Re: the introductory remarks here, “…The Music Hall was only the second Cinerama theater in the world, and supposedly the most successful.” It might not have been the most successful in terms of boxoffice, those honors probably going to the New York and Hollywood Warner’s. But the MH still racked up some impressive honors. “This Is Cinerama” ran 99 weeks, bested only by the DC Warner (100 wks), NY Warner (125 wks), and the Hollywood Warner (132 wks). However, the MH’s run of “Cinerama Holiday” was the longest of all at 81 weeks. An executive of Cinerama Theatre Operations stated in a 1957 interview in “Variety” that bus and train excursions accounted for about 40 percent of Cinerama’s attendance. By the time this was printed, a “I Have Seen Cinerama Four Times Club” had 176 local members. It was also estimated – and this is trivia at its best – that in the first 4 years of Cinerama exhibition, “…the theatre’s curtain has traveled back and forth equivalent to a distance of 75 miles. A staff of 11 projectionists used more than 1,200 pairs of nylon gloves for inspecting and rewinding the film.”
Also re Sacks: does anybody remember in 1962 when the Sack organization took over a large 1920’s-era house, renamed it the Music Hall, and attempted a film + stage show policy? Opening film was “Billy Rose’s Jumbo.” I don’t think the policy faired too well, and the only other note I have about the MH is that it booked and suffered through a fairly disastrous roadshow run of Fox' “Cleopatra” in 1963.
Back to the basement Beacon Hill. In the winter of 1973 it ran the 70mm version of “This Is Cinerama.”
re Sacks tidbits. I remember in the 1950s that the Sack organization every year in the Spring would place ads in the trades announcing that that particular year’s Oscar Winning “Best Picture” had opened in a Sack Theatre. This went on for years.
This was also possibly the first Cinerama theatre in the U.S. to catch on fire. Sometime shortly before Thanksgiving week in 1958 during the 37th week of the 4th Cinerama travelogue “Search For Paradise,” a fire broke out backstage (late at night, nobody injured) which destroyed the screen, screen speakers, and curtains. Amazingly enough, the house was back in action within a week’s time.
Thanks, BoxOfficeBill. One further question: did the curtain/screen installation cover the entire front wall like, say, the Loew’s Capitol, or was the installation more or less just in front of the proscenium on an extended thrust stage like the original Cinerama engagements?
Hi, don’t have the actual dates. All of the TIC70 engagements in the Northeast that I am aware of ran during the first six or seven months of 1973. The first was at the Beacon Hill in Boston in February or March. The DC Uptown followed thereafter. It didn’t open at the Ziegfeld NY until the last week in May. Assuming that the Syosset and Upper Montclair runs followed the Ziegfeld’s, I would say June or July. Inasmuch as Cinerama Releasing Corp. is long gone, and that Variety never “tracked” Long Island or North Jersey theatres, my only suggestion for dates (as well as ads) would be a search through the appropriate newspapers of those areas if they are available on microfilm/fiche. I am no longer in touch with the person with whom I saw it. If I can think of anything that could in any way joggle my memory, I’ll post it immediately. Hope this helps. Vince
I have heard stories to the effect that this was J.F.K.’s favorite theatre, and that he would often frustrate the Secret Service by sneaking off to visit it. Urban Legend, or not?
I remember seeing “Jaws” (35mm scope) there in 1975. They used an anamorphic lens, or lens attachment, that spread the image across the entire width of the screen. Enough distortion to induce eyestrain, but was somehow still impressive.
Maybe Vito can answer this one. This is purely anecdotal, and I havent the foggiest idea where I heard it. During the run of “Sound of Music” at the Syosset at the end of the film during the walkout credits the closing of the curtain panels was accompanied by two gorgeous ladies who walked along the stage each one holding a panel making it appear as if these ladies were closing the curtains themselves. Any truth to this, or is it another widescreen “urban legend”?
More Syosset stuff courtesy of the “International Cinerama Society."
Theatre No. 42 (meaning the 42nd world-wide installation); 3-screen from 6/25/59 to 5/26/64; press preview of "Mad World” 10/22/63; public showings of 70mm Cinerama beginning 5/27/64. 146 degree louvered screen. Hope this helps.
I would think that the non-rectified 70mm Cinerama prints could have been used in a D-150 house with the D-150 lenses just as easily as with any 5-perf 70m film. The rectified films usually involved a degree of anamorphosis and would have appeared “unsqueezed” to a degree if projected without an anamorphic attachment. BTW, inasmuch as you might as well consider the 70mm “This Is Cinerama” of 1973 a 70mm Cinerama film, then your question is answered, as that film ran there after the Ziegfeld. Also played the Bellevue, Upper Montclair. Cant remember at the moment if it also ran at the Claridge
Just a few quick notes about Walter Reade, Jr. and his Ziegfeld. First, oldtimers might remember Reade as the first person Skouras and Fox went after legally in 1954 when Reade refused to run Fox scope films with 4-track mag. He had purchased so-called “integrators” which mixed the 4 channels down into one thus obviating the need and expense of 2 extra stage speakers as well as surrounds. For a number of years, Reade, as an executive of Allied States (independent theatre owner organization) fervently went tooth-and-nail against the Fox 4-channel policy. This is odd considering that this is the same man who a few short years later foisted the ridiculous AromaRama on a largely uninterested world. Later, his distribution arm, Continental, bought the rights to a 70mm documentary. Reade had it reprinted in something called “Wonderama” and ran the film as “Mediterranean Holiday” in a few houses in North Jersey. He even released it “in Cinerama” where it played the Warner for a short period. Later on, Reade was elected to the Board of Directors of Cinerama, Inc. and announced that Cinerama would run at his newly reopened DeMille. This never happened. In 1967, when plans for the Ziegfeld were announced, he claimed it would, too, be a 70mm Cinerama house. Also, according to a press release in the NY Times 12/22/67, “the theater will require formal attire on Saturday nights."
As for the 70mm version of "This Is Cinerama,” the free-standing screen (measuring 27x63 feet) stood where the main curtain – which had to be removed – was located. Lights were shown on the screen to represent curtains, even to the extent of “draping” the prologue. This was a trick which was used for a time at the Times Square Paramount when the width of the original VistaVision screen left no room for screen curtains or masking.
Yes, Vito, Cinerama, the original 3x35mm 6-perforation process, did run at the Syosset. Photos of the install are available online. When Cinerama closed at the Manhattan Warner in 6/59 the equipment was removed immediately following the close of “South Seas Adventure” that Sunday night and moved to Long Island. It was the 25th and final (of the original Cinerama era) 3-panel installation in the U.S. A few trade mags of that era had articles about “Cinerama Comes Home,” referring to the fact that Cinerama itself was “born” not too far away in Oyster Bay, L.I. I was in the Syosset myself only once at one point in the seventies. As I recall you could see traces of the Able and Charlie booths near the fire escapes.
A little research in the trades in 1952 and 1953 will reveal that the Rivoli was sought after at one time as a home for Cinerama by the early Cinerama Productions/Cinerama Inc. teams, and also by 20th Century Fox which wanted to show its CinemaScope at both a large house (Roxy) as well as a smaller one.
There was no flat screen installed at the Rivoli between the Todd-AO and D-150 engagements.
I posted this to the rec.arts.movies.tech group years ago, but I was at one time inside the Rivoli booth after D-150 had been launched, and asked the young projectionist why the full screen with the masking fully pulled up and back was not used. His reply; “The screen is too big.” I wanted to strangle him right there on the spot.
A few notes about the Russian KinoPanorama showings at the Mayfair(DeMille, Embassy 1 or 2,3,4). In spite of the advertisements, the full 9 channels were not used, only 7, leading the “Variety” reviewer to comment that there was no loss there “as the narration borders on the inane.” The screen measured 60 x27 feet, the 3 projectors were the same ones used a year earlier at the Roxy for the CineMiracle presentation of “Windjammer.” Apparently, after the first week or so, public interest waned. By the 3rd week, box office grosses weren’t even reported to “Variety,” sure sign of embarrassment. The first attraction, “Great Is My Country” dragged on until mid-July 1959 when the second feature “The Enchanted Mirror” replaced it. So dismal was the business then that both films were shown together, something of a first for 3-panel presentation, and probably a boon for the concession stand in that the audience now had the opportunity to grab a bite to eat during all of two film changes plus two intermissions. Interestingly enough, later that year when exhibitor Walter Reade Jr (who now owned the theatre) was elected to the Board of Directors of Cinerama, Inc., he made noises to the press that Cinerama would from then on premiere at this theatre in New York. The Loews-Cinerama Inc deal less than a month later put the kabosh on that idea.
Jimmy Adams above asked if “anybody remember watching Earthquake in sesurround…”. Yes, I have a funny story about “Earthquake” in Senssurround at the Boyd (SamEric). Picture this: Friday opening night, theatre including balcony full, I had already seen it in the orchestra, wanted to checkout the Senssound in the balcony (like downstairs, 4 huge Cerwin-Vega or JBL boxes you could dance inside of in each corner). The film begins…as you recall, the 1st earthquake sequence begins roughly 40-45 minutes into the film. About 10 minutes prior to that, a little teenage girl apparently gets the hungries, leaves her seat to go to concessions and comes back upstairs arms loaded to the hilt with popcorn, sodas, hotdogs, candy, whatever. She’s about halfway up the stairs with her groceries when rhe rumbling begins. I will never forget the look on her face. As she turns around to look at the screen with this expression of sheer horror, she starts screaming, popcorn, sodas, wieners, candy bars fly all over the place. That side of the balcony absolutely rocked with laughter!
More techno-history: National Theatres, distributor of the 3-panel CineMiracle film “Windjammer,” booked the film into several Philadelphia-area theatres after its run at the Boyd. With 3 portable interlocked 35mm 6-perforation projectors in the regular booth, “Windjammer” was shown at the Keswick (probably without CineMiracle’s tradmark mirror system) on a flat screen that covered the entire front wall. A single “combined” track was used that mixed down the original 6 channels of sound. It ran concurrently at what is now the Opera House in Lancaster, PA and the Warren in Atlantic City.
A little more history. I’m told this was the first large-city house to be built in a major downtown area after WWII.
At any rate, it played mainly “B” product until 1958 when, somehow or other, it secured a roadshow booking of Warners' “Old Man and The Sea.” Though a tremendous boxoffice flop, it brought the Goldman into the realm of classy first-run houses. Months later, the house closed to install a truly heroic-sized screen for 70mm projection, reopening with “Sleeping Beauty.” This particular install with Cinerama-red curtains (a Goldman trademark) was the first of what actually came to be known as “Super Cinerama” design houses. The screen was virtually the entire front wall, deeply curved, with the theatre rows slightly curved in for better sightlines. Over the years, 70mm runs, roadshown, included “Porgy and Bess,” “Spartacus”, and “El Cid,” along with the ‘scope 4-track “Longest Day.” Budco later came in and ruined the house, and I have many snide remarks about what was done to the Goldman elsewhere in the “Philadelphia” theatre section.
I also attended the pre-demolition sale during which I got, among other items, parts of a 4-channel pre-amp, several glass slides reading “Starts Wednesday,” many 35mm “snipes,” and on a core, about half a reel of a 70mm print of “Capricorn One.” A church purchased the seating…I don’t know who got the screen. One nice thought to keep in mind: the Fox didn’t close because of lack of business. The owner, Bill Milgram, simply got what really had to be called (inasmuch as “Godfather” premiered there) an “offer he couldn’t refuse.” Newspaper reports at the time mentioned the huge sum he had already turned over to Fox to book the upcoming 3rd “Star Wars” film.
A bit of techno history. Of course, this was the Philly house for CinemaScope and CinemaScope 55. But how many of us remember “Thrillarama,” the 2-projector system that played only 5 or 6 theatres anywhere? The one and only film, “Thrillarama Adventure,” ran on a 72-foot screen installed specifically for this presentation for an amazingly short six days only and then quietly left town.
During the 1959 “theatre renovation” period around the country, the Fox closed for nearly a month not so much renovating but restoring, opening in December 1959 with brand new 70mm projection equipment with “Solomon and Sheba.” For years, one of the glass display cases on the 16th street side had a poster announcing that the Fox could show any widescreen process around. Clearly a bit of hype, but fun to look at. Milgram updated his 70mm equipment to include the newest flavor of Dolby called “Baby Boom” with “split surrounds,” opening with “Superman” in 1978, I have memories of Mr. Milgram on opening day running up and down the aisles trying out different seating positions to check on the sound levels. There weren’t many like him.
When CinemaScope was installed, the screen was fitted in front of the proscenium with movable masking but without screen curtains. Sometime in the late 50’s/early 60’s, William Goldman, the owner, added curtains in what was then his favorite color for theatre yard goods: Cinerama burgundy-red. I always like the lit sign that appeared at the end of the lobby before entering the single-floor auditorium: “Silence is Golden”. In those days, it worked.
It is now empty, vacant and the Phila Daily “News” columnist who names himself “The Pissmeister” calls the area by the boxoffice which is generally always filled with unfortunate people one of the stinkiest places in all of Philadelphia. Wasnt’t always that way.
As a part of the Trans-Lux chain, it was one of the few strange theatres that had rear-screen projection. Apparently, the chain was of the belief that audiences would be disturbed by a beam of light shining over their heads from behind. When, in the 1953/54 season, it was decided to install CinemaScope, a brand new projection booth at the back of the theatre had to be built. This accounts for the unreasonable amount of time – nearly a week – it took to tool up for 35mm ‘scope.
The house had a checkered booking policy specializing in, sometimes, British product (“The Mouse That Roared”), or esoteric American films (“Lolita”), and once even an expensive roadshow offering(“Magnificent Men in Their Flying Machines”).
For reasons which shall forever escape me, Fox booked a 70mm print of “Alien” in 1979. The house at that time belonged to the techno-challenged SamEric group whose policy concerning screen shape and size at that time was firmly: the larger in square footage, the better, aspect ratio be damned. I saw “Alien” opening afternoon on a screen, though as big as it could possibly be in terms of square feet, had a blisteringly incorrect ratio of LESS than 2:1. In later years, someone must have told the chain’s engineering department or their architects of their horrid error, for a few years later the house ran correctly a first for Philadelphia: a 70mm double feature: “Poltergeist” (reissue) and “Star Trek: Wrath of Khan” (reissue). Though the image was smaller to a large degree, this time they had the aspect ratio of 2.2:1 correct.
Re: the introductory remarks here, “…The Music Hall was only the second Cinerama theater in the world, and supposedly the most successful.” It might not have been the most successful in terms of boxoffice, those honors probably going to the New York and Hollywood Warner’s. But the MH still racked up some impressive honors. “This Is Cinerama” ran 99 weeks, bested only by the DC Warner (100 wks), NY Warner (125 wks), and the Hollywood Warner (132 wks). However, the MH’s run of “Cinerama Holiday” was the longest of all at 81 weeks. An executive of Cinerama Theatre Operations stated in a 1957 interview in “Variety” that bus and train excursions accounted for about 40 percent of Cinerama’s attendance. By the time this was printed, a “I Have Seen Cinerama Four Times Club” had 176 local members. It was also estimated – and this is trivia at its best – that in the first 4 years of Cinerama exhibition, “…the theatre’s curtain has traveled back and forth equivalent to a distance of 75 miles. A staff of 11 projectionists used more than 1,200 pairs of nylon gloves for inspecting and rewinding the film.”
Also re Sacks: does anybody remember in 1962 when the Sack organization took over a large 1920’s-era house, renamed it the Music Hall, and attempted a film + stage show policy? Opening film was “Billy Rose’s Jumbo.” I don’t think the policy faired too well, and the only other note I have about the MH is that it booked and suffered through a fairly disastrous roadshow run of Fox' “Cleopatra” in 1963.
Back to the basement Beacon Hill. In the winter of 1973 it ran the 70mm version of “This Is Cinerama.”
re Sacks tidbits. I remember in the 1950s that the Sack organization every year in the Spring would place ads in the trades announcing that that particular year’s Oscar Winning “Best Picture” had opened in a Sack Theatre. This went on for years.
This was also possibly the first Cinerama theatre in the U.S. to catch on fire. Sometime shortly before Thanksgiving week in 1958 during the 37th week of the 4th Cinerama travelogue “Search For Paradise,” a fire broke out backstage (late at night, nobody injured) which destroyed the screen, screen speakers, and curtains. Amazingly enough, the house was back in action within a week’s time.
Thanks, BoxOfficeBill. One further question: did the curtain/screen installation cover the entire front wall like, say, the Loew’s Capitol, or was the installation more or less just in front of the proscenium on an extended thrust stage like the original Cinerama engagements?
re Hicksville: the only notation from the Int'l Cinerama Society is that it ran Cinerama from 3/22/67 with “Grand Prix.”
Hi, don’t have the actual dates. All of the TIC70 engagements in the Northeast that I am aware of ran during the first six or seven months of 1973. The first was at the Beacon Hill in Boston in February or March. The DC Uptown followed thereafter. It didn’t open at the Ziegfeld NY until the last week in May. Assuming that the Syosset and Upper Montclair runs followed the Ziegfeld’s, I would say June or July. Inasmuch as Cinerama Releasing Corp. is long gone, and that Variety never “tracked” Long Island or North Jersey theatres, my only suggestion for dates (as well as ads) would be a search through the appropriate newspapers of those areas if they are available on microfilm/fiche. I am no longer in touch with the person with whom I saw it. If I can think of anything that could in any way joggle my memory, I’ll post it immediately. Hope this helps. Vince
Washington DC home of “Psycho.” Ran for months on end.
I have heard stories to the effect that this was J.F.K.’s favorite theatre, and that he would often frustrate the Secret Service by sneaking off to visit it. Urban Legend, or not?
I remember seeing “Jaws” (35mm scope) there in 1975. They used an anamorphic lens, or lens attachment, that spread the image across the entire width of the screen. Enough distortion to induce eyestrain, but was somehow still impressive.
Maybe Vito can answer this one. This is purely anecdotal, and I havent the foggiest idea where I heard it. During the run of “Sound of Music” at the Syosset at the end of the film during the walkout credits the closing of the curtain panels was accompanied by two gorgeous ladies who walked along the stage each one holding a panel making it appear as if these ladies were closing the curtains themselves. Any truth to this, or is it another widescreen “urban legend”?
More Syosset stuff courtesy of the “International Cinerama Society."
Theatre No. 42 (meaning the 42nd world-wide installation); 3-screen from 6/25/59 to 5/26/64; press preview of "Mad World” 10/22/63; public showings of 70mm Cinerama beginning 5/27/64. 146 degree louvered screen. Hope this helps.
Here’s a photo of the Syosset auditorium with the 3-strip screen in place: http://cinerama.topcities.com/syosset.htm
I would think that the non-rectified 70mm Cinerama prints could have been used in a D-150 house with the D-150 lenses just as easily as with any 5-perf 70m film. The rectified films usually involved a degree of anamorphosis and would have appeared “unsqueezed” to a degree if projected without an anamorphic attachment. BTW, inasmuch as you might as well consider the 70mm “This Is Cinerama” of 1973 a 70mm Cinerama film, then your question is answered, as that film ran there after the Ziegfeld. Also played the Bellevue, Upper Montclair. Cant remember at the moment if it also ran at the Claridge
Just a few quick notes about Walter Reade, Jr. and his Ziegfeld. First, oldtimers might remember Reade as the first person Skouras and Fox went after legally in 1954 when Reade refused to run Fox scope films with 4-track mag. He had purchased so-called “integrators” which mixed the 4 channels down into one thus obviating the need and expense of 2 extra stage speakers as well as surrounds. For a number of years, Reade, as an executive of Allied States (independent theatre owner organization) fervently went tooth-and-nail against the Fox 4-channel policy. This is odd considering that this is the same man who a few short years later foisted the ridiculous AromaRama on a largely uninterested world. Later, his distribution arm, Continental, bought the rights to a 70mm documentary. Reade had it reprinted in something called “Wonderama” and ran the film as “Mediterranean Holiday” in a few houses in North Jersey. He even released it “in Cinerama” where it played the Warner for a short period. Later on, Reade was elected to the Board of Directors of Cinerama, Inc. and announced that Cinerama would run at his newly reopened DeMille. This never happened. In 1967, when plans for the Ziegfeld were announced, he claimed it would, too, be a 70mm Cinerama house. Also, according to a press release in the NY Times 12/22/67, “the theater will require formal attire on Saturday nights."
As for the 70mm version of "This Is Cinerama,” the free-standing screen (measuring 27x63 feet) stood where the main curtain – which had to be removed – was located. Lights were shown on the screen to represent curtains, even to the extent of “draping” the prologue. This was a trick which was used for a time at the Times Square Paramount when the width of the original VistaVision screen left no room for screen curtains or masking.
Yes, Vito, Cinerama, the original 3x35mm 6-perforation process, did run at the Syosset. Photos of the install are available online. When Cinerama closed at the Manhattan Warner in 6/59 the equipment was removed immediately following the close of “South Seas Adventure” that Sunday night and moved to Long Island. It was the 25th and final (of the original Cinerama era) 3-panel installation in the U.S. A few trade mags of that era had articles about “Cinerama Comes Home,” referring to the fact that Cinerama itself was “born” not too far away in Oyster Bay, L.I. I was in the Syosset myself only once at one point in the seventies. As I recall you could see traces of the Able and Charlie booths near the fire escapes.
A little research in the trades in 1952 and 1953 will reveal that the Rivoli was sought after at one time as a home for Cinerama by the early Cinerama Productions/Cinerama Inc. teams, and also by 20th Century Fox which wanted to show its CinemaScope at both a large house (Roxy) as well as a smaller one.
There was no flat screen installed at the Rivoli between the Todd-AO and D-150 engagements.
I posted this to the rec.arts.movies.tech group years ago, but I was at one time inside the Rivoli booth after D-150 had been launched, and asked the young projectionist why the full screen with the masking fully pulled up and back was not used. His reply; “The screen is too big.” I wanted to strangle him right there on the spot.
A few notes about the Russian KinoPanorama showings at the Mayfair(DeMille, Embassy 1 or 2,3,4). In spite of the advertisements, the full 9 channels were not used, only 7, leading the “Variety” reviewer to comment that there was no loss there “as the narration borders on the inane.” The screen measured 60 x27 feet, the 3 projectors were the same ones used a year earlier at the Roxy for the CineMiracle presentation of “Windjammer.” Apparently, after the first week or so, public interest waned. By the 3rd week, box office grosses weren’t even reported to “Variety,” sure sign of embarrassment. The first attraction, “Great Is My Country” dragged on until mid-July 1959 when the second feature “The Enchanted Mirror” replaced it. So dismal was the business then that both films were shown together, something of a first for 3-panel presentation, and probably a boon for the concession stand in that the audience now had the opportunity to grab a bite to eat during all of two film changes plus two intermissions. Interestingly enough, later that year when exhibitor Walter Reade Jr (who now owned the theatre) was elected to the Board of Directors of Cinerama, Inc., he made noises to the press that Cinerama would from then on premiere at this theatre in New York. The Loews-Cinerama Inc deal less than a month later put the kabosh on that idea.
Jimmy Adams above asked if “anybody remember watching Earthquake in sesurround…”. Yes, I have a funny story about “Earthquake” in Senssurround at the Boyd (SamEric). Picture this: Friday opening night, theatre including balcony full, I had already seen it in the orchestra, wanted to checkout the Senssound in the balcony (like downstairs, 4 huge Cerwin-Vega or JBL boxes you could dance inside of in each corner). The film begins…as you recall, the 1st earthquake sequence begins roughly 40-45 minutes into the film. About 10 minutes prior to that, a little teenage girl apparently gets the hungries, leaves her seat to go to concessions and comes back upstairs arms loaded to the hilt with popcorn, sodas, hotdogs, candy, whatever. She’s about halfway up the stairs with her groceries when rhe rumbling begins. I will never forget the look on her face. As she turns around to look at the screen with this expression of sheer horror, she starts screaming, popcorn, sodas, wieners, candy bars fly all over the place. That side of the balcony absolutely rocked with laughter!
Is this the New Fox that housed a moveover engagement of “Windjammer” in CineMiracle beginning in late 1958 after that 3-panel film left the Chinese?
More techno-history: National Theatres, distributor of the 3-panel CineMiracle film “Windjammer,” booked the film into several Philadelphia-area theatres after its run at the Boyd. With 3 portable interlocked 35mm 6-perforation projectors in the regular booth, “Windjammer” was shown at the Keswick (probably without CineMiracle’s tradmark mirror system) on a flat screen that covered the entire front wall. A single “combined” track was used that mixed down the original 6 channels of sound. It ran concurrently at what is now the Opera House in Lancaster, PA and the Warren in Atlantic City.
A little more history. I’m told this was the first large-city house to be built in a major downtown area after WWII.
At any rate, it played mainly “B” product until 1958 when, somehow or other, it secured a roadshow booking of Warners' “Old Man and The Sea.” Though a tremendous boxoffice flop, it brought the Goldman into the realm of classy first-run houses. Months later, the house closed to install a truly heroic-sized screen for 70mm projection, reopening with “Sleeping Beauty.” This particular install with Cinerama-red curtains (a Goldman trademark) was the first of what actually came to be known as “Super Cinerama” design houses. The screen was virtually the entire front wall, deeply curved, with the theatre rows slightly curved in for better sightlines. Over the years, 70mm runs, roadshown, included “Porgy and Bess,” “Spartacus”, and “El Cid,” along with the ‘scope 4-track “Longest Day.” Budco later came in and ruined the house, and I have many snide remarks about what was done to the Goldman elsewhere in the “Philadelphia” theatre section.
I also attended the pre-demolition sale during which I got, among other items, parts of a 4-channel pre-amp, several glass slides reading “Starts Wednesday,” many 35mm “snipes,” and on a core, about half a reel of a 70mm print of “Capricorn One.” A church purchased the seating…I don’t know who got the screen. One nice thought to keep in mind: the Fox didn’t close because of lack of business. The owner, Bill Milgram, simply got what really had to be called (inasmuch as “Godfather” premiered there) an “offer he couldn’t refuse.” Newspaper reports at the time mentioned the huge sum he had already turned over to Fox to book the upcoming 3rd “Star Wars” film.
A bit of techno history. Of course, this was the Philly house for CinemaScope and CinemaScope 55. But how many of us remember “Thrillarama,” the 2-projector system that played only 5 or 6 theatres anywhere? The one and only film, “Thrillarama Adventure,” ran on a 72-foot screen installed specifically for this presentation for an amazingly short six days only and then quietly left town.
During the 1959 “theatre renovation” period around the country, the Fox closed for nearly a month not so much renovating but restoring, opening in December 1959 with brand new 70mm projection equipment with “Solomon and Sheba.” For years, one of the glass display cases on the 16th street side had a poster announcing that the Fox could show any widescreen process around. Clearly a bit of hype, but fun to look at. Milgram updated his 70mm equipment to include the newest flavor of Dolby called “Baby Boom” with “split surrounds,” opening with “Superman” in 1978, I have memories of Mr. Milgram on opening day running up and down the aisles trying out different seating positions to check on the sound levels. There weren’t many like him.
When CinemaScope was installed, the screen was fitted in front of the proscenium with movable masking but without screen curtains. Sometime in the late 50’s/early 60’s, William Goldman, the owner, added curtains in what was then his favorite color for theatre yard goods: Cinerama burgundy-red. I always like the lit sign that appeared at the end of the lobby before entering the single-floor auditorium: “Silence is Golden”. In those days, it worked.
It is now empty, vacant and the Phila Daily “News” columnist who names himself “The Pissmeister” calls the area by the boxoffice which is generally always filled with unfortunate people one of the stinkiest places in all of Philadelphia. Wasnt’t always that way.
As a part of the Trans-Lux chain, it was one of the few strange theatres that had rear-screen projection. Apparently, the chain was of the belief that audiences would be disturbed by a beam of light shining over their heads from behind. When, in the 1953/54 season, it was decided to install CinemaScope, a brand new projection booth at the back of the theatre had to be built. This accounts for the unreasonable amount of time – nearly a week – it took to tool up for 35mm ‘scope.
The house had a checkered booking policy specializing in, sometimes, British product (“The Mouse That Roared”), or esoteric American films (“Lolita”), and once even an expensive roadshow offering(“Magnificent Men in Their Flying Machines”).
For reasons which shall forever escape me, Fox booked a 70mm print of “Alien” in 1979. The house at that time belonged to the techno-challenged SamEric group whose policy concerning screen shape and size at that time was firmly: the larger in square footage, the better, aspect ratio be damned. I saw “Alien” opening afternoon on a screen, though as big as it could possibly be in terms of square feet, had a blisteringly incorrect ratio of LESS than 2:1. In later years, someone must have told the chain’s engineering department or their architects of their horrid error, for a few years later the house ran correctly a first for Philadelphia: a 70mm double feature: “Poltergeist” (reissue) and “Star Trek: Wrath of Khan” (reissue). Though the image was smaller to a large degree, this time they had the aspect ratio of 2.2:1 correct.