I guess I should fill out the information. That’s retired univeristy of Tennessee chancellor Bill Snyder. He and Paul Swyderski (formerly organist at the Elm Skating Rink in Chicago) have provided live music for many events at the Tennessee Theatre over the last 20+ years. The organ was recently renovated by Ken Crome whose work is respected by many.
Legend has it that this was one of MALCO’s greatest business coups. The land – then at the far east side of Memphis – was purchased at a reasonable price. Supposedly, MALCO then sold off about half the property to the government as a highway right-of-way making enough profit to pay off the original debt and pay for the entire construction of the huge drive in. Basically they got it for free. That may be why the Summer is still operating.
Originally one screen, then two screens and now four, the sound system is now radio rather than the ever troublesome speakers-on-standards. Seeing all thos projection beams blazing from the centrally located concession building can still bring a smile.
The entrance drive winds into the lot between colorful neon (?) light fixtures straight out of “The Jetsons.” The projection/concession house is fairly unremarkable, but always a line to get more popcorn.
Monika, The Lamar operated as a porno house into the late 1970’s. Its last incarnation was a short-lived and underfunded “family entertainment” venue. When I last saw the theatre in the mid-1990’s there was no sign of fire damage. It was a wreck, but not burned.
Will Dunklin
Patsy, Tom, et al, All the downtown movie palaces in Nashville are gone. The only old venues in Nashville are the Ryman Auditorium (which is actually a former church, longtime home of the Grand Ole Opry) and the lovely, but seemingly un-loved, War Memorial Auditorium. Neither of which showed movies to my knowledge.
Knoxville’s recently – and splendidly – renovated Tennessee Theatre has a completely new marquee and vertical sign to replace the 1950’s marquee and long lost 1928 vertical. The Nashville “Tennessee Theatre” signs didn’t make it to Knoxville, though it was discussed at the time.
Tom, you might note that in downtown Nashville, Loew’s operated the Crescent and the Vendome for a while. While not trying to be picky I don’t recall there being a theatre with the singular name “Loew’s”.
Patsy – a new auditorium was indeed built for the Grand Ole Opry. (in 1973?) It was part of a theme park named Opry Land which has since been demolished. The G.O.O. theatre is now part of an enormous shopping mall called Opry Mills which includes the Opry Land Hotel.
Back to the Paramount: did any photos ever surface? I’ve never found any, though to be honest, I haven’t tried too hard. Has anyone checked with the Theatre Historical Society?
atmos, this was definately not an atmospheric. It would be an interesting footnote in movie palace history to know who made the choice of “clouds or chandeliers.”
It is ironic that Nashville lost all its movie palaces just as the city (and state) were building the brand new Tennessee Performing Arts Center with three variously sized halls just blocks from the “threatre strip” along Church Street. Having been in all three of the TPAC halls many times, I can only sigh and wonder how anyone ever thought that was better than saving -even one of – the old palaces.
Brian, B&K and (later, Plitt) had their offices in the Chicago Theatre, directly across the street. I can’t say they didn’t have offices in the State Lake Building too – it was a large operation after all. The other details you mention do ring true.
I seem to remember that the State Lake had a very early closed circuit television process inwhich TV images were projected directly into a 35mm film camera and run directly into a film processor and then directly into the theatre’s projectors and thus onto the screen. The delay between live action and projection onto the screen being something like 7 minutes. A couple of prize fights were presented “closed circuit” at the State Lake in this manner during the early 1950’s.
As you said, the State Lake has a significant role in mass entertainment history.
Ron, while others can explain this in much better detail, in a nutshell, many of the Hollywood studios owned, operated or otherwise were involved with theatres. You make more money if you show the picture you made in your own theatre. So Paramount Pictures owned Paramount Theatres, RKO owned Keiths and Orpheums, Warner Brothers owned Warner theaters. If I remember the story right, Loew’s theatres operated the other way, the theatre chain created MGM studios to provide material for their screens: a subtle twist on who owns what. United Artists studios got the Apollo Theatre in Chicago and made it into one of their prime exhibition halls. When the theatre changed hands years later, the name stayed the same.
Again, trying to keep this long, complex story brief, the Consent Decree of 1947(?) separated most of the studios from their theatres. Paramount, MGM, Warner and RKO were the main studios effected. (I think) Smaller studios like Columbia, Universal and Disney owned few theatres and were not included in the Consent Decree, but neither did they have enough realestate for it to matter much.
Tony, the management of the Tennessee Theatre in Knoxville investigated purchasing the Nashville vertical sign when it was announced that Nashville’s “Tennessee” would be razed. (The Knoxville theatre had lost its vertical in the 1960’s). Word was that it had been sold, but to whom or where, I just don’t remember.
The Ruffin is a real delight. The interior has been lovingly described as “Cardboard Deco:” elegant, urban, sophisticated Art Deco transplanted to a tiny West Tennessee cotton town theatre.
Sitting on one side of the town square, the Ruffin, and its dedicated and talented management, has kept life in “downtown” Covington when many other towns have withered and died.
The Ruffin is worth a detour to see if you’re ever in Memphis.
The Bagdad shows up in the movie “What The #$%! Do We Know?.” Several nice shots of the auditorium, lobby and marquee.
“What the #$%!…” is a wonderful quasi documentary with dramatizations of the mixing of quantum mechanics and spirituality. (!) Hope you can see it in a theatre rather than on video. Really hope it plays at the Bagdad.
Photos imply that the Vendome saw few changes over its 80 year life. The high victorian decor – wooden fretwork, heavy curtains with elaborate tie-backs and oversize fringe, fully enclosed balcony boxes are clearly visible in the August 9, 1967 newspaper photos along with the destruction caused by the fire.
The local pronounciation was VAHN-dohm.
The site is now Nashville’s astonishingly wonderful public library: surely the best brand-new neo-classical buildings I’ve seen.
I personally find this sort of “re-invention” of a historic building appalling. As a design professional, I actively oppose such work and can and do offer alternate design solutions to achieve modern solutions to modern operation, safety and structural requirements.
At least the Egyptian still stands and these changes may one day be removed.
There is an apocryphal story that Plitt (which operated the competing United Artists theater just across from the Woods) purposefully booked a film into the “U.A” just because the name of the film was “Don’t Go Into The Woods.”
Jim and others, apologies. I did indeed miss the names listed in Jim’s excellent post from August 7. It appears I spent too much time writing and not enough time reading. Jim, many thanks for (1) providing the names and your source and (2) reinforcing that information with the post from this morning. Your good-natured slap on the wrist is accepted as deserved. I usually read Jim’s comments from top to bottom as they are among the best on the site.
Now, I’m off to see what more I can learn about that company.
Bruce, et al, often in a government funded “restoration” anything added to the building specifically may NOT match the original fabric. The current philosophy being that to “make it match” is a dis-honest attempt to fool people into believing that the additional material is actually original.
Certainly there is merit in the spirit of the mandate. Unfortunately, in execution, too often the designers make this their excuse to insert incongruous elements into an historic building and trumpet their anachronistic and egocentric designs as being intellectully superior to “banal historicist recreations” because they are intentionally ironic.
I.M. Pei’s glass pyramids at the Louvre are an example. (It’s not only the US which promotes this philosophy.) There are plenty of other examples, the Egyptian apparently being one.
Of course it is possible to embrace the spirit AND provide a beautiful restoration. The Sistine Chapel’s recent restoration was extrodinarily sensitive to both the requirements for clear deliniation between new and old material while at the same time not distracting the viewer by “ironic” intrusions.
So, I repeat my question from August 6: who was the architect that led the renovation of the Egyptian? In my opinion, this person should NOT be working on movie palaces. That name should be made public. There are plenty of restoration architects that DO know how to handle the demands of public funding and are proactively respectful of movie palace heritage. Their names should also be made public.
Actually, B&K installed that phenominal sound system just for “Tommy.” The story goes that the State Lake needed a new system anyway, but with “Tommy” booked, they actually went all out and installed the best system possible. It sure left an impression on everyone who heard it. And of couse, Tommy did make them a ton of money.
The little “mighty Wurlitzer” from the Venetian was installed at Holy Family Roman Catholic Church, Bayfield, Wisconsin around 1954. The organ is currently dis-used and non-operating though mostly intact. Sadly, it doesn’t look like the Venetian will survive to see its organ returned as has happened in a handful of other locations.
I hope someone in the know will post the name of the architect and/or design firm which led the so-called restoration. Obviously, this is a person/firm which no one interested historic theaters should employ. Knowing who did this would be helpful.
This is forwarded from SDH, formerly Plitt Theaters' managing director of the loop operations in the late 1970’s.
On the subject of popcorn and concessions deliveries, at both the United Artists, the organ lift was still in place and was used to take cups, popcorn seed, candy, and drink syrup to the basement.
‘Twas easier than the stairs, but the UA kept Loop hours (open at 8:00 AM) and the deliveries were made whilst the theatre was open: The teamsters would bring four-wheelers down Aisle Four, load the organ lift up with whatever, and the goods would sink into what had been the orchestra pit, in full view of the astonished first-show patrons. I never argued with it. They had been doing this for decades.
Norman, as proof positive, I have a 70MM film reel – ahem – “liberated” from the Palace as it was being demolished in 1985. It hangs proudly on the wall in the living room.
With the lobby already destroyed we explored the building from basement to booth. The projectors and sound heads were gone but otherwise the projection booth looked like it did the day the last film was shown. The building went down with even its seats still in place.
I guess I should fill out the information. That’s retired univeristy of Tennessee chancellor Bill Snyder. He and Paul Swyderski (formerly organist at the Elm Skating Rink in Chicago) have provided live music for many events at the Tennessee Theatre over the last 20+ years. The organ was recently renovated by Ken Crome whose work is respected by many.
Legend has it that this was one of MALCO’s greatest business coups. The land – then at the far east side of Memphis – was purchased at a reasonable price. Supposedly, MALCO then sold off about half the property to the government as a highway right-of-way making enough profit to pay off the original debt and pay for the entire construction of the huge drive in. Basically they got it for free. That may be why the Summer is still operating.
Originally one screen, then two screens and now four, the sound system is now radio rather than the ever troublesome speakers-on-standards. Seeing all thos projection beams blazing from the centrally located concession building can still bring a smile.
The entrance drive winds into the lot between colorful neon (?) light fixtures straight out of “The Jetsons.” The projection/concession house is fairly unremarkable, but always a line to get more popcorn.
Monika, The Lamar operated as a porno house into the late 1970’s. Its last incarnation was a short-lived and underfunded “family entertainment” venue. When I last saw the theatre in the mid-1990’s there was no sign of fire damage. It was a wreck, but not burned.
Will Dunklin
Patsy, Tom, et al, All the downtown movie palaces in Nashville are gone. The only old venues in Nashville are the Ryman Auditorium (which is actually a former church, longtime home of the Grand Ole Opry) and the lovely, but seemingly un-loved, War Memorial Auditorium. Neither of which showed movies to my knowledge.
Knoxville’s recently – and splendidly – renovated Tennessee Theatre has a completely new marquee and vertical sign to replace the 1950’s marquee and long lost 1928 vertical. The Nashville “Tennessee Theatre” signs didn’t make it to Knoxville, though it was discussed at the time.
Tom, you might note that in downtown Nashville, Loew’s operated the Crescent and the Vendome for a while. While not trying to be picky I don’t recall there being a theatre with the singular name “Loew’s”.
Patsy – a new auditorium was indeed built for the Grand Ole Opry. (in 1973?) It was part of a theme park named Opry Land which has since been demolished. The G.O.O. theatre is now part of an enormous shopping mall called Opry Mills which includes the Opry Land Hotel.
Back to the Paramount: did any photos ever surface? I’ve never found any, though to be honest, I haven’t tried too hard. Has anyone checked with the Theatre Historical Society?
atmos, this was definately not an atmospheric. It would be an interesting footnote in movie palace history to know who made the choice of “clouds or chandeliers.”
It is ironic that Nashville lost all its movie palaces just as the city (and state) were building the brand new Tennessee Performing Arts Center with three variously sized halls just blocks from the “threatre strip” along Church Street. Having been in all three of the TPAC halls many times, I can only sigh and wonder how anyone ever thought that was better than saving -even one of – the old palaces.
Brian, B&K and (later, Plitt) had their offices in the Chicago Theatre, directly across the street. I can’t say they didn’t have offices in the State Lake Building too – it was a large operation after all. The other details you mention do ring true.
I seem to remember that the State Lake had a very early closed circuit television process inwhich TV images were projected directly into a 35mm film camera and run directly into a film processor and then directly into the theatre’s projectors and thus onto the screen. The delay between live action and projection onto the screen being something like 7 minutes. A couple of prize fights were presented “closed circuit” at the State Lake in this manner during the early 1950’s.
As you said, the State Lake has a significant role in mass entertainment history.
Ron, while others can explain this in much better detail, in a nutshell, many of the Hollywood studios owned, operated or otherwise were involved with theatres. You make more money if you show the picture you made in your own theatre. So Paramount Pictures owned Paramount Theatres, RKO owned Keiths and Orpheums, Warner Brothers owned Warner theaters. If I remember the story right, Loew’s theatres operated the other way, the theatre chain created MGM studios to provide material for their screens: a subtle twist on who owns what. United Artists studios got the Apollo Theatre in Chicago and made it into one of their prime exhibition halls. When the theatre changed hands years later, the name stayed the same.
Again, trying to keep this long, complex story brief, the Consent Decree of 1947(?) separated most of the studios from their theatres. Paramount, MGM, Warner and RKO were the main studios effected. (I think) Smaller studios like Columbia, Universal and Disney owned few theatres and were not included in the Consent Decree, but neither did they have enough realestate for it to matter much.
That’s the gist of it anyway.
Tony, the management of the Tennessee Theatre in Knoxville investigated purchasing the Nashville vertical sign when it was announced that Nashville’s “Tennessee” would be razed. (The Knoxville theatre had lost its vertical in the 1960’s). Word was that it had been sold, but to whom or where, I just don’t remember.
The Ruffin is a real delight. The interior has been lovingly described as “Cardboard Deco:” elegant, urban, sophisticated Art Deco transplanted to a tiny West Tennessee cotton town theatre.
Sitting on one side of the town square, the Ruffin, and its dedicated and talented management, has kept life in “downtown” Covington when many other towns have withered and died.
The Ruffin is worth a detour to see if you’re ever in Memphis.
The Bagdad shows up in the movie “What The #$%! Do We Know?.” Several nice shots of the auditorium, lobby and marquee.
“What the #$%!…” is a wonderful quasi documentary with dramatizations of the mixing of quantum mechanics and spirituality. (!) Hope you can see it in a theatre rather than on video. Really hope it plays at the Bagdad.
scenicroute – I agree 100%. Could you contact me directly: got a projection question regarding another theatre here on CT.
Will
Photos imply that the Vendome saw few changes over its 80 year life. The high victorian decor – wooden fretwork, heavy curtains with elaborate tie-backs and oversize fringe, fully enclosed balcony boxes are clearly visible in the August 9, 1967 newspaper photos along with the destruction caused by the fire.
The local pronounciation was VAHN-dohm.
The site is now Nashville’s astonishingly wonderful public library: surely the best brand-new neo-classical buildings I’ve seen.
Found this link and thought it might be of interest.
http://cgi.cnn.com/STYLE/9812/07/egyptian.theatre/
When RCMH was presenting stage show and feature, were there short subjects and/or trailers?
Images from the renovation architects Hodgetts and Fung website may be seen here:
http://www.hplusf.com/1-arch-egy/egy.html
I personally find this sort of “re-invention” of a historic building appalling. As a design professional, I actively oppose such work and can and do offer alternate design solutions to achieve modern solutions to modern operation, safety and structural requirements.
At least the Egyptian still stands and these changes may one day be removed.
There is an apocryphal story that Plitt (which operated the competing United Artists theater just across from the Woods) purposefully booked a film into the “U.A” just because the name of the film was “Don’t Go Into The Woods.”
I’d love to know if this is true.
Jim and others, apologies. I did indeed miss the names listed in Jim’s excellent post from August 7. It appears I spent too much time writing and not enough time reading. Jim, many thanks for (1) providing the names and your source and (2) reinforcing that information with the post from this morning. Your good-natured slap on the wrist is accepted as deserved. I usually read Jim’s comments from top to bottom as they are among the best on the site.
Now, I’m off to see what more I can learn about that company.
Best wishes
Bruce, et al, often in a government funded “restoration” anything added to the building specifically may NOT match the original fabric. The current philosophy being that to “make it match” is a dis-honest attempt to fool people into believing that the additional material is actually original.
Certainly there is merit in the spirit of the mandate. Unfortunately, in execution, too often the designers make this their excuse to insert incongruous elements into an historic building and trumpet their anachronistic and egocentric designs as being intellectully superior to “banal historicist recreations” because they are intentionally ironic.
I.M. Pei’s glass pyramids at the Louvre are an example. (It’s not only the US which promotes this philosophy.) There are plenty of other examples, the Egyptian apparently being one.
Of course it is possible to embrace the spirit AND provide a beautiful restoration. The Sistine Chapel’s recent restoration was extrodinarily sensitive to both the requirements for clear deliniation between new and old material while at the same time not distracting the viewer by “ironic” intrusions.
So, I repeat my question from August 6: who was the architect that led the renovation of the Egyptian? In my opinion, this person should NOT be working on movie palaces. That name should be made public. There are plenty of restoration architects that DO know how to handle the demands of public funding and are proactively respectful of movie palace heritage. Their names should also be made public.
Best wishes all –
Actually, B&K installed that phenominal sound system just for “Tommy.” The story goes that the State Lake needed a new system anyway, but with “Tommy” booked, they actually went all out and installed the best system possible. It sure left an impression on everyone who heard it. And of couse, Tommy did make them a ton of money.
The little “mighty Wurlitzer” from the Venetian was installed at Holy Family Roman Catholic Church, Bayfield, Wisconsin around 1954. The organ is currently dis-used and non-operating though mostly intact. Sadly, it doesn’t look like the Venetian will survive to see its organ returned as has happened in a handful of other locations.
The organ is listed for sale as of this posting.
Dear atifilmgrl – the Egyptian Theatre in Hollywood is the only one I’ve heard of for sure. You can check out that theater on this site. Best wishes
I hope someone in the know will post the name of the architect and/or design firm which led the so-called restoration. Obviously, this is a person/firm which no one interested historic theaters should employ. Knowing who did this would be helpful.
Oops, sorry about the extraneous word “both” in the above. Only the one UA Theater intended. Proofing one’s own writing is difficult you know.
This is forwarded from SDH, formerly Plitt Theaters' managing director of the loop operations in the late 1970’s.
On the subject of popcorn and concessions deliveries, at both the United Artists, the organ lift was still in place and was used to take cups, popcorn seed, candy, and drink syrup to the basement.
‘Twas easier than the stairs, but the UA kept Loop hours (open at 8:00 AM) and the deliveries were made whilst the theatre was open: The teamsters would bring four-wheelers down Aisle Four, load the organ lift up with whatever, and the goods would sink into what had been the orchestra pit, in full view of the astonished first-show patrons. I never argued with it. They had been doing this for decades.
Norman, as proof positive, I have a 70MM film reel – ahem – “liberated” from the Palace as it was being demolished in 1985. It hangs proudly on the wall in the living room.
With the lobby already destroyed we explored the building from basement to booth. The projectors and sound heads were gone but otherwise the projection booth looked like it did the day the last film was shown. The building went down with even its seats still in place.