Sadly, the original three channel (left, center, right) stereo tracks are now lost. SADIE was one of the first location shoots (Hawaii) to record on three distinct 35mm magnetic tracks.
Several years ago, the Lafayette in Suffern, New York ran the restored print of APES and it looked spectacular. This new print at the Ziegfeld was from a fading dupe negative, and had excessive grain.
It’s funny: I’ve seen reel to reel shows at the Lafayette for the past 5 or 6 years. Never once have I seen a missed changeover in their Big Screen Classics series, and the picture is also focused at the start of each reel. I never have to worry about a bad presentation at that showplace.
Oh yes, they use their curtains at every show too. The Ziegfeld could learn a few lessons from them!
I must correct my comment about the entire staff working that night being friendly. When I approached the manager about the focus problem, he seemed irritated, mis-informed and generally had the attitude that there was nothing they could do about it. All of the blame was on the “old reel to reel method” of presentation.
I can’t tell you how much that annoyed me, but I kept my cool and hoped for the best.
Vito; I also wonder if the missed changeover (coincidentally after the reel when I complained) was done on purpose.
I hate to say this, because I’m a film man through and through. If the APES show I saw is the average quality level of their film presentation, maybe digital would be better? At the very least it would be in focus.
I must say though, the staff working that night (boxoffice, ticket taker and concessions) were extremely cordial. They welcomed me; asked if they could assist, and actually thanked me for attending the theater.
It’s too bad they had such an incompetent boob running the show!
The article finally gets it accurate about two interlocked projectors being used in the fifties, but then totally screws up the facts by saying the glasses were red and blue/green. What are they referring to – the 3 Lippert shorts or the handful of Dan Sonney burlesque films?
But don’t forget Bill, PORGY AND BESS was a 50 year old dye-transfer Technicolor, magnetic print. It was bound to have some focus drifting due to warp or shrinkage.
APES was a brand-spanking-new print that should have had no problems.
The thing that got me was his claim that they spent an hour each day preparing the machines for reel to reel, including balancing of the lamphouses. (I did ask if they ran RP40, or some other SMPTE test loop, and he didn’t know what I was talking about. He said they used some kind of digital meter to read the screen. How that is supposed to adjust the focus, I don’t know.)
If had only used binoculars to focus at the start of reel 2, that left projector should have been fine for the rest of the show.
I went to the 5:00 show of PLANET OF THE APES on Thursday. The trailers were shown digitally and then the feature began. Reel one was on the right projector, and the picture and sound were fine. However, when they did the changeover to reel two, it was quite noticeably out of focus. I was in the 12th row and stuck with it throughout the reel. I hoped it would get better. Unfortunately, the operator made no attempt to fix the problem.
The changeover to reel three was smooth, so I sat back and began to (once again) get wrapped up in the movie. I assumed reel four would be fine. Surely, a professional film operator would not run two reels out of focus!
Guess what? Reel four began (on the left projector) and it was still out of focus. I waited five minutes and no attempt was made to correct it. So, I reluctantly left my seat to go tell the manager.
When I found him in the lobby, I told him about the problem. He explained that the focus issues were because they were running in the old reel to reel method. When I tried to explain it was only the left projector, it did not seem to register with him. He explained that running a film reel to reel was “retarded” (his word, not mine) and that it really should be shown on a platter. After several minutes of frustrated attempts to explain that it was only the lens that needed adjusting and that it had nothing to do with reel to reel or the lamp house, he finally called the booth and told the operator that he was going to have to check each reel as it ran. I got the impression that I wasn’t the first person to complain.
I thanked him and he then told me he was glad this was the final day of the show because it took them an hour each morning to set up to run reel to reel. I didn’t question this and figured I had missed enough of the film anyway. His final comment was that he had been in the business for 29 years, and it would be so much better if the film had been shown digitally. I didn’t debate this point and went back to my seat.
When I walked into the theater, I noticed that the operator had made an attempt to focus the picture. Unfortunately, it was now worse! Whereas before the film looked fairly clear from the back of the house, now it looked as blurry as it did when I was in the 12th row. I decided to put up with it and sat down in the second to last row. I knew at least the changeover to reel five would get us back to a clear picture. It did, with one slight problem; the operator missed the changeover. I’m not talking a few seconds of blank film or leader from the end of reel four. We were treated to the complete tail leader with loud audio pops, and then about ten seconds of white light on a blank screen!
Thankfully, the rest of the show ran fine – with the exception of every other reel being out of focus. He did make the rest of the changeovers properly.
The curtains were not used.
With this type of presentation, it will be quite some time before I consider going back to the Ziegfeld.
We are in the process of writing a comprehensive series of articles to accurately document the post-Cinerama/pre-CinemaScope widescreen era. We intend to document our work with original source materials from the studios and trades. The article would be similar to our piece on the 3-D release of HONDO: http://www.3dfilmpf.org/info.html
I would be very interested in talking with you concerning your experiences at that time. If you’d like to help set the record straight, would you please go to my profile and send me a note?
You’re absolutely right. IMDB is convenient, but it should not be relied on for accurate information. For instance, I’ve found loads of mistakes relating to aspect ratios of early widescreen movies.
Unfortunately, too many lazy researchers are turning to IMDB as their gospel.
Warren: were you at the Valencia at the time of their widescreen installation? If so, I would be interested in talking with you for our article. We’ve got lots of paperwork, but it would be nice to get some firsthand anecdotes from someone that was there at the time.
The first stereophonic film to play on the new Capitol widescreen was MELBA, released by United Artists on June 24, 1953. Altec installed a 3 channel 35mm magnetic playback unit which was interlocked with the regular 35mm projector.
The standard 35mm composite print had the usual mono optical track which could be switched to in case the magnetic dubber lost sync with the projector.
I’m not sure of the production dates for the 3 Gable films, but MGM switched to widescreen cinematography in late March/early April of 1953.
The Capitol 25x60 screen was curved according to an article in Film Daily. I’m trying to find a photograph to confirm.
It’s a long-held myth that (after Cinerama) widescreen began with CinemaScope. All the facts of this period of transition will be documented with original source materials in our article – or series of articles as it’s developing!
When the Strand was being demolished, I walked around the lobby and balcony area. For some reason, the construction workers didn’t stop me!
While the majority of the area was totally modernized, there was one strange exception. The ladies lounge on the balcony level was completely original; very ornate, with mirrors and fancy light fixtures. It appeared to have been walled up or covered over in the 1960’s. One of the workers told me that the contents had been sold to an antique dealer and the room would be stripped before demolition.
Mr. Endres: I’ve got quite a bit of information about the Music Hall’s initial widescreen installation for SHANE in April of 1953. I would be very interested in interviewing you for our article. If you’re available, can you please send me contact information through my profile on this site?
That’s very true, and this gray area has come into play when these films are now transferred and mastered for widescreen TV’s. Some feel that if the image is on the 35mm element, than it was meant to be seen. THIS ISLAND EARTH is a good example. The film element is 1.37 and all previous video versions have been in that ratio. However, the film was intended to be shown theatrically in the 2.1 ratio. I’ve seen it that way, and it looks fine.
I’m currently doing research into FROM HERE TO ETERNITY. They are in the process of doing a digital restoration from the original 35mm elements, which were shot 1.37. The movie was in production for one month when Columbia switched to 1.85 as their adopted studio ratio. Therefore, some of the film appears composed for 1.37 and some for 1.85.
When the film was released in August of 1953, it had it’s World Premiere and played widescreen for 5 months at the Capitol, and then opened on December 30 in widescreen at 31 Loew’s houses throughout New York. This pattern continued throughout the country. So most people who saw the film when it was first released saw it in 1.85. However, since then, it’s only been seen in 1.37 on TV and home video.
In his June 11 review, the New York Times reviewer stated: “As for the widescreen projection, outside of doing such things as cutting off the feet of the ballet dancers (because of cropping of the standard frame at the bottom and top) and causing some blurring to the pan shots, it is no different from standard projection as seen from up close. What in the world it must look like from down in the front orchestra seats, heaven knows! It must be horrifying. We got as close as we could, then balked in dread.”
I’m still doing research on the filming of NEVER LET ME GO. It’s quite possible it was filmed for 1.37 presentation. MGM didn’t change to widescreen photography until sometime in early April.
After the debut of Cinerama, it’s a common myth that widescreen movies began with CinemaScope. That’s not true.
For the record, Universal-International’s THUNDER BAY opened on May 21, 1953 at Loew’s State. It was shown in 1.85 and had a 3 channel stereophonic soundtrack.
I’m in the process of researching this overlooked aspect of motion picture exhibition, and an article will be published soon. All of the information presented will be documented with original source materials, pulled from industry trade journals, newspapers and studio production files.
The Capitol’s 25x60 screen was installed for the June 1953 engagement of NEVER LET ME GO.
The Capitol, and several other Times Square theaters (Loew’s State, Criterion, Victoria) were playing movies in various widescreen ratios starting in May of that year. (All the studios had begun photographing films for widescreen in March and April.) CinemaScope did not premiere at the Roxy until September 16.
Sadly, the original three channel (left, center, right) stereo tracks are now lost. SADIE was one of the first location shoots (Hawaii) to record on three distinct 35mm magnetic tracks.
Several years ago, the Lafayette in Suffern, New York ran the restored print of APES and it looked spectacular. This new print at the Ziegfeld was from a fading dupe negative, and had excessive grain.
It’s funny: I’ve seen reel to reel shows at the Lafayette for the past 5 or 6 years. Never once have I seen a missed changeover in their Big Screen Classics series, and the picture is also focused at the start of each reel. I never have to worry about a bad presentation at that showplace.
Oh yes, they use their curtains at every show too. The Ziegfeld could learn a few lessons from them!
I must correct my comment about the entire staff working that night being friendly. When I approached the manager about the focus problem, he seemed irritated, mis-informed and generally had the attitude that there was nothing they could do about it. All of the blame was on the “old reel to reel method” of presentation.
I can’t tell you how much that annoyed me, but I kept my cool and hoped for the best.
Vito; I also wonder if the missed changeover (coincidentally after the reel when I complained) was done on purpose.
I hate to say this, because I’m a film man through and through. If the APES show I saw is the average quality level of their film presentation, maybe digital would be better? At the very least it would be in focus.
I must say though, the staff working that night (boxoffice, ticket taker and concessions) were extremely cordial. They welcomed me; asked if they could assist, and actually thanked me for attending the theater.
It’s too bad they had such an incompetent boob running the show!
HANNAH MONTANA is the highest grossing 3-D film of all time? Perhaps in 2008 currency, but consider this:
In 1954, HONDO grossed over 4 million dollars – and the average ticket price was 49 cents.
I have a feeling that a few more people saw that 3-D film than HANNAH MONTANA.
http://www.3dfilmpf.org/info.html
The article finally gets it accurate about two interlocked projectors being used in the fifties, but then totally screws up the facts by saying the glasses were red and blue/green. What are they referring to – the 3 Lippert shorts or the handful of Dan Sonney burlesque films?
Doesn’t any journalist do research anymore???
I just walked through Times Square last night. Man, I wish I could have seen it back then!
I’m not sure if this has been posted before, but here’s a great color shot of the exterior circa February, 1955:
View link
But don’t forget Bill, PORGY AND BESS was a 50 year old dye-transfer Technicolor, magnetic print. It was bound to have some focus drifting due to warp or shrinkage.
APES was a brand-spanking-new print that should have had no problems.
The thing that got me was his claim that they spent an hour each day preparing the machines for reel to reel, including balancing of the lamphouses. (I did ask if they ran RP40, or some other SMPTE test loop, and he didn’t know what I was talking about. He said they used some kind of digital meter to read the screen. How that is supposed to adjust the focus, I don’t know.)
If had only used binoculars to focus at the start of reel 2, that left projector should have been fine for the rest of the show.
I went to the 5:00 show of PLANET OF THE APES on Thursday. The trailers were shown digitally and then the feature began. Reel one was on the right projector, and the picture and sound were fine. However, when they did the changeover to reel two, it was quite noticeably out of focus. I was in the 12th row and stuck with it throughout the reel. I hoped it would get better. Unfortunately, the operator made no attempt to fix the problem.
The changeover to reel three was smooth, so I sat back and began to (once again) get wrapped up in the movie. I assumed reel four would be fine. Surely, a professional film operator would not run two reels out of focus!
Guess what? Reel four began (on the left projector) and it was still out of focus. I waited five minutes and no attempt was made to correct it. So, I reluctantly left my seat to go tell the manager.
When I found him in the lobby, I told him about the problem. He explained that the focus issues were because they were running in the old reel to reel method. When I tried to explain it was only the left projector, it did not seem to register with him. He explained that running a film reel to reel was “retarded” (his word, not mine) and that it really should be shown on a platter. After several minutes of frustrated attempts to explain that it was only the lens that needed adjusting and that it had nothing to do with reel to reel or the lamp house, he finally called the booth and told the operator that he was going to have to check each reel as it ran. I got the impression that I wasn’t the first person to complain.
I thanked him and he then told me he was glad this was the final day of the show because it took them an hour each morning to set up to run reel to reel. I didn’t question this and figured I had missed enough of the film anyway. His final comment was that he had been in the business for 29 years, and it would be so much better if the film had been shown digitally. I didn’t debate this point and went back to my seat.
When I walked into the theater, I noticed that the operator had made an attempt to focus the picture. Unfortunately, it was now worse! Whereas before the film looked fairly clear from the back of the house, now it looked as blurry as it did when I was in the 12th row. I decided to put up with it and sat down in the second to last row. I knew at least the changeover to reel five would get us back to a clear picture. It did, with one slight problem; the operator missed the changeover. I’m not talking a few seconds of blank film or leader from the end of reel four. We were treated to the complete tail leader with loud audio pops, and then about ten seconds of white light on a blank screen!
Thankfully, the rest of the show ran fine – with the exception of every other reel being out of focus. He did make the rest of the changeovers properly.
The curtains were not used.
With this type of presentation, it will be quite some time before I consider going back to the Ziegfeld.
Boy, the Capitol sure went out on top!
Thank you Vito, I look forward to hearing from you!
Bob
Hi Vito,
We are in the process of writing a comprehensive series of articles to accurately document the post-Cinerama/pre-CinemaScope widescreen era. We intend to document our work with original source materials from the studios and trades. The article would be similar to our piece on the 3-D release of HONDO: http://www.3dfilmpf.org/info.html
I would be very interested in talking with you concerning your experiences at that time. If you’d like to help set the record straight, would you please go to my profile and send me a note?
Thank you very much!
Bob
You’re absolutely right. IMDB is convenient, but it should not be relied on for accurate information. For instance, I’ve found loads of mistakes relating to aspect ratios of early widescreen movies.
Unfortunately, too many lazy researchers are turning to IMDB as their gospel.
Lost Memory: Where did “A Night at the Opera” originally premiere, and what is your source for that November release date?
Warren: were you at the Valencia at the time of their widescreen installation? If so, I would be interested in talking with you for our article. We’ve got lots of paperwork, but it would be nice to get some firsthand anecdotes from someone that was there at the time.
The first stereophonic film to play on the new Capitol widescreen was MELBA, released by United Artists on June 24, 1953. Altec installed a 3 channel 35mm magnetic playback unit which was interlocked with the regular 35mm projector.
The standard 35mm composite print had the usual mono optical track which could be switched to in case the magnetic dubber lost sync with the projector.
I’m not sure of the production dates for the 3 Gable films, but MGM switched to widescreen cinematography in late March/early April of 1953.
The Capitol 25x60 screen was curved according to an article in Film Daily. I’m trying to find a photograph to confirm.
It’s a long-held myth that (after Cinerama) widescreen began with CinemaScope. All the facts of this period of transition will be documented with original source materials in our article – or series of articles as it’s developing!
When the Strand was being demolished, I walked around the lobby and balcony area. For some reason, the construction workers didn’t stop me!
While the majority of the area was totally modernized, there was one strange exception. The ladies lounge on the balcony level was completely original; very ornate, with mirrors and fancy light fixtures. It appeared to have been walled up or covered over in the 1960’s. One of the workers told me that the contents had been sold to an antique dealer and the room would be stripped before demolition.
Hmmm, that’s odd. I’ve got it marked to accept private e-mail.
If you go to the bottom of this page, you can send me a note via that address:
http://www.3dfilmpf.org/info-hondo.html
Thanks!
Bob
Mr. Endres: I’ve got quite a bit of information about the Music Hall’s initial widescreen installation for SHANE in April of 1953. I would be very interested in interviewing you for our article. If you’re available, can you please send me contact information through my profile on this site?
Thank you!
Bob
That’s very true, and this gray area has come into play when these films are now transferred and mastered for widescreen TV’s. Some feel that if the image is on the 35mm element, than it was meant to be seen. THIS ISLAND EARTH is a good example. The film element is 1.37 and all previous video versions have been in that ratio. However, the film was intended to be shown theatrically in the 2.1 ratio. I’ve seen it that way, and it looks fine.
I’m currently doing research into FROM HERE TO ETERNITY. They are in the process of doing a digital restoration from the original 35mm elements, which were shot 1.37. The movie was in production for one month when Columbia switched to 1.85 as their adopted studio ratio. Therefore, some of the film appears composed for 1.37 and some for 1.85.
When the film was released in August of 1953, it had it’s World Premiere and played widescreen for 5 months at the Capitol, and then opened on December 30 in widescreen at 31 Loew’s houses throughout New York. This pattern continued throughout the country. So most people who saw the film when it was first released saw it in 1.85. However, since then, it’s only been seen in 1.37 on TV and home video.
View link
View link
In his June 11 review, the New York Times reviewer stated: “As for the widescreen projection, outside of doing such things as cutting off the feet of the ballet dancers (because of cropping of the standard frame at the bottom and top) and causing some blurring to the pan shots, it is no different from standard projection as seen from up close. What in the world it must look like from down in the front orchestra seats, heaven knows! It must be horrifying. We got as close as we could, then balked in dread.”
I’m still doing research on the filming of NEVER LET ME GO. It’s quite possible it was filmed for 1.37 presentation. MGM didn’t change to widescreen photography until sometime in early April.
Howard: Most of the 1953/1954 aspect ratios on IMDB are wrong.
Some of the early widescreen movies (1.66, 1.75, 1.85) were photographed before the studio’s switched to widescreen cinematography, but not all.
After the debut of Cinerama, it’s a common myth that widescreen movies began with CinemaScope. That’s not true.
For the record, Universal-International’s THUNDER BAY opened on May 21, 1953 at Loew’s State. It was shown in 1.85 and had a 3 channel stereophonic soundtrack.
I’m in the process of researching this overlooked aspect of motion picture exhibition, and an article will be published soon. All of the information presented will be documented with original source materials, pulled from industry trade journals, newspapers and studio production files.
The Capitol’s 25x60 screen was installed for the June 1953 engagement of NEVER LET ME GO.
The Capitol, and several other Times Square theaters (Loew’s State, Criterion, Victoria) were playing movies in various widescreen ratios starting in May of that year. (All the studios had begun photographing films for widescreen in March and April.) CinemaScope did not premiere at the Roxy until September 16.