I have very fond memories of the Wayne Ave Playhouse. In the 50’s it was mainly a 2nd-run house for foreign releases. I remember vividly seeing “Diabolique,” and the Jacques Tati comedies “Mr Hulot’s Holiday” and “Mon Oncle,” and many others. In later years, the house was used on weekends for “Nickelodeon Nights,” a selection of comedy shorts, particularly Laurel & Hardy, and was very successful.
Movieguy’s comments today about the screens being non-performated would seem to imply that the double-curved tourus screens are still being utilized. Is this a fact, and are the screens in all the auditoriums tourus? I remember when the first tourus screens began to appear in the Philadelphia area sometime in the early 90’s or late 80’s – cant remember which – it was kinda funny if you sat dead center in the auditorium, you could clearly hear nearly every conversation going on. It was as if the screen acted as some sort of audio “cone” which amplified every sound and focused it on this one point. At this time, pre-SDDS, the tourus presentations actually didn’t look too bad if you sat in the “sweet” spot. I remember now: “Godfather 3”, whatever year that was, ushered in a giant tourus installation at the AMC Marple ## in the western suburbs of Philly.
I think the Palace was on the South side of Market St., and the Apollo (I’ve fogotten its original name) was on the North side. Might be wrong. It’s early in the morning. (I just noticed the first posting on this theatre above….it was on the South side,,,1234 Market).
In reference to Goober’s comments on November 29…“The removal of the mezzanine seems like quite a radical move for basic widescreen adaptation. Anamorphic processes like CinemaScope would not have required so much (vandalistic!) remodeling. Perhaps this has already been discussed, but I wonder, is there a possibility that there was an attempt to fit the house for Cinerama? That would entail quite a bit of alteration”. Y ou’re right. Cinerama was never installed at the UA; however, in December of ‘55, Todd-AO was (for a simultaneous engagement with the Egyptian of “Oklahoma) brought in, and in those days, while M. Todd was still alive, these 70mm installations were mainly deep-curve and straight-throw affairs.
…and that pedestrian bridge over Rte 38 that was mentioned in the first posting…..well, a truck hit it some time ago, and it’s no longer there.
On another topic, in Aud. 23 or 24 (the 2 largest), I saw some years ago “The Thin Red Line.” At the beginning of the end credits, the auditorium lights raised to half, but then the advertising slides came on over top of the credits, and the intermission music began instead of the film’s music. A mess! I went to what was hopefully but recklessly called the “concierge” desk and explained the matter to a pair of dazed teenages who hadnt the faintest clue what I was talking about. I filled a form, was promised a pass, and left. Never got that pass, tho.
Yes, sorry, I misquoted Scorcese. He did say Capitol, not Paramount.
But why wouldn’t someone who may have been vastly interested in wide-
screen, regardless of his/her youth, not be able to recognize the
difference between horizontal VV and normal 4-perf 35mm. I’m older than
Scorcese and I sure as heck could tell the difference at the Philadelphia Stanley. The difference wasn’t minor. It was awesome! Of course it would help – and this was my case and maybe Scorcese’s – being familiar with the size and shape of the pre-VV images.
Re Vito’s comment October 7: “…was very surprised that the Criterion,which was renovated for the movie, did not install VistaVision projectors, but again it was all about the photography, not the projection.”
I also find it curious that VV possibly may not have been installed there in 1956. The majority opinion is that VV horizontal projection had pretty much died out by that time. However, on the restored “Vertigo” DVD, there’s an interview with M. Scorcese, who knows a thing or two about widescreen, and he says (this is very nearly an exact quote)..“I saw ‘Vertigo’ at the Paramount in its original horizontal glory.” And this, of course, would have been in 1958. Whaddya think?
Hi, Vito and other NY projectionists and wide-screen fans: In the case of VV, there seems to be a lot of discussion about when/where/and how long it was actually used. In the “restored” ‘Vertigo’ DVD, there is a special segment with M. Scorcese, who would know a lot about widescreen, who says he saw “Vertigo” in (almost word-for-word quote) “its full horizontal projection system at the Times Square Paramount”. This would have been in 1958. I still can’t imagine that Paramount ran the world premiere engagement of “Ten Commandments” in 1956 at the Criterion not in full VV. All things are possible, but this would have been hard to believe.
In the case of CS55, the first few engagements were somewhat special in that, though 35mm projection prints were used, sound was provided by 6-track mag interlock. The full projection frame, w/o sound track, provided an anamorphic ratio of 2.55:1, the same as the original 35mm CS. Notice that the first theatres to run “CS55” were the same first houses to run “CS35”, to wit: New York, Roxy; Hollywood, Chinese; Philadelphia, Fox; and (I believe), Chicago, State-Lake.
People here complain about on-screen advertising, but when I was in the Army in Germany in the 60’s, commercials in theatres were commonplace. In fact, in the newspaper ads and also at the boxoffice were posted the starting times of both the feature and the commercials. I mention this only in connection with the Mathaeser because I was saw a very entertaining “info-mercial” about some brand of cigarettes here. What fascinated me most was that this item was shown not only in scope on that vast screen but also in 4-track mag sound. In some theatres that were presenting a 70mm feature, the advertisements were also shown in 70mm.
“"Michael Todd and his ‘Around the World in 80 Days’ made a big splash at this Boardwalk theatre here in August of 1957” (veyoung)
The “80 Days” opening day advertisements I have from The Newark Star-Ledger and Asbury Park Press are dated July 11, 1957."
Sorry, didn’t mean to imply that the Todd presentation to exhibitors coincided with the public opening. Obviously, it didn’t. The “Variety” article mentioned that the orchestra-level booth was installed at some time into the “80D” run.
First theatre in the Germantown section of Philly to run CinemaScope (“The Robe” Dec 1953). Very interesting masking arrangement. “Barn doors” were attached to the side walls. When changing from scope to flat, an usher had to run to each wall, unfasten the hinged “barn doors” and close each one individually on the screen.
Ken MC, you’re right except for one fact. The Goldman was on 15th Street just ABOVE Chestnut and below Market. It was the second Philadelphia area theatre to install 70mm projection (1958 for “Sleeping Beauty”)
Hi, a friend of mine recently e-mailed me a photo of the exterior of the Goldman when “Funny Girl” was playing. I am trying to get in touch with him to ask permission to forward if along to you. It’s a 1.8 mg file. I’m not sure how to do it yet, but I will try if he consents. Vince Young
CinemaJunkie, u said: “The projection is horrible. They play flat movies on the big curved screen and scope movies on the small flat screen.” What does this mean? Do they have two different screens?
CConnely, Vito, BoxOfficeBill, please tell us just exactly what “damage” was done to the Roxy by the installation of CineMiracle. I can only assume you actually were there, else you wouldn’t have been able to make these comments. Other than the positioning of a large screen and curtain track forward of the proscenium, much as was done at the Broadway and Warner for Cinerama, just what “damage” was done? Eager 3-panel enthusiasts await your reply(s).
My mistake. First of all, I was talking about the theatre which was known as, and was opened as, the UA Cinema 150 (and then later called the Syosset). I never really noticed a balcony at that theatre..or was it just a raised “loge” or “mezzanine” section.? I remember the balcony at the Syosset. I sat there during “Superman III.” My faulty memory at play here. At any rate, the photograph in question is certainly that of the UA Lefrak. Again, compare with the photos in Kraus' website. Somewhere on line, and I will find it again, are UA’s opening publicity pages for the Lefrak unveiling. They include the same photos that appear on the “fromscript…” pages.
See today’s Cinema Treasures news. House will be demolished.
I have very fond memories of the Wayne Ave Playhouse. In the 50’s it was mainly a 2nd-run house for foreign releases. I remember vividly seeing “Diabolique,” and the Jacques Tati comedies “Mr Hulot’s Holiday” and “Mon Oncle,” and many others. In later years, the house was used on weekends for “Nickelodeon Nights,” a selection of comedy shorts, particularly Laurel & Hardy, and was very successful.
I would love to see a 75mm film festival anywhere!
Anybody know yet the “format” (gauge, audio system) of these individual presentations, in particular, WWStory?
Movieguy’s comments today about the screens being non-performated would seem to imply that the double-curved tourus screens are still being utilized. Is this a fact, and are the screens in all the auditoriums tourus? I remember when the first tourus screens began to appear in the Philadelphia area sometime in the early 90’s or late 80’s – cant remember which – it was kinda funny if you sat dead center in the auditorium, you could clearly hear nearly every conversation going on. It was as if the screen acted as some sort of audio “cone” which amplified every sound and focused it on this one point. At this time, pre-SDDS, the tourus presentations actually didn’t look too bad if you sat in the “sweet” spot. I remember now: “Godfather 3”, whatever year that was, ushered in a giant tourus installation at the AMC Marple ## in the western suburbs of Philly.
Hi, Happy New Year to Everybody. Does anybody have any photographs of the 1958 CineMiracle installation? There must be some somewhere. Thanks
I think the Palace was on the South side of Market St., and the Apollo (I’ve fogotten its original name) was on the North side. Might be wrong. It’s early in the morning. (I just noticed the first posting on this theatre above….it was on the South side,,,1234 Market).
Hughie, let’s have some Boyd-talk. Now, THAT was a theatre!
In reference to Goober’s comments on November 29…“The removal of the mezzanine seems like quite a radical move for basic widescreen adaptation. Anamorphic processes like CinemaScope would not have required so much (vandalistic!) remodeling. Perhaps this has already been discussed, but I wonder, is there a possibility that there was an attempt to fit the house for Cinerama? That would entail quite a bit of alteration”. Y ou’re right. Cinerama was never installed at the UA; however, in December of ‘55, Todd-AO was (for a simultaneous engagement with the Egyptian of “Oklahoma) brought in, and in those days, while M. Todd was still alive, these 70mm installations were mainly deep-curve and straight-throw affairs.
…and that pedestrian bridge over Rte 38 that was mentioned in the first posting…..well, a truck hit it some time ago, and it’s no longer there.
On another topic, in Aud. 23 or 24 (the 2 largest), I saw some years ago “The Thin Red Line.” At the beginning of the end credits, the auditorium lights raised to half, but then the advertising slides came on over top of the credits, and the intermission music began instead of the film’s music. A mess! I went to what was hopefully but recklessly called the “concierge” desk and explained the matter to a pair of dazed teenages who hadnt the faintest clue what I was talking about. I filled a form, was promised a pass, and left. Never got that pass, tho.
Eckerd Drugs is now closed, and this building is now empty.
Yes, sorry, I misquoted Scorcese. He did say Capitol, not Paramount.
But why wouldn’t someone who may have been vastly interested in wide-
screen, regardless of his/her youth, not be able to recognize the
difference between horizontal VV and normal 4-perf 35mm. I’m older than
Scorcese and I sure as heck could tell the difference at the Philadelphia Stanley. The difference wasn’t minor. It was awesome! Of course it would help – and this was my case and maybe Scorcese’s – being familiar with the size and shape of the pre-VV images.
Re Vito’s comment October 7: “…was very surprised that the Criterion,which was renovated for the movie, did not install VistaVision projectors, but again it was all about the photography, not the projection.”
I also find it curious that VV possibly may not have been installed there in 1956. The majority opinion is that VV horizontal projection had pretty much died out by that time. However, on the restored “Vertigo” DVD, there’s an interview with M. Scorcese, who knows a thing or two about widescreen, and he says (this is very nearly an exact quote)..“I saw ‘Vertigo’ at the Paramount in its original horizontal glory.” And this, of course, would have been in 1958. Whaddya think?
Hi, Vito and other NY projectionists and wide-screen fans: In the case of VV, there seems to be a lot of discussion about when/where/and how long it was actually used. In the “restored” ‘Vertigo’ DVD, there is a special segment with M. Scorcese, who would know a lot about widescreen, who says he saw “Vertigo” in (almost word-for-word quote) “its full horizontal projection system at the Times Square Paramount”. This would have been in 1958. I still can’t imagine that Paramount ran the world premiere engagement of “Ten Commandments” in 1956 at the Criterion not in full VV. All things are possible, but this would have been hard to believe.
In the case of CS55, the first few engagements were somewhat special in that, though 35mm projection prints were used, sound was provided by 6-track mag interlock. The full projection frame, w/o sound track, provided an anamorphic ratio of 2.55:1, the same as the original 35mm CS. Notice that the first theatres to run “CS55” were the same first houses to run “CS35”, to wit: New York, Roxy; Hollywood, Chinese; Philadelphia, Fox; and (I believe), Chicago, State-Lake.
People here complain about on-screen advertising, but when I was in the Army in Germany in the 60’s, commercials in theatres were commonplace. In fact, in the newspaper ads and also at the boxoffice were posted the starting times of both the feature and the commercials. I mention this only in connection with the Mathaeser because I was saw a very entertaining “info-mercial” about some brand of cigarettes here. What fascinated me most was that this item was shown not only in scope on that vast screen but also in 4-track mag sound. In some theatres that were presenting a 70mm feature, the advertisements were also shown in 70mm.
“"Michael Todd and his ‘Around the World in 80 Days’ made a big splash at this Boardwalk theatre here in August of 1957” (veyoung)
The “80 Days” opening day advertisements I have from The Newark Star-Ledger and Asbury Park Press are dated July 11, 1957."
Sorry, didn’t mean to imply that the Todd presentation to exhibitors coincided with the public opening. Obviously, it didn’t. The “Variety” article mentioned that the orchestra-level booth was installed at some time into the “80D” run.
First theatre in the Germantown section of Philly to run CinemaScope (“The Robe” Dec 1953). Very interesting masking arrangement. “Barn doors” were attached to the side walls. When changing from scope to flat, an usher had to run to each wall, unfasten the hinged “barn doors” and close each one individually on the screen.
Yes, Mike, I did have Cinerama on the brain when I wrote that post about the Midtown. Sorry.
Ken MC, you’re right except for one fact. The Goldman was on 15th Street just ABOVE Chestnut and below Market. It was the second Philadelphia area theatre to install 70mm projection (1958 for “Sleeping Beauty”)
“La Dolce Vita” also roadshowed – fairly successfully – at the Philly Boyd between Cinerama engagements.
Hi, a friend of mine recently e-mailed me a photo of the exterior of the Goldman when “Funny Girl” was playing. I am trying to get in touch with him to ask permission to forward if along to you. It’s a 1.8 mg file. I’m not sure how to do it yet, but I will try if he consents. Vince Young
CinemaJunkie, u said: “The projection is horrible. They play flat movies on the big curved screen and scope movies on the small flat screen.” What does this mean? Do they have two different screens?
This was also the theatre in which producer Louis DeRochemont tested the new 3-panel CineMiracle process.
CConnely, Vito, BoxOfficeBill, please tell us just exactly what “damage” was done to the Roxy by the installation of CineMiracle. I can only assume you actually were there, else you wouldn’t have been able to make these comments. Other than the positioning of a large screen and curtain track forward of the proscenium, much as was done at the Broadway and Warner for Cinerama, just what “damage” was done? Eager 3-panel enthusiasts await your reply(s).
My mistake. First of all, I was talking about the theatre which was known as, and was opened as, the UA Cinema 150 (and then later called the Syosset). I never really noticed a balcony at that theatre..or was it just a raised “loge” or “mezzanine” section.? I remember the balcony at the Syosset. I sat there during “Superman III.” My faulty memory at play here. At any rate, the photograph in question is certainly that of the UA Lefrak. Again, compare with the photos in Kraus' website. Somewhere on line, and I will find it again, are UA’s opening publicity pages for the Lefrak unveiling. They include the same photos that appear on the “fromscript…” pages.