Lafayette Theatre

The technical terms were bilateral and dual bilateral area tracks.
Both were used at least through the early seventies. 35mm Technicolor prints of “The Adventurers” were bilateral (single line) area tracks. The 1971 re-issue of “Lawrence of Arabia” also had this type of track.

Went to the Lafayette today for the first time and it was amazing. Even though the show as a little on the early side for me it was well worth it. I had to make the trek there from the city; door-to-door it took me about two hours, although the train ride itself was about an hour. Thankfully the train station was about a 5-10 minute walk to the theater. The theater itself was an amazing space. Great job by the man at the Wurlitzer. Somebody buy him a drink! He could really slam it out up there.

The print of Hitchcock’s “Suspicion” that was screened couldn’t have been better. Amazing celluloid clarity and fabulous sound. The host of the series that introduced the film said that it was a virgin print direct from the Library of Congress. Still amazing to see that analog technology achieved such great results. I am looking forward to many more Saturdays at the Lafayette, just like the other folks in the audience that filled a good two-thirds or more of the seats for today’s show. Good to see that many people (of all ages that is) showing up.

Can’t wait to see ‘Godzilla’ next week and all of the other films that are scheduled like ‘Yankee Doodle Dandy’, and Jerry Lewis in “Who’s Minding the Store”.

Hail the Lafayette!

I have to agree with your opinion on the use of color. You also have to remember that color in the 1935-1950’s period was an era when photography was more or less considered a black & white medium, so the use of rich Technicolor made the film all the more special. Few people even realize that Technicolor was in reality a black & white photography process (shooting the three primary colors on three b&W negatives) and actually ‘printing’ the positive release print much the same way a printing press does the Sunday comics. It really isn’t color film at all, and was truly an amazing process. And while the single negative color film that Kodak developed also revolutionized the industry (and positive print stock), Kodak really should be embarassed at how badly their Eastmancolor stock has performed. Even Kodacolor 35mm photo negatives I have from 40 years ago have turned, as well as early Ektachrome slides. What a shame they did not know how bad it would be. Fortunately Kodachrome held up through the test of time, but noting was really made in motion pictures using Kodachrome except some 16mm stuff, it’s mostly home 35mm slides.

Today, I think of certain directors like Tim Burton who try to banish all color from his films with shades of tinted greys. The look and style of the old Technicolor musicals and films is gone. They look that way because the were designed to look that way. Bright, colorful, and garish. When projected onto a silvered screen, with very bright arc or xenon light, they really do shine (and that’s no pun).

Actually, most cartoons floating around are nineties' reprints on estar LPP stock. Original IB cartoons are very rare and are usually
quite worn since they played more often than features.

Pete is correct in that silver screens add luminance and improve the contrast of all prints. They give a better presentation, especially in large screen houses with a long through like this restored movie palace.

On the other hand, original IB prints look even more spectacular than the properly timed LPP copies of “Meet Me in St. Louis” and
“The Easter Parade”. I saw a re-issue IB of “The Wizard of Oz” and an original IB/Technirama print of “Zulu” there and they were breathtaking. The reds and other primaries really glow from the screen and the blacks are non-transparent. What interesting from a technical standpoint is that while Eastmancolor positive prints are technically sharper than an IB print, the Technicolor copies give the appearance of being much sharper since the contrast is superior and the vibrant dyes generate a three dimensional illusion. “Zulu” was especially sharp because it was shot in Technirama and reduction printed to standard scope. No one does print downs these days even though it would dramatically improve the resolution and sharpness of high speed Eastmancolor prints.

Hi, Robert.

Jeff is correct about Easter Parade, it wasn’t an original Technicolor print although there were sections that did look almost as good as one. The cartoon wasn’t Technicolor, either. Just a very nicely timed LPP print.

I think our silver screen adds a certain vibrancy to the image if the print has good color. I’ve had numerous knowledgeable collectors ask where I’d gotten Technicolor prints of certain films, when I wasn’t showing a Technicolor print!

Thank you for your attendance, Robert. Please be sure to introduce yourself next time you come to a show.

Pete Apruzzese

Anyone who wants to know what real IB Technicolor is, hopefully saw the print this morning of Easter Parade. One of the friends I was with was one of those non-believers who thought the DVD was incredible. When he saw the vivid Technicolor on the screen he said “OMG now I know what you have been talking about”. He said he never saw shades of yellow, purple and blue before like that. Rich deep vivid colors. The Lafayette is a treasure from the projection, to the mighty Wurlitzer to the vintage Looney Toon with Bugs Bunny. I half expected to walk outside and it was 1945, you guys are the best !!!!!!

The Lafayette is the best cinema for repertory classics that I’ve ever attended. Beautiful architecture, topnotch projection and sound, curtains, great prints, a balcony and great showmanship.
Organ music plays before the shows and there are cartoons and serials.

This theater makes up for the loss of the NYC rep houses like The Elgin, Regency, Bleecker street, Carnegie Hall cinema and The Art.
The absolute best place to see any film in New York state, new or
old.

This theater is exactly what I described in my book, “The Moviegoing
Experience 1968-2001” as the standard for quality exhibition that is very rare today.

I can’t begin to describe what a treasure it was to find this website. The appreciation for the Lafayette that was expressed in your postings (and I read them all) is the driving force for our work. The patrons are what keep this institution running and I thank you for your passion for film and love of history.

Many thanks,
Ari

Long live the Lafayette!
After leaving a multiplex without seeing “The Aviator” the other night, I found out that the film was showing at The Lafayette Theatre in……Suffern? Oh yeah, I’d driven by before, but had never been inside.
We set out early fron Hewitt, fearing the usual mad lines we encounter at the multi-type joints. So this gave us the opportunity of being the first to enter The Lafayette.
Why we stood in an aisle for a good 10 minutes before taking our seat can only be explained by being there! What a marvelous place! It brought us right back to the 1950s/1960s, when movie theatres still existed.
The movie was good, but even if it hadn’t been, our night at The Lafayette is something that we’ll be often repeating now. Thank you to the fine beings who’ve preserved a treasure.
Fred Gasparini & Joan Lynn Banner
Hewitt, N.J.

Glad to hear you enjoyed the show, Robert.

I think it was a stage house, the “Hines Playhouse”. I didn’t see any ads for it in the papers starting in 1928, so it may have only existed prior to then. There was another movie house in Suffern, it was called “The Strand” and opened sometime in the 30s and was gone by the 50s. I came across ads for it in the newspaper microfilms when researching the 3D films that played at the Lafayette, The Strand billed itself as “The Family Theatre”, or something like that. I have to look at my files at the office to see if I saved any copies of their ads.

Pete

I had a great time, I brought two friends who went crazy when they saw how incredible the theatre was. The prints were awesome, seeing a real technicolor print was the best part. My friend and I were just discussing the recent DVD version of Meet Me In St Louis. Although the print says resored they always seem to tone down the color on these transfers to make them more realistic looking. Real IB-Tecnicolor of the 30’s and 40’s had a bright almost gaudy looking color. This is what made these films have that special look. The cartoon you guys ran captured that perfectly. My friends want to see almost every classic you have on your spring program.

The Lafayette is the ONLY theater to get it right. If it wasn’t for the theater and it’s offerings, I don’t think I’d be loving movies like I have considering the crap that’s out there now parading as the next big thing. Now is the time for the overrated drek that’s going to win Oscars. Me?? I’m looking forward to “Wonderful Life” for the 300th time.