Autumn of 2016 Southlake 24 completed a renovation installing recliners in all theaters, Coke freestyle machines and a bar. AMC Dolby Theater in house #12.
I remember a girl who worked the concession counter at Southgate: Betsy Lynch from Butler High School. I was smitten with her beauty and personality. I was happiest when Betsy and I had the lobby to ourselves and could talk about “everything”. Each and every day I would ask Betsy to wear her hair down. She never did. Not one single day…that is until I took another girl on a date to the opening of the Godfather at the Miller on March 24th 1972. The next night, Betsy came to work with her hair free flowing. Betsy…..I noticed!
I worked at Southgate Cinema from May of 1971 until September of 1972. I was 17 years old. I loved the movies and enjoyed working at a “real” theater. Mr. Andrews was the manager then. Mr. Griffith was the projectionist. It was a union projection booth that I was rarely allowed to enter. The box office was a tiny booth that had an exterior window (to the right of the doors) for selling tickets. There was a stairway behind the box office that led to the projection booth and the managers office. The box office lady was related to Mr. Griffith — I believe it was his daughter-in-law. Mr. Griffith’s son (I think it was his son) was also a projectionist and filled in occasionally.
The auditorium was draped in gold curtains. Access to the speakers and storage area behind the screen was to the right of the screen.
My favorite movie from my time working there was Goodbye, Columbus (1969). Goodbye, Columbus was re-released during the summer of 1971 to capitalize on the success of Love Story. The tag line for Goodbye, Columbus was “Every Father’s Daughter is a Virgin”. Mr. Andrews refuse to let this line appear on the marquee and instead ordered me to put up “That Love Story Girl is Back!”
Mr. Andrews and Mr. Griffith would view the film before opening day looking for any nudity or obscenities. Mr. Griffith would cut objectionable material from the film, saving the trims on this editing desk. Before returning the print to the studio, the excised footage would be restored. In the days of 35mm film, there were often splices just before and after nudity scenes as many theaters across the county would cut and restore “objectionable” material from the prints.
Adam West and Burt Ward walked into Southgate Cinema one night. They came late, 30 minutes after the start of the last showing. I was alone in the lobby and sold them tickets and concessions. When they told me who they were, I didn’t believe them. They insisted that they were actually Batman and Robin. I asked them to show me their driver’s licenses. They did. It was them!
The Columbia must have been heavily advertised. I remember driving long distances to see Aliens and The Untouhables on such a huge, wonderful screen.
Autumn of 2016 Southlake 24 completed a renovation installing recliners in all theaters, Coke freestyle machines and a bar. AMC Dolby Theater in house #12.
I remember a girl who worked the concession counter at Southgate: Betsy Lynch from Butler High School. I was smitten with her beauty and personality. I was happiest when Betsy and I had the lobby to ourselves and could talk about “everything”. Each and every day I would ask Betsy to wear her hair down. She never did. Not one single day…that is until I took another girl on a date to the opening of the Godfather at the Miller on March 24th 1972. The next night, Betsy came to work with her hair free flowing. Betsy…..I noticed!
I worked at Southgate Cinema from May of 1971 until September of 1972. I was 17 years old. I loved the movies and enjoyed working at a “real” theater. Mr. Andrews was the manager then. Mr. Griffith was the projectionist. It was a union projection booth that I was rarely allowed to enter. The box office was a tiny booth that had an exterior window (to the right of the doors) for selling tickets. There was a stairway behind the box office that led to the projection booth and the managers office. The box office lady was related to Mr. Griffith — I believe it was his daughter-in-law. Mr. Griffith’s son (I think it was his son) was also a projectionist and filled in occasionally.
The auditorium was draped in gold curtains. Access to the speakers and storage area behind the screen was to the right of the screen.
My favorite movie from my time working there was Goodbye, Columbus (1969). Goodbye, Columbus was re-released during the summer of 1971 to capitalize on the success of Love Story. The tag line for Goodbye, Columbus was “Every Father’s Daughter is a Virgin”. Mr. Andrews refuse to let this line appear on the marquee and instead ordered me to put up “That Love Story Girl is Back!”
Mr. Andrews and Mr. Griffith would view the film before opening day looking for any nudity or obscenities. Mr. Griffith would cut objectionable material from the film, saving the trims on this editing desk. Before returning the print to the studio, the excised footage would be restored. In the days of 35mm film, there were often splices just before and after nudity scenes as many theaters across the county would cut and restore “objectionable” material from the prints.
Adam West and Burt Ward walked into Southgate Cinema one night. They came late, 30 minutes after the start of the last showing. I was alone in the lobby and sold them tickets and concessions. When they told me who they were, I didn’t believe them. They insisted that they were actually Batman and Robin. I asked them to show me their driver’s licenses. They did. It was them!