The film Show of Shows was shown at the Majestic at the end of December 1929 and the start of January 1930. It was projected in a process called “Magnifiscope…the enlarged screen.” The ads stated that “The Majestic was the first to present the talking picture and is now the first to present the newest development, the Enlarged Screen.” In 1953 the Majestic would be the first RI theatre to utilize CinemaScope, with the extremely popular feature The Robe.
Two movie ads from the Rome newspaperll Messaggero on March 14, 1941 or XIX, 19th year of Fascism. At the Bernini: Scarpe Grosse/Big Shoes, Dino Falconi, 1940, with Amedeo Nazzari and Lilia Silvi. Starting tomorrow at the Barberini: La prima donna che passa/The First Woman Who Passes By, Max Neufeld, 1940, with Alida Valli. These were the only movies with display ads, but the film listings had over sixty theatres listed with the titles and times of films playing. In addition to Italian films there were many French titles and some American movies, including Ombre rosse which was John Ford’s Stagecoach with John Wayne and Claire Trevor. American films would be blocked by year’s end with the declaration of war between the two nations shortly after the Pearl Harbor attack. The Barberini is now a multiplex called Multisala Barberini and still thrives on Piazza Barberini. It was at one time owned by Roberto Rossellini’s father. I do not know where in Rome the Bernini was located.
In June 1965 the Lincoln Art Theatre held the American premiere of this fine 1961 commedia all'italiana, The Fascist/Il federale, unfortunately all but forgotten today.
LynnZZZ, request an administrator to change the name. I have no such power. It was always the Lincoln Art to me too since I went there in the 1960s and after to see films like Luciano Salce’s The Fascist and Jiri Weiss' Sweet Light in a Dark Room and Fellini’s The Clowns.
THIS LINK takes you to the theatre’s restoration site with lots of information about work in progress, booking plans, history, funding, etc. It looks like it will be known as the HANOVER THEATRE FOR THE PERFORMING ARTS and appears to be moving forward at full speed.
THIS LINK takes you to the theatre’s restoration site with lots of information about work in progress, booking plans, history, funding, etc. It looks like it will be known as the HANOVER THEATRE FOR THE PERFORMING ARTS and appears to be moving forward at full speed.
I was in Worcester last night for a concert at nearby Mechanics Hall. I walked around beforehand to work off my dinner and by sheer chance caught this construction in progess at this theatre, the former Poli Palace. The entire rear wall has been removed, and the auditorium lights remained on at night. From the rear parking lot I could peer directly into the auditorium. There are no more separation walls for small cinemas. It was a very eerie and startling sight, and very gratifying as well, since it seems things are moving forward. It should be noted that the entire entrance area in front of the theatre has been removed as well to allow construction of a new one to replace what the Showcase Cinemas had installed.
I had my camera with me, and it has its limitations, but here are two photos I took from behind the fencing:
In December 1914 the Italian silent film spectacle Cabiria proved so popular at the Empire during its first week that it had to be held over, according to THIS AD. That was not a normal occurence in those days.
In this photo from around the 1920s the Star Theatre entrance can be clearly seen to the right of picture center. The entrance must have led to a staircase that went to an upper level where the theatre auditorium itself was located.
Delightful event here last night! I saw the 1926 German animation masterpiece, The Adventures of Prince Achmed of Lotte Reiniger, the first full-length animation film ever made. No computer graphics here. The entire thing was done with stop-action photography of cardboard and metal cutouts positioned in front of illuminated sheets of glass. Took her three years, and the results are dazzling. Everything is in silhouette. The story line is based on tales from The Arabian Nights and has a wicked sorcerer, Prince Achmed on a magical horse, a beautiful princess, demons, a genie in a lamp. Some of the scenes are eye-popping. (Get it on DVD.)
The Silk Road Ensemble accompanied the 35mm film showing with an original score composed for both Eastern and Western instruments. The ensemble is part of a program envisioned by renowned cellist Yo-Yo Ma. The Silk Road Project, with artists in residence at Rhode Island School of Design (RISD) brings together artists and audiences around the globe. Mr. Ma, whom I’ve seen in concerts several times and whose recordings I have, was in attendance and watched the movie. I was thrilled. He almost stepped on my foot. The screening was sold out and the house was packed. Gratifying.
I think I misread the intent of your comment, which was that 35mm is used pretty much exclusively today to the exclusion of 70mm presentations, and in shoebox cinemas.
Dennis, it is true that the Paris had no balcony but it did have a rear section that was stadium seating, if I recall correctly. I do not believe the Paris had 70mm capability, though I could be corrected on that. 35mm has long been the standard for theatrical exhibition from its commercial use in the early 20th Century up until now. The phrase “35mm formats of today” doesn’t make sense.
In her autobiography Limelight and After, actress Claire Bloom wrote about the WWII years after having left England to live in the U.S. With her mother she lived in Forest Hills on 113th Street for a time. She wrote of going to the movies at a theatre on Continental Avenue, which sounds like it might have been the Forest Hills Theatre. Quoting:
“We read Screen Romances and Movie Life, and when the money was found, rushed to the movie house on Continental Avenue to see the wonderful South Sea Island films with Jon Hall and Dorothy Lamour—–Volcano, Tornado, Hurricane. Hibiscus flowers and mountains of lava. Blue grottoes and mysterious idols. Total escape and immeasurable joy.” (page 32)
Ron, there has to be some kind of error or misreading there. The French film The Baker’s Wife (La Femme du boulanger) released around that time, certainly did not have Irene Dunne and Charles Boyer. It starred Raimu and Ginette Leclerc. My guess is that they must have been showing a double bill of The Baker’s Wife with the Dunne/Boyer Love Affair.
On February 2, 1919 Fays Theatre hosted the great Russian pianist in a recital. Prices ranged from $1.00 to a top of $2.00.
The film Show of Shows was shown at the Majestic at the end of December 1929 and the start of January 1930. It was projected in a process called “Magnifiscope…the enlarged screen.” The ads stated that “The Majestic was the first to present the talking picture and is now the first to present the newest development, the Enlarged Screen.” In 1953 the Majestic would be the first RI theatre to utilize CinemaScope, with the extremely popular feature The Robe.
Two movie ads from the Rome newspaper ll Messaggero on March 14, 1941 or XIX, 19th year of Fascism. At the Bernini: Scarpe Grosse/Big Shoes, Dino Falconi, 1940, with Amedeo Nazzari and Lilia Silvi. Starting tomorrow at the Barberini: La prima donna che passa/The First Woman Who Passes By, Max Neufeld, 1940, with Alida Valli. These were the only movies with display ads, but the film listings had over sixty theatres listed with the titles and times of films playing. In addition to Italian films there were many French titles and some American movies, including Ombre rosse which was John Ford’s Stagecoach with John Wayne and Claire Trevor. American films would be blocked by year’s end with the declaration of war between the two nations shortly after the Pearl Harbor attack. The Barberini is now a multiplex called Multisala Barberini and still thrives on Piazza Barberini. It was at one time owned by Roberto Rossellini’s father. I do not know where in Rome the Bernini was located.
BR at the NYC World.
1950
This article recently appeared in the New Bedford paper. It’s about efforts to save the Orpheum.
In June 1965 the Lincoln Art Theatre held the American premiere of this fine 1961 commedia all'italiana, The Fascist/Il federale, unfortunately all but forgotten today.
LynnZZZ, request an administrator to change the name. I have no such power. It was always the Lincoln Art to me too since I went there in the 1960s and after to see films like Luciano Salce’s The Fascist and Jiri Weiss' Sweet Light in a Dark Room and Fellini’s The Clowns.
Film playing at the Baronet in 1956.
An elephant at the Fifth Avenue Cinema in 1954.
Here is a nice photo of the Albee, Grace Church, and Westminster Street with trackless trolleys on February 21, 1946.
These first three old photos are of the Orpheum Theatre in the 1950s.
MARQUEE in 1952
AUDITORIUM
KILLINGLY COMMUNITY BAND – 1950
Uncertain if this is the Danielson/Orpheum. Taken in 1912.
OVERLAND WESTERNERS
THIS LINK takes you to the theatre’s restoration site with lots of information about work in progress, booking plans, history, funding, etc. It looks like it will be known as the HANOVER THEATRE FOR THE PERFORMING ARTS and appears to be moving forward at full speed.
THIS LINK takes you to the theatre’s restoration site with lots of information about work in progress, booking plans, history, funding, etc. It looks like it will be known as the HANOVER THEATRE FOR THE PERFORMING ARTS and appears to be moving forward at full speed.
I was in Worcester last night for a concert at nearby Mechanics Hall. I walked around beforehand to work off my dinner and by sheer chance caught this construction in progess at this theatre, the former Poli Palace. The entire rear wall has been removed, and the auditorium lights remained on at night. From the rear parking lot I could peer directly into the auditorium. There are no more separation walls for small cinemas. It was a very eerie and startling sight, and very gratifying as well, since it seems things are moving forward. It should be noted that the entire entrance area in front of the theatre has been removed as well to allow construction of a new one to replace what the Showcase Cinemas had installed.
I had my camera with me, and it has its limitations, but here are two photos I took from behind the fencing:
AUDITORIUM SEEN FROM OUTSIDE
REAR SIDE
Here is a vintage postcard image of the Nickel Theatre and Westminster Street, circa 1910 (a guess).
In December 1914 the Italian silent film spectacle Cabiria proved so popular at the Empire during its first week that it had to be held over, according to THIS AD. That was not a normal occurence in those days.
In this photo from around the 1920s the Star Theatre entrance can be clearly seen to the right of picture center. The entrance must have led to a staircase that went to an upper level where the theatre auditorium itself was located.
Delightful event here last night! I saw the 1926 German animation masterpiece, The Adventures of Prince Achmed of Lotte Reiniger, the first full-length animation film ever made. No computer graphics here. The entire thing was done with stop-action photography of cardboard and metal cutouts positioned in front of illuminated sheets of glass. Took her three years, and the results are dazzling. Everything is in silhouette. The story line is based on tales from The Arabian Nights and has a wicked sorcerer, Prince Achmed on a magical horse, a beautiful princess, demons, a genie in a lamp. Some of the scenes are eye-popping. (Get it on DVD.)
The Silk Road Ensemble accompanied the 35mm film showing with an original score composed for both Eastern and Western instruments. The ensemble is part of a program envisioned by renowned cellist Yo-Yo Ma. The Silk Road Project, with artists in residence at Rhode Island School of Design (RISD) brings together artists and audiences around the globe. Mr. Ma, whom I’ve seen in concerts several times and whose recordings I have, was in attendance and watched the movie. I was thrilled. He almost stepped on my foot. The screening was sold out and the house was packed. Gratifying.
Pic 1
Pic 2
“Is this site now the "Olney Towers” high rise?“
Yes, it is.
I think I misread the intent of your comment, which was that 35mm is used pretty much exclusively today to the exclusion of 70mm presentations, and in shoebox cinemas.
Dennis, it is true that the Paris had no balcony but it did have a rear section that was stadium seating, if I recall correctly. I do not believe the Paris had 70mm capability, though I could be corrected on that. 35mm has long been the standard for theatrical exhibition from its commercial use in the early 20th Century up until now. The phrase “35mm formats of today” doesn’t make sense.
The Wizard of Oz revival of August 1949 and a stage show.
In her autobiography Limelight and After, actress Claire Bloom wrote about the WWII years after having left England to live in the U.S. With her mother she lived in Forest Hills on 113th Street for a time. She wrote of going to the movies at a theatre on Continental Avenue, which sounds like it might have been the Forest Hills Theatre. Quoting:
“We read Screen Romances and Movie Life, and when the money was found, rushed to the movie house on Continental Avenue to see the wonderful South Sea Island films with Jon Hall and Dorothy Lamour—–Volcano, Tornado, Hurricane. Hibiscus flowers and mountains of lava. Blue grottoes and mysterious idols. Total escape and immeasurable joy.” (page 32)
This old postcard of the Tremont Temple dates to the first decade of the 20th Century.
Ron, there has to be some kind of error or misreading there. The French film The Baker’s Wife (La Femme du boulanger) released around that time, certainly did not have Irene Dunne and Charles Boyer. It starred Raimu and Ginette Leclerc. My guess is that they must have been showing a double bill of The Baker’s Wife with the Dunne/Boyer Love Affair.