theaters/10331/ ) was the first Cinerama theatre in Atlanta, and like the Ritz was a conversion of a 30 year old movie palace. Some of the comments on the CT page are in error and some contradict each other, but one in particular is useful in describing the effects of the conversion. It had been reconverted to a traditional layout by the time I first attended a movie there in 1968, so there is not much I can add.
Martin Cinerama (CT: /theaters/4784/ ) started out life as the Erlanger before being renamed the Tower, or maybe it was vice versa, resembled the old Loews Grand in size and shape, and was a fine venue for live shows and movies for close to 30 years before being purchased by the Martin chain and converted to Cinerama. The conversion turned the theatre into a luxury showcase and was my favorite of all of the theatres that I have worked in during my 40 or so years in this business. By the time I showed up all of the Cinerama projection equipment was long gone, and the A and C projection booths were used for store rooms. The ribbon screen was still there, but it was removed in 1971.
After Circus World, Martin moved their Cinerama efforts to the new Georgia, which was in the northern suburbs and had acres of free parking. The Martin continued to do business as it became the home of the big musicals of the 60’s. Mary Poppins, Sound of Music, Thoroughly Modern Millie, and Camelot all had roadshow engagements here. Sound of Music played for 18 months. 2001 was the only other Cinerama to play here during the late 60’s. The only addition I have to make to Michael’s list is to state that both Custer of the West and Krakatoa East of Java did play here. Eventually. After Martin sold the location to Walter Reade Org. those two titles played as a double feature sometime in 1971, or perhaps 1970.
The removal of the Cinerama ribbon screen took place because of yet another big budget musical, Fiddler on the Roof. This was at the insistence of United Artists Pictures. Reade would not pay the extra bill for a 70MM print and UA would not allow it to be run in 35MM on the huge, curved Cinerama screen because of the light and focus problems. For the 70MM reissue of This Is Cinerama a solid 95 foot screen was installed.
The Georgia Cinerama was built in the mid 60’s strictly as a single strip 70MM Cinerama house. There was never any 3 screen plan for this site. (CT: /theaters/11568/ ) As Michael’s list shows, it ran most of the 70MM releases, and if my memory is correct all were big reserved seat, roadshow type presentations, usually far in excess of the quality of the film itself. The Cinerama screen, which was solid not ribbon, was removed in 1971 and a smaller screen with a more shallow curve installed.
The Georgia was later twinned and is now a church. Both the Martin and Roxy are in the landfill.
I was never aware of this place when it was a twin. I do know that it was opened by the Martin chain in 1965 (January I think) on the same day that they also opened the Village and Eastgate. The Eastgate was later renamed Suburban Plaza. All three were later purchased by Georgia Theatre Company.
On occasion it would do good business over the years, but for the most part GTC would put most of their booking efforts into the 1100 seat Greenbriar Mall theatre across the Lakewood Freeway, especially after the Greenbriar was twinned. It was fairly common for the bigger attractions to open at Greenbriar and later move across to Westgate.
The biggest year I can remember for the Westgate was 1974. During the spring and summer Westgate opened The Sting the day after it left its exclusive run at the Georgia Cinerama and The Exorcist the day it went wide from its run at the Phipps Penthouse. Both of these locations were so far away from SW Atlanta that it was like getting these pictures first run. That, combined with an unusually strong slate of movies opening wide rather than exclusive run, made for big business here. Some of those other features were Mr. Majestic, Paralax View, My Name Is Nobody, and the prequel to Billy Jack reissue of Born Losers.
With its three screens, a megaplex in those days, a poor year at the Lenox, which was tied to the fortunes of the United Artists Pictures release schedule, and the fact that the Greenbriar spent some time closed for twinning, Westgate was one of the top grossing theatres for GTC in 1974-5. The EFC Ben Hill Twin just down the road was never much of a factor.
Since its closing the theatre has been a church, and amusement hall and even had a go as a nightclub following the demise of the famous Mr. V’s Figure 8 Disco with its trademark “Earthquake Sound.”
That was during my college years so I was the theatre gofer. I would change the marquee, pick up film, change light bulbs, and fill in whenever there was a need on the floor crew. Jack was one of that unfortunate group of EFC managers and projectionists who were carted off to jail for the crime of managing a theatre that was booked with “Oh Calcutta” all in the name of getting some free publicity for the Fulton County solicitor. Jack was the relief manager for the Atlanta area theatres at that time, but the manager of the Ben Hill quit rather than take the chance of going to jail so Jack got sent out to take the fall. For a short while after that he ran the Belvedere.
That was in 1972. By 1973 he was at the Toco Hill and he stayed there until at least 1975. The only notable thing that I can remember about his tenure at Toco was that “Deliverance” was booked on the intermediate break the day after it left its first run engagement at the 12 Oaks. The 12 Oaks was only about 5 or 6 miles away, but “Deliverance” ran at Toco for 14 weeks in the days that 4 to 6 weeks was considered a long run. It left for two weeks then came back for two more.
I ran into Jack again in 1977. By then he was managing a theatre for Georgia Theatre Company, the Village, I think. Later he was relief manager at Village, Suburban Plaza, South DeKalb, Westgate, but not Greenbriar for some reason. I always thought Jack a nice guy and pleasant enough to work for. He had one remarkable habit that I would never have had the nerve to try to get away with. In all of the times I worked for or with him I never knew him to have a home telephone in those pre cell phone days. Or, if he did he never told the company the number. This eliminated the aggravation of the company calling you on your day off and telling you to get to work, or switching you assignment for the day to some hell hole on the far side of town.
REndres:
First let me say that I have enjoyed your posts on the Ziegfeld and RCMH pages of this site. I need to say that the technical side of this business is not really my field. Having started out my theatre days downstairs, and later in management, this site, especially the Ziegfeld page which has turned into something of a blog on showmanship in general, is more in line with my interests.
Your Ben-Hur write up reminded me of something that I had known about but did not think to consider when this subject came up. As I remember the story, Ben-Hur was filmed in 2.76 to 1 but the action was centered within the frame in something like 2.55 to 1 so that the theatres of the day could show it without cropping out anything important. Sort of an early version of what I understand Super Panavision to be. If my understanding of that is correct then I guess I owe Mr. Wade an apology since it is possible that he did indeed see an earlier screening of Ben-Hur in the wider 2.55 version. There are a couple of reasons that this is possible.
First is the way the curtain and masking operate. Instead of the local megaplex method of having someone in the booth hitting a button to move the masking back and forth (or up and down as the case may be) to one of two preset positions, the masking at the Fox is set by stagehands pulling the ropes. This allows the masking to be set to accommodate even the smallest variables in the size of the image. Second is the fact that the head projectionist at the Fox, who has been there since that first showing 30 years ago, is a true perfectionist. Before each show, he makes sure that the side and top masking is set to expose every possible inch of screen surface. So, if the image on the print was greater than 2.35 to 1, I am sure that the masking marks were set at the points needed to show every bit of it. Also, the Fox has had several screens over the past 30 years, the first of which, like the projectors, was the refugee from the Loew’s Grand. It might have had different dimensions and been slightly wider than the ones that followed which were measured to fit the layout of the Fox.
As for your visit to the Fox booth, that must have been in the fall of 1974. The Fox was still a grind movie house in those days but would occasionally cancel an evening for live shows in an effort to keep the doors open. Those projectors are long gone. If you want to wade through my post from last year, that story is in there, somewhere. That was during my theatre managing days and was long before my days of working in the Fox booth.
Your comment on the Turner letterboxing story reminds me that there was a VHS release during the 80’s that was pan and scan except for the race which was letterboxed. I never actually saw it but have heard several people mention it so it is probably true.
Your mention of the Martin Cinerama brings back good memories as it was my favorite of all the theatres I worked in, even if I was only an usher working my way through college. It was located only a couple of blocks from the Fox, operated under several names over the years, and is listed on this site as the Atlanta Theatre. When Martin renovated it for Cinerama they put in the 146 degree ribbon screen. I never saw three screen Cinerama there, but did see numerous 70MM presentations using the projectors that were installed starting with Mad Mad World. I regret to say that the theatre now resides in the landfill and the site now serves as a parking lot.
Although not the point of this comment, I will note that as I write this at 6:28 PM on 7/17/2008, exactly 30 years ago, almost to the minute, I was walking into the Fox Theatre to see the first movie presented there since the place closed up on January 2, 1975. The feature: Ben-Hur, in glorious 70MM. I have described that event in more detail than anyone would care to read in my earlier post so I will get to the point. This comment will hopefully clear up a few of the technical questions raised by Mr. Wade in the above post.
As for the media used to present Ben-Hur, I can assure everyone that there was nothing digital about it, even, unfortunately, the sound. It was a 35MM print struck on May 9, 1993. This meant that while the sound was Dolby Stereo, it was analog since Dolby Digital did not come along until mid decade. Considering its 15 year age it was in pretty good shape, but I think that its condition could kindly be described as “Best Available”. As with any print that old there were numerous and noticeable dirt type scratches at the beginning and end of each reel, and repeated build ups and tear downs for platter screenings had resulted in missing frames. Fortunately, the Overture, Intermission tag, and second half walk in music were included although splices at the beginning of the Intermission tag and end of walk in music indicated that at least once someone had run this print straight through without an intermission. A real crime against showmanship in my opinion.
The size of the screen at the Fox is as large as it has ever been, and as large as it can be. Although there is some more room on the sides for a wider screen, there is no more room at the top. Since all of the vertical space is being used, expanding the width would cause the top and bottom to be cropped off. This is a problem I described in my original post where I pointed out that the Fox is a hybrid, designed as an auditorium, not a movie theatre or stage show venue. The image projected for Ben-Hur and other cinemascope pictures is as wide as it can be given the height limitations of the stage. If you are sitting the balcony, it may seem that the screen can go higher, but this is not the case. For anyone sitting under the balcony, especially near the back, the line of the bottom of the balcony meets the top of the screen, so anything projected on a taller screen would not be visible to these patrons.
When it comes to the screen size used for different movies, that is determined purely by the aspect ratio of the film in question. This is not a technical site, but simply put, there are three main screen shapes used in films. Describing the ratio of width to height, they are 1.33 to 1 (roughly the shape of a pre HD television), 1.85 to 1, called “flat” in the industry, and 2.35 (or wider) to 1, called scope, cinemascope, or widescreen. Some years ago someone who had attended a screening of “Gone With The Wind” at the Fox had written to the Q and A section of the AJC to ask why the Fox had taken out its huge screen and replaced it with a small square screen. The explanation for all of this is that the Fox is very careful to present the movies it shows in their correct aspect ratio. (When we ran “The Searchers” the 1.66 to 1 lens and screen width were used, a very rare event.) This means that when a classic such as “GWTW”, “Casablanca”, or “Wizard of Oz” plays, the side masking is brought in to make the screen the correct 1.33 to 1 size. It may look small in comparison to the massive Fox stage width, but the full height of the stage area is used. To try to widen the picture would result in the cropping that I described above. (For a perfect example of this, read the story of what happened to GWTW when they blew the image up to 1.85 to 1 for its 1967 70MM reissue.)
All of these notes apply to digital projection as well as film. The type of projection makes no difference in the size of the screen. Aspect ratio is the determining factor. A scope picture presented in digital projection will be the same size as one presented via film. The same goes for 1.85 and 1.33. I should point out that when I say digital I am talking about the new Digital Cinema Systems that are now being installed in theatres across the nation. I am most assuredly not talking about using some digital capable projector to show a DVD on the screen.
Speaking of this past Sunday, anyone who attended Ben-Hur was able to see all three aspect ratios in use. The preshow documentary Mr. Wade referred to was a Public TV production and was projected at 1.33 to 1 using the digital video projector. The rest of the program was all film. When the 35MM film projector was started for the previews, the masking was pulled back to the 1.85 to 1 mark. When the previews ended, there was a pause for the lens to be changed to 1.33 to 1 and the masking was brought back in so the cartoon could be presented in its proper 1.33 ratio. (Oddly enough, the film company logo on the front of the cartoon was modern and in 1.85 ratio so there were black bars at the top and bottom just like on a letterboxed DVD until the cartoon itself started and took up the full screen. When the cartoon ended, the 1.85 lens and masking were returned to present the Fox policy and feature presentation strips. At this point the curtain was closed and the curtain lights came on for the Overture. During the Overture, the masking was pulled back to its full open mark and the 2.35 to 1 scope lens was put in place. When the overture ended, the lights dimmed and the screen opened to its full width for the MGM logo.
With regard to some other points by Mr. Wade, I think that the newsreel in question is used because it features the World Premiere of “Gone With The Wind” as its final story. I am happy to see that he took note of the fact that the curtain and lights were properly used during the Overture. Very few theatres even have curtains anymore, and the applause from the audience when the lights dimmed and the curtain opened to reveal the MGM lion seemed to indicate that they appreciated an example of the long lost art of properly presenting a big, class, roadshow production. At least to the degree possible.
As for the debate between film as opposed to theatre grade Digital Cinema, let me say this. I have been working with film most of my life. Even though I now see my future job prospects being rapidly eliminated by the advent of Digital Cinema, I will have to admit that the picture quality of a movie properly presented (usually meaning being bright enough) using the Digital Cinema process is better than that of film. On Sunday afternoon, before the night showing of “Ben-Hur”, the Fox presented a Digital Cinema presentation of the Disney movie “Enchanted” using the digital projector. Both movies are 2.35 to 1 scopes so the picture size was the same, but the clarity of “Enchanted” to say nothing of the lack of scratches, specks, flecks, and splices, was greater than the 35MM film presentation of “Ben-Hur”. It is too bad that a 70MM print of Ben-Hur was not available for the Fox as it has been at least twice in the past. The last two times the Fox has presented “Ben-Hur” it has been with 35MM, so perhaps 70MM is no longer available. Next year is the 50th Anniversary of this great film so hopefully MGM, or whoever controls the rights now will order some 70MM DTS prints for an anniversary run the way “2001” is touring the country this year.
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This blogsite has a picture of the Miracle on opening day as well as a shot of the site today. Nice story on the theatre as well.
My apologies Jack. I do not know why I was so arrogant as to think that my memory was better than yours.
As for you R2, this makes three times you have had to correct me. I think that from now on I will just send you my comments for vetting prior to posting. Either that or just end each comment with “…I think.”
At the time TRON was released I was working at the Greens Corner Cinema where we had a Dolby 35MM print. The game room next door did more business with their TRON video game that we did with the movie, especially after the first week. I remember that it opened at the same time as the Secret Of NIMH. That one was the creation of the animators who had left Disney and formed their own company, but to the public it looked like a Disney. All day, parents would come up to the box office with their children in tow and ask for tickets to “the Disney movie”. Of course they meant NIMH as opposed TRON which based on the poster did not look like any Disney movie they saw when they were children. At that theatre at least, NIMH was a much bigger draw.
Atlanta did not get a 70MM release. The Phipps Plaza Twin #2 and the Tara #2 were among the very few 70MM theatres in Atlanta that retained 70MM ability after the twinning. Other 70MM locations, like the Rhoades were out of the first run business by then or closed down. TRON opened at several locations around Atlanta, but the central booking was at the Lenox Square Theatre. At one time, Lenox had a 70MM set up second only to the original Phipps, but in 1978 the 660 seat auditorium was divided into two 320 seaters. Although the Century 70MM projectors were still used, the screens were pathetically small and no 70MM was ever attempted on them.
In 1984, the Lenox was completely reorganized and the wall came down and a 500 seat auditorium was created. 70MM was restored, and Top Gun, Die Hard and Aliens were among the 70MM offerings there.
As Michael mentioned in his article, TRON did play in 70MM later that year in some of the neglected markets. In Atlanta this occurred at the Phipps Plaza in October. Two week run, very little business. It was preceded by a 70MM run of Deliverance. Again, not much business but they both looked impressive in 70.
I saw CE3K opening week at the Phipps Plaza Penthouse in Atlanta. 35MM only since the Penthouse did not have 70MM equipment. This was the first film to use the new Dolby system here, and my first impression was that it was too loud. Too many people confuse volume with effect and do not think that they are getting their stereo effect unless they leave the theatre with their ears ringing. In the late summer of 1978, the Fox Theatre in Atlanta added CE to the end of their summer movie schedule. The Fox did not have Dolby then, but I went to see it because they had a 70MM print that would use the 6 track mag sound system that was there. There was a huge crowd, but two of the reels were in terrible shape and there were half a dozen film breaks in that section.
As for the movie, I enjoyed it and thought that it was a good, well made movie, but a little long is some sections. It has never been on any all time favorite list of mine. My favorite scene is when Richard Dreyfus wrecks his car on the way to Devils Tower. As the camera follows him as he climbs up the embankment to look around, you get your first glimpse of the Tower at the edge of the screen. This subtle effect is completely wasted on the millions of people who have seen the movie P&S on TV as the Tower is cropped off. In 1981, or whenever it came out, I was working in a theatre that ran the SE version. I thought the changes made the first version look like a masterpiece, but it did great business for a couple of weeks.
As for my theatre employee experiences with CE3K, I have two. In 1996 I was working the projection booth at the Fox, and one of the Summer Film Series bookings was an all day Spielberg festival of Jaws, Raiders, and at 8 PM, CE3K. Some people were there all day, and by 8 there were enough people to fill about three fourths of the 4500 Fox seats. Those of you who worked in theatres in the early days of Dolby might recall that the early Dolby features were released in two different versions, some with Dolby soundtracks, and the rest with mono soundtracks. As our bad luck would have it, the Jaws and Raiders prints had been struck recently, but not only was the CE print an original from 1977, it was mono as well. It was in good condition, but sounded terrible.
My other memory dates back only to March, 2006. In the early 70’s I worked at the Atlanta Theatre, which at the time was operated by Walter Reade Org. All I ever heard about from the managers and other company people who came to town from New York was what a great theatre the Ziegfeld was. I always wanted to see a movie there to see just how the theatre measured up to its reputation. When the Ziegfeld put on its Cinema Classics series I made a day trip to NY and caught an afternoon showing of CE. The theatre was nice, but I would have been much more impressed in 1971 when I was new to the business. The presentation was just fair. No 70MM, but 35MM Dolby. The movie was the third edition, which I believe is also the directors cut.
As do most people, I thought the SE version was a joke, and liked the original version best, although both the first or third versions are fine.
Booth was equipped with Norelco 35/70MM projectors. These had the variable speed motors which allowed the 70MM version of “Oklahoma” to be run in its required 30 frames per second speed rather than the normal 24 frames per second. I do not know if it was ever run here, probably not, but the operator was known to run the moives at the 30 frame speed if he wanted to go home early.
During its final years it was operated by Georgia Theatre Company and was managed by Mr. Earnest Crowe, a former manager of the Martin Cinerama downtown. This was a pick up for GTC and did not have a house for the manager on site as was their usual custom.
You could get a nice overhead view of the Thunderbird when taking off to the east or landing to the west, although this proximity to the Atlanta airport probably did not do much for the moviegoing experience.
Although it has a Kentucky Avenue address, this theatre is part of a major retail development located on US 31 in the middle of Vestavia Hills which is a small suburban city just south of the Birmingham city limits. In the mid 60’s this vacant piece of land was cleared and a sort of hybrid shopping center / mall was built with a Sears and Parisians as anchors. In the mid 90’s the center was demolished and this large, glitzy, town square type development built in its place.
As for the theatre, nothing special about it. Typical Rave looking venue with lots of lights and an amusement park atmosphere. Not my kind of place to see a movie, but I am obviously in the minority as most of these Rave, Regal, AMC theatres built in the last 10 years are very popular. Actually, 10 screens seems kind of cozy these days. A few miles down 31 Rave has a 15 screen theatre next to the Galleria Mall in Hoover.