I think one of those premiere 70mm runs was that of the laughable 1969 production of “Paint Your Wagon” with Clint Eastwood, Lee Marvin, and Jean Seberg; I know that is where I saw it.
I was sad to read this because although thousands of colleges and universities show movies on campus, this campus theater appears to be a fully functioning one. Not only only providing entertainment to the students, faculty and the surrounding community, it would appear to also offer a wonderful opportunity for students to learn how to actually operate a theater and confront the larger issues involved (booking, finances, advertising, etc.) – aspects of the business to which I doubt most young employees of the average multiplex really get any exposure.
I wish I lived closer to Columbus; I would support their effort with my regular patronage. However, as the story following this one points out, the supply of indie films (especially on 35mm film)
may well be drying up.
It would appear theater is not really being “restored;” based on the pictures in this article, it would appear that only the facade and some exterior walls will be saved as part of the new Orpheum Performing Arts Center: View link
If the information about “Porgy and Bess” in its entry on Wikipedia is accurate, the lack of a release on DVD is probably due to the fact that the rights are strictly controlled by the Gershwin and Heyward estates, which they fully regained when the license they gave the film’s producer, Samuel Goldwyn, expired. They blocked theatrical showings for many years. The film had a very troubled production history, lost half of its original production cost, and was apparently pulled from release in some locations. In 1959, critical reaction was very mixed. Perhaps, like “Vertigo,” which was not a success when it first came out,it might be now looked at differently.
Here’s a more recent article about the Retro Dome; the Guggenheim’s lease on the property is less than two years, so they are under a lot of pressure to make this a going concern or the the site may become a parking lot: View link
I was aware that Mr. Moore did not single-handedly restore the State (as he rather implies in the article) which is why I used the phrase “major role” when I posted the piece. He is, though, one of the three members of the Board of Directors of the Traverse City Film Festival which, as noted above, owns and operates the theater, so I guess that makes him an exhibitor.
This is going to be an outdoor mural; there is a small picture of what it is going to look like on the theater’s website (under special events). It will cover parts of two exterior walls of the theater that meet at a 90 degree angle. It will appear to be a cutaway view.
In this article: View link
the author says that this was done in the U.S. (probably after the initial engagements) to better describe what the film was about as the city ,its history, and “Chinese” Gordon were unfamiliar to most Americans.
The above cited article did not mention it, but the Hollywood Palms is a major renovation and remodeling of the former Nova 8 theater, according this article: View link
The theater’s website: http://www.hollywoodpalmscinema.com shows some pictures of the construction work and gives an idea of what areas of the theater now look like.
I would agree, but we are at the end of the summer season when Hollywood unloads the crud before the far pre-Oscar season, and the indy films from a number of recent film festivals have not really had wide circulation yet. Let’s see what they have to offer over the next few months.
I think the point of the article though was to encourage readers to rethink the history of times when quality Hollywood flmmaking had reached a high point – especially in terms of quality storytelling, technical craftsmanship, and later influence. The list of films cited for 1959 is quite impressive on those counts. Many of them cited in the article as being significant were in B&W and most were in mono, not stereo sound.
Also, I don’t think 70mm film was anywhere near being the norm in 1959; “Ben-Hur,” “The Big Fisherman,” and possibly “Porgy and Bess,” I think were the only releases. The golden era of films originating and presented in 70mm still a few years away. But the films of 1959 clearly revealed a number of trends.
According to this follow-up article, the Spinelli Cinemas will not re-open by October 9: View link
Screens should now be three.
I think one of those premiere 70mm runs was that of the laughable 1969 production of “Paint Your Wagon” with Clint Eastwood, Lee Marvin, and Jean Seberg; I know that is where I saw it.
According to this article, the Grande 4 will soon close:
View link
Follow-up editorial in the campus newspaper:
View link
I was sad to read this because although thousands of colleges and universities show movies on campus, this campus theater appears to be a fully functioning one. Not only only providing entertainment to the students, faculty and the surrounding community, it would appear to also offer a wonderful opportunity for students to learn how to actually operate a theater and confront the larger issues involved (booking, finances, advertising, etc.) – aspects of the business to which I doubt most young employees of the average multiplex really get any exposure.
A possibility might be to contact the Watsontown Area Business Association. 210 Main Street. Watsontown, PA 17777. Phone: 570-538-1000
I wish I lived closer to Columbus; I would support their effort with my regular patronage. However, as the story following this one points out, the supply of indie films (especially on 35mm film)
may well be drying up.
Does anyone recall or know about any details about what the “Ice-Colorama Revue” was like, as mentioned in the ad?
It would appear theater is not really being “restored;” based on the pictures in this article, it would appear that only the facade and some exterior walls will be saved as part of the new Orpheum Performing Arts Center: View link
If the information about “Porgy and Bess” in its entry on Wikipedia is accurate, the lack of a release on DVD is probably due to the fact that the rights are strictly controlled by the Gershwin and Heyward estates, which they fully regained when the license they gave the film’s producer, Samuel Goldwyn, expired. They blocked theatrical showings for many years. The film had a very troubled production history, lost half of its original production cost, and was apparently pulled from release in some locations. In 1959, critical reaction was very mixed. Perhaps, like “Vertigo,” which was not a success when it first came out,it might be now looked at differently.
Here’s a more recent article about the Retro Dome; the Guggenheim’s lease on the property is less than two years, so they are under a lot of pressure to make this a going concern or the the site may become a parking lot:
View link
I was aware that Mr. Moore did not single-handedly restore the State (as he rather implies in the article) which is why I used the phrase “major role” when I posted the piece. He is, though, one of the three members of the Board of Directors of the Traverse City Film Festival which, as noted above, owns and operates the theater, so I guess that makes him an exhibitor.
Ah, but you can still see “Tooth,” “Dentist,” and “Novocaine” there. 8-).
Here’s an additional article about the closing:
View link
This is going to be an outdoor mural; there is a small picture of what it is going to look like on the theater’s website (under special events). It will cover parts of two exterior walls of the theater that meet at a 90 degree angle. It will appear to be a cutaway view.
It’s about 65 miles SW of Scranton, and about 57 miles N of Harrisburg, off of I-80. (BTW, the place name is Watsontown).
In this article:
View link
the author says that this was done in the U.S. (probably after the initial engagements) to better describe what the film was about as the city ,its history, and “Chinese” Gordon were unfamiliar to most Americans.
The above cited article did not mention it, but the Hollywood Palms is a major renovation and remodeling of the former Nova 8 theater, according this article:
View link
The theater’s website: http://www.hollywoodpalmscinema.com shows some pictures of the construction work and gives an idea of what areas of the theater now look like.
A 2009 picture:
View link
Sad pictures of decaying screening room 4:
View link
View link
I would agree, but we are at the end of the summer season when Hollywood unloads the crud before the far pre-Oscar season, and the indy films from a number of recent film festivals have not really had wide circulation yet. Let’s see what they have to offer over the next few months.
The total of theaters at Playhouse Square in Cleveland is actually now five, with the addition of the restored Hanna.
I think the point of the article though was to encourage readers to rethink the history of times when quality Hollywood flmmaking had reached a high point – especially in terms of quality storytelling, technical craftsmanship, and later influence. The list of films cited for 1959 is quite impressive on those counts. Many of them cited in the article as being significant were in B&W and most were in mono, not stereo sound.
Also, I don’t think 70mm film was anywhere near being the norm in 1959; “Ben-Hur,” “The Big Fisherman,” and possibly “Porgy and Bess,” I think were the only releases. The golden era of films originating and presented in 70mm still a few years away. But the films of 1959 clearly revealed a number of trends.
Pictures – and the menu – here:
View link