Tour of Missouri, Oklahoma and Kansas Theatres in 2004
From June 26 through July 1, 2004 the Theatre Historical Society of America will tour a number of theatres in Kansas City Missouri and surrounding areas, including theatres in Lamar, Joplin, Richmond, St. Joseph and Springfield, MO, as well as Miami, OK, and these cities in Kansas: Leavenworth, Kansas City, Emporia, El Dorado, Augusta, Wichita, Hutchinson, McPherson, Salina, Concordia, and Topeka. More information is contained on their web site: http://www.HistoricTheatres.org and special photos and information concerning the Kansas City theatres: UPTOWN and the MIDLAND is available on this temporary page of their site at: http://www2.hawaii.edu/~angell/thsa/fromarch.html A glossy brochure about this “Heart of America” Conclave is available from the Society’s headquarters listed on their homepage, via E-mail to the Ex. Director, or via snail mail. Membership in the Society is not required to attend the Conclave and tour the theatres, but fees do apply as detailed on their site. Bring your camera and lots of film, for it is usually difficult or impossible to enter these theatres for photos, and some of them will surely not be with us in the years to come.
Mahermusic: what is a “Napoleon” marquee as you state in this sentence in your April 26 post: “Eventually restoring the marquee to match the original. It was a Napoleon-type, much like the New York Paramount.” Where did you find this term, since I ran it past the Ex.Dir. of the Theatre Historical Soc. (www.HistoricTheatres.org) and he knew nothing of it? Could you mean the “French curve” of the original at the NY Paramount? Napoleon was French even though he was born in Corsica.
In his April 26th comment Vincent states: “ It is stupefying when you see how arrogant these architects are and how much money they make and they come up with buildings without an ounce of imagination or style(see what they’re doing to Paris.)” I think most here would like to know more of why such depredations are happening, and there is no better explanation than in the book: FROM BAUHAUS TO OUR HOUSE by Tom Wolfe, available at most libraries or via such as from this page: View link where you will also find my own review of this witty diatribe that skewers the pretensions of the modern day architecture as no one else can. For those unwilling to read even this short book, there are audio cassettes and downloads of it available there. Thank goodness our beloved theatres were mostly unaffected by the mad, headlong dash into modernism which indirectly has spelled the end of a number of theatres, especially in NYC, where property values are so inflated that any building more than 30 years old is considered passe, and something more profitable is eagerly sought by the money mad. This is the real reason so many theatres were demolished there: they couldn’t bring in as much money, and the power of influential people to desire and then clear a lot to build their own money-makers is awesome if not disgusting. As God’s word, the Bible, says: “The love of money is a root of all sorts of injurious things.” (1st Timothy 6:10) [many Bibles translate this as ‘the root of all evil’, but our English word ‘evil’ is much more limited than the broad scope of the original Koine Greek word here.]
Forty three wonderful, vintage b/w photos of the SOUTHTOWN during construction, at opening and in other views are in the special issue of Marquee magazine of the 3rd Qtr. of 1982 of the Theatre Historical Society of America. The white neon outlined fish pond with its heron sculptures is pictured along with those unique dioramas (some preserved at the THSA Museum of the American Movie Palace at their headquarters in Elmhurst, ILL.) in situ. While there are not scenes there of its days as a department store, there is a follow up story on a page of the issue of 3rd Qtr. 1996 where two unusual photos of its interior during construction are shown. The first mentioned issue also includes layout drawings as well as the auditorium photo showing faintly the patch in the ceiling where a workman in the attic had stepped off the catwalk onto the plaster ceiling and fell through it to his death. The SOUTHTOWN was a great loss, but at least it can still be relived through the many b/w and sepia full page 26 photos here. There was even an insert detailing its construction costs by item, along with several vintage ads.
PHOTOS AVAILABLE:
To obtain any available Back Issue of either “Marquee” or of its ANNUALS, simply go to the web site of the THEATRE HISTORICAL SOCIETY OF AMERICA at: www.HistoricTheatres.org
and notice on their first page the link “PUBLICATIONS: Back Issues List” and click on that and you will be taken to their listing where they also give ordering details. The “Marquee” magazine is 8-1/2x11 inches tall (‘portrait’) format, and the ANNUALS are also soft cover in the same size, but in the long (‘landscape’) format, and are anywhere from 26 to 40 pages. Should they indicate that a publication is Out Of Print, then it may still be possible to view it via Inter-Library Loan where you go to the librarian at any public or school library and ask them to locate which library has the item by using the Union List of Serials, and your library can then ask the other library to loan it to them for you to read or photocopy. [Photocopies of most THSA publications are available from University Microforms International (UMI), but their prices are exorbitant.]
Note: Most any photo in any of their publications may be had in large size by purchase; see their ARCHIVE link. You should realize that there was no color still photography in the 1920s, so few theatres were seen in color at that time except by means of hand tinted renderings or post cards, thus all the antique photos from the Society will be in black and white, but it is quite possible that the Society has later color images available; it is best to inquire of them.
Should you not be able to contact them via their web site, you may also contact their Executive Director via E-mail at:
Or you may reach them via phone or snail mail at:
Theatre Historical Soc. of America
152 N. York, 2nd Floor York Theatre Bldg.
Elmhurst, ILL. 60126-2806 (they are about 15 miles west of Chicago)
Phone: 630-782-1800 or via FAX at: 630-782-1802 (Monday through Friday, 9AM—4PM, CT)
Let’s not be too hard on Clearview or any other operators of movie houses these days; the cut-throat competition by the movie makers and distributors now spell the rules by which exhibitors (movie houses) live! The distributors are in cahoots with the movie makers, of course, and now make exhibitors sign huge, terrible contracts that make the distributors the virtual owners of the theatres, and almost no theatres can play what they want when they want. The ‘big fish’ will always seek ways to eat the ‘little fish’ and now with DVD/tapes out almost as soon as the title appears ont he screen, the theatres are mere fodder for the big fish. Have sympathy. (And read all about it at www.bigscreenbiz.com))
The results of a recent flashlight tour (along with a brought-in generator to power a floodlight) are shown in some 30 photos on the web site of an area photographer at: View link
and show the once ornate theatre’s remains. It would cost a fortune to restore it, but it would be worth it for just those wonderful art deco organ grilles, cited in the Theatre Historical Society article: “Ornamentation Old and New: Grillework in Theatres” by this writer. Vintage views are in the 1930 book “American Theatres of Today” by Sexton and Betts, to be seen at some libraries.
If one cannot find a phone number on the net, one is always permitted to phone Directory Assistance (dial 411) or to contact his local library which will have directories for other cities. With all due respect, this site is primarily an historical reference, not a booking agency or ticket office. With a little patience, we can all appreciate the great amount of work that the founders of CT have gone to and applaud that.
For those of you who want to see the fabulous JERSEY in all its fabulous splendor of today (yes, today!) go to this site with some 37 color photos taken in April of ‘03: http://www.robbender.com/photos/nj/loewsjersey/
Here web site developer and photographer Robert Bender has captured the actually splendid remains of one of the grandest movie palaces in these United States. It is all the more remarkable that so much remains, given the fact that it had been split into multiple cinemas, and yet so very much remains of the gilding, colors, fixtures and even the grandiose draperies that usually were removed from most every other theatre as kids swung on them like monkeys, and the building inspectors declared the no-longer-fireproofable fabrics a hazard. Sometimes moderns don’t appreciate the luxurious quality that grandiose draperies bring to such buildings and that without them, the spaces take on a 'gilded cavern’ look. Those seen in the lobby in his photos would cost upwards of a million dollars for each set to be made today — if one could find the large drapery house with moderns skilled enough to even copy them! Let us hope the Friends of the Jersey do prevail, for only with affection can such a great place be brought back, especially if there is insufficient film ‘of quality’ available to draw in the crowds needed to support it. If as a previous comment said, there is no room to expand the stage, it will be tough to get many performing groups to use the facility. Still, it is a true gem in Jersey City’s crown, and they should be made to realize that VERY FEW movie palaces like it remain, especially in such good condition. If funds become available, and they do get ownership to sign contracts, then it should not be too difficult to build a lounge and lavatories under the lobby (though expensive, of course). It may not be the very best of Rapp&Rapp’s designs, but it is probably the best preserved over all. Long live the JERSEY!
Thanks for the tip, ‘btk630’; I wish the Style search selection here were that specific. It is wonderful the restoration that they are doing at the REDFORD, certainly a model for so many other organ groups in other cities! Pity the RIVIERA/JAPANESE GARDENS is no longer with us to experience this latter day trend to restoration and adaptive reuse, but then that could be said for any number of theatres.
I should have mentioned before that the architect of the GARDENS was Thomas Lamb, the man famous for some of the most staid and conventional designs up until the 1920s, but here in 1914 he was called upon to do an early exotic theme design. He also did the RIVIERA and RIVERSIDE theatres (below the JAPANESE GARDENS) in conventional neo-classic lines. This article is a record of ‘urban archeology’ at its best, and though short, it is good reading. The GARDENS were never mentioned in print again after that “Day that will live in infamy,” Dec. 7th, 1941, so the reason for its then closing for good is easy to see. The drawing on the cover did show that it had a large balcony. Notable were the huge stained glass windows with scenes of Japan, as well as Japanese grillework and even large Japanese lanterns hanging from the proscenium with a mural of Mt. Fuji above. That theatre could have been the defacto gathering place for Japanese-Americans, but after the declaration of war, it would have been unwise to continue it, but with only two elevators and one staircase serving it, it probably would not meet the fire exit codes of today, anyway.
I hope the Austrian-style house curtain shown in the photo is still there, since raising it before each movie lends a lot of class, as was brought out by the late Ben M. Hall in his landmark book “The Best Remaining Seats, The Story of the Golden Age of the Movie Palace” in 1961 (available via Inter-Library loan). Few theatres have any decent drapery anymore and it is joy to see such kept here!
The JAPANESE GARDEN was only a ghost of a theatre when the late Michael Miller of NYC wrote its poignant story in the Second Qtr. 1974 issue of MARQUEE magazine of the Theatre Historical Soc. of America. He disclosed his flashlight tour of the long abandoned theatre high above the former RIVIERA theatre, adjacent to the former RIVERSIDE theatre. The article was titled: “The Hidden Garden of Broadway” and its three pages include six b/w photos of the theatres, as well as a haunting, wispy drawing on the cover. He concluded the story then with the news that a Mr. Boomis was in the process of buying the properties to demolish them for a new 31-story tower. For all I know, that is their only epitaph today; perhaps a New Yorker can confirm this for those wanting to know more about this, perhaps America’s only Japanese themed theatre.
PHOTOS AVAILABLE:
To obtain any available Back Issue of either “Marquee” or of its ANNUALS, simply go to the web site of the THEATRE HISTORICAL SOCIETY OF AMERICA at: www.HistoricTheatres.org
and notice on their first page the link “PUBLICATIONS: Back Issues List” and click on that and you will be taken to their listing where they also give ordering details. The “Marquee” magazine is 8-1/2x11 inches tall (‘portrait’) format, and the ANNUALS are also soft cover in the same size, but in the long (‘landscape’) format, and are anywhere from 26 to 40 pages. Should they indicate that a publication is Out Of Print, then it may still be possible to view it via Inter-Library Loan where you go to the librarian at any public or school library and ask them to locate which library has the item by using the Union List of Serials, and your library can then ask the other library to loan it to them for you to read or photocopy. [Photocopies of most THSA publications are available from University Microforms International (UMI), but their prices are exorbitant.]
Note: Most any photo in any of their publications may be had in large size by purchase; see their ARCHIVE link. You should realize that there was no color still photography in the 1920s, so few theatres were seen in color at that time except by means of hand tinted renderings or post cards, thus all the antique photos from the Society will be in black and white, but it is quite possible that the Society has later color images available; it is best to inquire of them.
Should you not be able to contact them via their web site, you may also contact their Executive Director via E-mail at:
Or you may reach them via phone or snail mail at:
Theatre Historical Soc. of America
152 N. York, 2nd Floor York Theatre Bldg.
Elmhurst, ILL. 60126-2806 (they are about 15 miles west of Chicago)
Phone: 630-782-1800 or via FAX at: 630-782-1802 (Monday through Friday, 9AM—4PM, CT)
The full story of the WARNER is told in a nine-page article in MARQUEE magazine of First Qtr., 1980 of the Theatre Historical Soc., titled: “The Atlantic City Story” by the late Irvin Glazer. The ten b/w photos there reveal the opulence that was the WARNER, and the issue also includes stories on other WARNERs around the nation in: Erie and West Chester, PA; Milwaukee, and Washington DC, along with a biography of the Warner Brothers.
PHOTOS AVAILABLE:
To obtain any available Back Issue of either “Marquee” or of its ANNUALS, simply go to the web site of the THEATRE HISTORICAL SOCIETY OF AMERICA at: www.HistoricTheatres.org
and notice on their first page the link “PUBLICATIONS: Back Issues List” and click on that and you will be taken to their listing where they also give ordering details. The “Marquee” magazine is 8-1/2x11 inches tall (‘portrait’) format, and the ANNUALS are also soft cover in the same size, but in the long (‘landscape’) format, and are anywhere from 26 to 40 pages. Should they indicate that a publication is Out Of Print, then it may still be possible to view it via Inter-Library Loan where you go to the librarian at any public or school library and ask them to locate which library has the item by using the Union List of Serials, and your library can then ask the other library to loan it to them for you to read or photocopy. [Photocopies of most THSA publications are available from University Microforms International (UMI), but their prices are exorbitant.]
Note: Most any photo in any of their publications may be had in large size by purchase; see their ARCHIVE link. You should realize that there was no color still photography in the 1920s, so few theatres were seen in color at that time except by means of hand tinted renderings or post cards, thus all the antique photos from the Society will be in black and white, but it is quite possible that the Society has later color images available; it is best to inquire of them.
Should you not be able to contact them via their web site, you may also contact their Executive Director via E-mail at:
Or you may reach them via phone or snail mail at:
Theatre Historical Soc. of America
152 N. York, 2nd Floor York Theatre Bldg.
Elmhurst, ILL. 60126-2806 (they are about 15 miles west of Chicago)
Phone: 630-782-1800 or via FAX at: 630-782-1802 (Monday through Friday, 9AM—4PM, CT)
The following message was sent to me by the courtesy of Mr. John Dahlman who is connected to the DOWNER, and is most illuminating regarding the new improvements in sound to come to both the ORIENTAL and DOWNER theatres here. As much as many patrons appreciate the new more ‘high fidelity’ sound, I shudder to think what the possible addition of future “ceiling speakers” could mean for the decor of the ORIENTAL. The DOWNER’s ceilings are no longer pristine since the 1990 splitting of that theatre, so one could add such speakers there with a minimum of architectural disruption, but I am not sure that that will be the case in the as yet untouched, ornate ceiling of the East Indian-inspired ORIENTAL. Let us hope for the best!
Great news for all who watch movies at the Oriental and Downer: We now have Dolby Digital in both smaller theatres at the Oriental, and weâ€\ve had it in the main theatre for 6 years, so the Oriental Theatre, Milwaukeeâ€\s last surviving movie palace, is an all digital sound theatre now. Also, the Downer Theatre now has Dolby Digital in itâ€\s main house. The oldest operating movie theatre in Milwaukee, possibly Wisconsin, now has digital sound.
Iâ€\m sure most of you know all of this, but to clarify: there have been 3 competing digital sound formats SDDS (Sony Dynamic Digital Sound), DTS (Digital Theatre Sound) and Dolby Digital, all competing with each other for ~13 years. SDDS seems to have lost the battle, and the other 2 are the prevailing digital sounds. SDDS and Dolby Digital sound information is found on the film itself, while DTS sound info is found on an accompanying CD-type disc, which you cannot play on a normal CD player.
Most films that we show currently, say 95%, are encoded with digital sound info. However, not all films we show will have been made with digital sound information. For example, THE BATTLE OF ALGIERS(1965), which we are currently showing, is in mono sound, much like most titles before ~1965, unless they have been digitally-sound-restored. Mono sound means that the sound emanates from the speakers behind the screen only, so there is only one dimension to the sound. All Hollywood studio films today are encoded for all sound formats, the three digitals and stereo. The older titles, and some foreign language films, and smaller independent films and documentaries may not be encoded to play in digital. It is an expensive luxury to some filmmakers and companies on a tight budget. So a few rare films that we will show in the future will be silent, or in mono, or a few more in stereo, and even more in Dolby SR, but most will now be in Dolby Digital. The smaller theatre at the Downer will continue to play films in stereo, which will be fine.
Stereo sound in movie theatres took off in the ‘60â€\s and ‘70â€\s and in 1977, STAR WARS was the first film issued with Dolby SR sound. SR means surround sound, or a kind of enhanced stereo. Speakers were not just behind the screen anymore but placed in the auditorium on the left and right side, and in the back. With Dolby SR, you can have a different amplifier process sound for the left and right speakers in the auditorium. Also, it is a kind of branding and marketing tool, of course.
THE ROCKY HORROR PICTURE SHOW was released in 1975 in stereo. The Oriental Theatre started showing it as a midnight film in January of 1977. The Oriental did show it as a regular first run feature a year earlier for one week; it didnâ€\t do so well. Several years ago, 20th Century Fox recalled all prints of RHPS, and reissued new prints to theatres with a more defined Dolby SR soundtrack, which is how we present it now. Incidentally, we still have the world record of the longest continuous engagement of a film and we are on our 3rd or 4th print of RHPS.
Digital sound really took off in the 1990â€\s. With digital sound, there is more definition of sound throughout the theatre, especially on the left and right speakers in the auditorium. With digital sound there is more differentiation of sound effects, music, dialogue, etc. emanating from specific speakers. With STAR WARS PHANTOM MENACE, a new sound came in the way of Dolby Digital EX. Iâ€\m not sure what the “EX†specifically stands for, but this whole new phase meant that another amplifier was added, and speakers were added in the back of the auditorium(unless the theatre already had back speakers), so sound can emanate from these speakers themselves. EX is something used predominantly in mainstream theatres for certain blockbuster films. Iâ€\ve heard tell that the next big thing in sound will be to add speakers to the ceilings of auditoriums so there will be yet another dimension of sound.
All of this enhanced sound doesnâ€\t matter too much in a dialogue-driven movie; itâ€\s the story for which everyoneâ€\s looking. But proper use of sound can really enhance the movie. You will notice that the sound will be louder, and that there will be more definition of sound on the left and right sides of the auditorium. The sound presentation will be more in tune with how the filmmaker(s) have created the film. In my experience, some filmmakers are extremely good with using the potential of digital sound, certain films could be improved with better uses of sound, and some filmmakers really need some instructing in how to use sound. Iâ€\m sure weâ€\ve all heard abuses of the sound as well. Weâ€\ve shown low-budget films in stereo that are far superior in sound quality to A-list multi-million dollar blockbusters. But weâ€\ve also shown some great sounding blockbusters, and poor sounding smaller budget films. It all comes down to how well the filmmaker recorded the film, and how much emphasis they have placed in creating the sound environment of the film. Unfortunately, there does not yet exist an amplifier to better process those pesky British, Irish, Scottish, Welsh, Australian, New Zealand, South African, etc. accents. Youâ€\ll just have to play it by ear.
Now, what is THX? THX is not an amplifier, nor a speaker, nor information on film. THX is a term and the concept was developed by George Lucas with projectionists and technicians to create some kind of perfectly balanced auditorium. For an auditorium to be “THX Certified,†technicians must come in and test the sound levels at all locations throughout the auditorium, and try to balance the sound levels so that wherever you sit everything sounds perfectly balanced. So an auditorium is THX certified, not an entire theatre, unless itâ€\s a 1-screen, or all auditoriums are THX certified. One component for a theatre to be THX certified is that there can be no internal or external sound influences heard in the theatre. The Orientalâ€\s main theatre could not be THX certified because we have air conditioners that make a small amount of noise in the auditorium when we use them in the summer. Theatres built today generally have all HVAC machines built on the roof, with long ducts separating the noisy machine from each auditorium. Neither the Oriental or Downer has THX certified auditoriums, but there are some in the area.
To find out what sound formats our films will be played in, refer to our website, the Milwaukee page of www.landmarktheatres.com, or refer to the daily ad in the Milwaukee Journal Sentinel. We will also have this info on our recorded message line, which for both theatres is (414) 276-8711.
Sorry to ramble….. perhaps in a year or 2 weâ€\ll have our tutorial on Digital Cinema. I lament the passing of film, but we seem to be heading that way.
The following message was sent to me by the courtesy of Mr. John Dahlman who is connected to the ORIENTAL, and is most illuminating regarding the new improvements in sound to come to both the ORIENTAL and DOWNER theatres here. As much as many patrons appreciate the new more ‘high fidelity’ sound, I shudder to think what the possible addition of future “ceiling speakers” could mean for the decor of the ORIENTAL. The DOWNER’s ceilings are no longer pristine since the 1990 splitting of that theatre, so one could add such speakers there with a minimum of architectural disruption, but I am not sure that that will be the case in the as yet untouched, ornate ceiling of the East Indian-inspired ORIENTAL. Let us hope for the best!
Great news for all who watch movies at the Oriental and Downer: We now have Dolby Digital in both smaller theatres at the Oriental, and weâ€\ve had it in the main theatre for 6 years, so the Oriental Theatre, Milwaukeeâ€\s last surviving movie palace, is an all digital sound theatre now. Also, the Downer Theatre now has Dolby Digital in itâ€\s main house. The oldest operating movie theatre in Milwaukee, possibly Wisconsin, now has digital sound.
Iâ€\m sure most of you know all of this, but to clarify: there have been 3 competing digital sound formats SDDS (Sony Dynamic Digital Sound), DTS (Digital Theatre Sound) and Dolby Digital, all competing with each other for ~13 years. SDDS seems to have lost the battle, and the other 2 are the prevailing digital sounds. SDDS and Dolby Digital sound information is found on the film itself, while DTS sound info is found on an accompanying CD-type disc, which you cannot play on a normal CD player.
Most films that we show currently, say 95%, are encoded with digital sound info. However, not all films we show will have been made with digital sound information. For example, THE BATTLE OF ALGIERS(1965), which we are currently showing, is in mono sound, much like most titles before ~1965, unless they have been digitally-sound-restored. Mono sound means that the sound emanates from the speakers behind the screen only, so there is only one dimension to the sound. All Hollywood studio films today are encoded for all sound formats, the three digitals and stereo. The older titles, and some foreign language films, and smaller independent films and documentaries may not be encoded to play in digital. It is an expensive luxury to some filmmakers and companies on a tight budget. So a few rare films that we will show in the future will be silent, or in mono, or a few more in stereo, and even more in Dolby SR, but most will now be in Dolby Digital. The smaller theatre at the Downer will continue to play films in stereo, which will be fine.
Stereo sound in movie theatres took off in the ‘60â€\s and ‘70â€\s and in 1977, STAR WARS was the first film issued with Dolby SR sound. SR means surround sound, or a kind of enhanced stereo. Speakers were not just behind the screen anymore but placed in the auditorium on the left and right side, and in the back. With Dolby SR, you can have a different amplifier process sound for the left and right speakers in the auditorium. Also, it is a kind of branding and marketing tool, of course.
THE ROCKY HORROR PICTURE SHOW was released in 1975 in stereo. The Oriental Theatre started showing it as a midnight film in January of 1977. The Oriental did show it as a regular first run feature a year earlier for one week; it didnâ€\t do so well. Several years ago, 20th Century Fox recalled all prints of RHPS, and reissued new prints to theatres with a more defined Dolby SR soundtrack, which is how we present it now. Incidentally, we still have the world record of the longest continuous engagement of a film and we are on our 3rd or 4th print of RHPS.
Digital sound really took off in the 1990â€\s. With digital sound, there is more definition of sound throughout the theatre, especially on the left and right speakers in the auditorium. With digital sound there is more differentiation of sound effects, music, dialogue, etc. emanating from specific speakers. With STAR WARS PHANTOM MENACE, a new sound came in the way of Dolby Digital EX. Iâ€\m not sure what the “EX†specifically stands for, but this whole new phase meant that another amplifier was added, and speakers were added in the back of the auditorium(unless the theatre already had back speakers), so sound can emanate from these speakers themselves. EX is something used predominantly in mainstream theatres for certain blockbuster films. Iâ€\ve heard tell that the next big thing in sound will be to add speakers to the ceilings of auditoriums so there will be yet another dimension of sound.
All of this enhanced sound doesnâ€\t matter too much in a dialogue-driven movie; itâ€\s the story for which everyoneâ€\s looking. But proper use of sound can really enhance the movie. You will notice that the sound will be louder, and that there will be more definition of sound on the left and right sides of the auditorium. The sound presentation will be more in tune with how the filmmaker(s) have created the film. In my experience, some filmmakers are extremely good with using the potential of digital sound, certain films could be improved with better uses of sound, and some filmmakers really need some instructing in how to use sound. Iâ€\m sure weâ€\ve all heard abuses of the sound as well. Weâ€\ve shown low-budget films in stereo that are far superior in sound quality to A-list multi-million dollar blockbusters. But weâ€\ve also shown some great sounding blockbusters, and poor sounding smaller budget films. It all comes down to how well the filmmaker recorded the film, and how much emphasis they have placed in creating the sound environment of the film. Unfortunately, there does not yet exist an amplifier to better process those pesky British, Irish, Scottish, Welsh, Australian, New Zealand, South African, etc. accents. Youâ€\ll just have to play it by ear.
Now, what is THX? THX is not an amplifier, nor a speaker, nor information on film. THX is a term and the concept was developed by George Lucas with projectionists and technicians to create some kind of perfectly balanced auditorium. For an auditorium to be “THX Certified,†technicians must come in and test the sound levels at all locations throughout the auditorium, and try to balance the sound levels so that wherever you sit everything sounds perfectly balanced. So an auditorium is THX certified, not an entire theatre, unless itâ€\s a 1-screen, or all auditoriums are THX certified. One component for a theatre to be THX certified is that there can be no internal or external sound influences heard in the theatre. The Orientalâ€\s main theatre could not be THX certified because we have air conditioners that make a small amount of noise in the auditorium when we use them in the summer. Theatres built today generally have all HVAC machines built on the roof, with long ducts separating the noisy machine from each auditorium. Neither the Oriental or Downer has THX certified auditoriums, but there are some in the area.
To find out what sound formats our films will be played in, refer to our website, the Milwaukee page of www.landmarktheatres.com, or refer to the daily ad in the Milwaukee Journal Sentinel. We will also have this info on our recorded message line, which for both theatres is (414) 276-8711.
Sorry to ramble….. perhaps in a year or 2 weâ€\ll have our tutorial on Digital Cinema. I lament the passing of film, but we seem to be heading that way.
Tour of Missouri, Oklahoma and Kansas Theatres in 2004
From June 26 through July 1, 2004 the Theatre Historical Society of America will tour a number of theatres in Kansas City Missouri and surrounding areas, including theatres in Lamar, Joplin, Richmond, St. Joseph and Springfield, MO, as well as Miami, OK, and these cities in Kansas: Leavenworth, Kansas City, Emporia, El Dorado, Augusta, Wichita, Hutchinson, McPherson, Salina, Concordia, and Topeka. More information is contained on their web site: http://www.HistoricTheatres.org and special photos and information concerning the Kansas City theatres: UPTOWN and the MIDLAND is available on this temporary page of their site at: http://www2.hawaii.edu/~angell/thsa/fromarch.html A glossy brochure about this “Heart of America” Conclave is available from the Society’s headquarters listed on their homepage, via E-mail to the Ex. Director, or via snail mail. Membership in the Society is not required to attend the Conclave and tour the theatres, but fees do apply as detailed on their site. Bring your camera and lots of film, for it is usually difficult or impossible to enter these theatres for photos, and some of them will surely not be with us in the years to come.
Mahermusic: what is a “Napoleon” marquee as you state in this sentence in your April 26 post: “Eventually restoring the marquee to match the original. It was a Napoleon-type, much like the New York Paramount.” Where did you find this term, since I ran it past the Ex.Dir. of the Theatre Historical Soc. (www.HistoricTheatres.org) and he knew nothing of it? Could you mean the “French curve” of the original at the NY Paramount? Napoleon was French even though he was born in Corsica.
In his April 26th comment Vincent states: “ It is stupefying when you see how arrogant these architects are and how much money they make and they come up with buildings without an ounce of imagination or style(see what they’re doing to Paris.)” I think most here would like to know more of why such depredations are happening, and there is no better explanation than in the book: FROM BAUHAUS TO OUR HOUSE by Tom Wolfe, available at most libraries or via such as from this page: View link where you will also find my own review of this witty diatribe that skewers the pretensions of the modern day architecture as no one else can. For those unwilling to read even this short book, there are audio cassettes and downloads of it available there. Thank goodness our beloved theatres were mostly unaffected by the mad, headlong dash into modernism which indirectly has spelled the end of a number of theatres, especially in NYC, where property values are so inflated that any building more than 30 years old is considered passe, and something more profitable is eagerly sought by the money mad. This is the real reason so many theatres were demolished there: they couldn’t bring in as much money, and the power of influential people to desire and then clear a lot to build their own money-makers is awesome if not disgusting. As God’s word, the Bible, says: “The love of money is a root of all sorts of injurious things.” (1st Timothy 6:10) [many Bibles translate this as ‘the root of all evil’, but our English word ‘evil’ is much more limited than the broad scope of the original Koine Greek word here.]
Forty three wonderful, vintage b/w photos of the SOUTHTOWN during construction, at opening and in other views are in the special issue of Marquee magazine of the 3rd Qtr. of 1982 of the Theatre Historical Society of America. The white neon outlined fish pond with its heron sculptures is pictured along with those unique dioramas (some preserved at the THSA Museum of the American Movie Palace at their headquarters in Elmhurst, ILL.) in situ. While there are not scenes there of its days as a department store, there is a follow up story on a page of the issue of 3rd Qtr. 1996 where two unusual photos of its interior during construction are shown. The first mentioned issue also includes layout drawings as well as the auditorium photo showing faintly the patch in the ceiling where a workman in the attic had stepped off the catwalk onto the plaster ceiling and fell through it to his death. The SOUTHTOWN was a great loss, but at least it can still be relived through the many b/w and sepia full page 26 photos here. There was even an insert detailing its construction costs by item, along with several vintage ads.
PHOTOS AVAILABLE:
To obtain any available Back Issue of either “Marquee” or of its ANNUALS, simply go to the web site of the THEATRE HISTORICAL SOCIETY OF AMERICA at:
www.HistoricTheatres.org
and notice on their first page the link “PUBLICATIONS: Back Issues List” and click on that and you will be taken to their listing where they also give ordering details. The “Marquee” magazine is 8-1/2x11 inches tall (‘portrait’) format, and the ANNUALS are also soft cover in the same size, but in the long (‘landscape’) format, and are anywhere from 26 to 40 pages. Should they indicate that a publication is Out Of Print, then it may still be possible to view it via Inter-Library Loan where you go to the librarian at any public or school library and ask them to locate which library has the item by using the Union List of Serials, and your library can then ask the other library to loan it to them for you to read or photocopy. [Photocopies of most THSA publications are available from University Microforms International (UMI), but their prices are exorbitant.]
Note: Most any photo in any of their publications may be had in large size by purchase; see their ARCHIVE link. You should realize that there was no color still photography in the 1920s, so few theatres were seen in color at that time except by means of hand tinted renderings or post cards, thus all the antique photos from the Society will be in black and white, but it is quite possible that the Society has later color images available; it is best to inquire of them.
Should you not be able to contact them via their web site, you may also contact their Executive Director via E-mail at:
Or you may reach them via phone or snail mail at:
Theatre Historical Soc. of America
152 N. York, 2nd Floor York Theatre Bldg.
Elmhurst, ILL. 60126-2806 (they are about 15 miles west of Chicago)
Phone: 630-782-1800 or via FAX at: 630-782-1802 (Monday through Friday, 9AM—4PM, CT)
Let’s not be too hard on Clearview or any other operators of movie houses these days; the cut-throat competition by the movie makers and distributors now spell the rules by which exhibitors (movie houses) live! The distributors are in cahoots with the movie makers, of course, and now make exhibitors sign huge, terrible contracts that make the distributors the virtual owners of the theatres, and almost no theatres can play what they want when they want. The ‘big fish’ will always seek ways to eat the ‘little fish’ and now with DVD/tapes out almost as soon as the title appears ont he screen, the theatres are mere fodder for the big fish. Have sympathy. (And read all about it at www.bigscreenbiz.com))
The results of a recent flashlight tour (along with a brought-in generator to power a floodlight) are shown in some 30 photos on the web site of an area photographer at: View link
and show the once ornate theatre’s remains. It would cost a fortune to restore it, but it would be worth it for just those wonderful art deco organ grilles, cited in the Theatre Historical Society article: “Ornamentation Old and New: Grillework in Theatres” by this writer. Vintage views are in the 1930 book “American Theatres of Today” by Sexton and Betts, to be seen at some libraries.
If one cannot find a phone number on the net, one is always permitted to phone Directory Assistance (dial 411) or to contact his local library which will have directories for other cities. With all due respect, this site is primarily an historical reference, not a booking agency or ticket office. With a little patience, we can all appreciate the great amount of work that the founders of CT have gone to and applaud that.
For those of you who want to see the fabulous JERSEY in all its fabulous splendor of today (yes, today!) go to this site with some 37 color photos taken in April of ‘03: http://www.robbender.com/photos/nj/loewsjersey/
Here web site developer and photographer Robert Bender has captured the actually splendid remains of one of the grandest movie palaces in these United States. It is all the more remarkable that so much remains, given the fact that it had been split into multiple cinemas, and yet so very much remains of the gilding, colors, fixtures and even the grandiose draperies that usually were removed from most every other theatre as kids swung on them like monkeys, and the building inspectors declared the no-longer-fireproofable fabrics a hazard. Sometimes moderns don’t appreciate the luxurious quality that grandiose draperies bring to such buildings and that without them, the spaces take on a 'gilded cavern’ look. Those seen in the lobby in his photos would cost upwards of a million dollars for each set to be made today — if one could find the large drapery house with moderns skilled enough to even copy them! Let us hope the Friends of the Jersey do prevail, for only with affection can such a great place be brought back, especially if there is insufficient film ‘of quality’ available to draw in the crowds needed to support it. If as a previous comment said, there is no room to expand the stage, it will be tough to get many performing groups to use the facility. Still, it is a true gem in Jersey City’s crown, and they should be made to realize that VERY FEW movie palaces like it remain, especially in such good condition. If funds become available, and they do get ownership to sign contracts, then it should not be too difficult to build a lounge and lavatories under the lobby (though expensive, of course). It may not be the very best of Rapp&Rapp’s designs, but it is probably the best preserved over all. Long live the JERSEY!
Thanks for the tip, ‘btk630’; I wish the Style search selection here were that specific. It is wonderful the restoration that they are doing at the REDFORD, certainly a model for so many other organ groups in other cities! Pity the RIVIERA/JAPANESE GARDENS is no longer with us to experience this latter day trend to restoration and adaptive reuse, but then that could be said for any number of theatres.
Perhaps the only other Japanese themed theatre in the US is on this page here: /theaters/1356/
There is now a page on his site for the JAPANESE GARDENS theatre:
/theaters/1356/
I should have mentioned before that the architect of the GARDENS was Thomas Lamb, the man famous for some of the most staid and conventional designs up until the 1920s, but here in 1914 he was called upon to do an early exotic theme design. He also did the RIVIERA and RIVERSIDE theatres (below the JAPANESE GARDENS) in conventional neo-classic lines. This article is a record of ‘urban archeology’ at its best, and though short, it is good reading. The GARDENS were never mentioned in print again after that “Day that will live in infamy,” Dec. 7th, 1941, so the reason for its then closing for good is easy to see. The drawing on the cover did show that it had a large balcony. Notable were the huge stained glass windows with scenes of Japan, as well as Japanese grillework and even large Japanese lanterns hanging from the proscenium with a mural of Mt. Fuji above. That theatre could have been the defacto gathering place for Japanese-Americans, but after the declaration of war, it would have been unwise to continue it, but with only two elevators and one staircase serving it, it probably would not meet the fire exit codes of today, anyway.
I hope the Austrian-style house curtain shown in the photo is still there, since raising it before each movie lends a lot of class, as was brought out by the late Ben M. Hall in his landmark book “The Best Remaining Seats, The Story of the Golden Age of the Movie Palace” in 1961 (available via Inter-Library loan). Few theatres have any decent drapery anymore and it is joy to see such kept here!
Please let me know if you learn anything more about this theatre. Thank you. Jim Rankin =
Please let me know if you learn anything more about this theatre. Thank you. Jim Rankin =
Please let me know if you learn anything more about this theatre. Thank You. Jim Rankin =
Please let me know if you learn anything more about this theatre. Thank you. Jim Rankin =
The JAPANESE GARDEN was only a ghost of a theatre when the late Michael Miller of NYC wrote its poignant story in the Second Qtr. 1974 issue of MARQUEE magazine of the Theatre Historical Soc. of America. He disclosed his flashlight tour of the long abandoned theatre high above the former RIVIERA theatre, adjacent to the former RIVERSIDE theatre. The article was titled: “The Hidden Garden of Broadway” and its three pages include six b/w photos of the theatres, as well as a haunting, wispy drawing on the cover. He concluded the story then with the news that a Mr. Boomis was in the process of buying the properties to demolish them for a new 31-story tower. For all I know, that is their only epitaph today; perhaps a New Yorker can confirm this for those wanting to know more about this, perhaps America’s only Japanese themed theatre.
PHOTOS AVAILABLE:
To obtain any available Back Issue of either “Marquee” or of its ANNUALS, simply go to the web site of the THEATRE HISTORICAL SOCIETY OF AMERICA at:
www.HistoricTheatres.org
and notice on their first page the link “PUBLICATIONS: Back Issues List” and click on that and you will be taken to their listing where they also give ordering details. The “Marquee” magazine is 8-1/2x11 inches tall (‘portrait’) format, and the ANNUALS are also soft cover in the same size, but in the long (‘landscape’) format, and are anywhere from 26 to 40 pages. Should they indicate that a publication is Out Of Print, then it may still be possible to view it via Inter-Library Loan where you go to the librarian at any public or school library and ask them to locate which library has the item by using the Union List of Serials, and your library can then ask the other library to loan it to them for you to read or photocopy. [Photocopies of most THSA publications are available from University Microforms International (UMI), but their prices are exorbitant.]
Note: Most any photo in any of their publications may be had in large size by purchase; see their ARCHIVE link. You should realize that there was no color still photography in the 1920s, so few theatres were seen in color at that time except by means of hand tinted renderings or post cards, thus all the antique photos from the Society will be in black and white, but it is quite possible that the Society has later color images available; it is best to inquire of them.
Should you not be able to contact them via their web site, you may also contact their Executive Director via E-mail at:
Or you may reach them via phone or snail mail at:
Theatre Historical Soc. of America
152 N. York, 2nd Floor York Theatre Bldg.
Elmhurst, ILL. 60126-2806 (they are about 15 miles west of Chicago)
Phone: 630-782-1800 or via FAX at: 630-782-1802 (Monday through Friday, 9AM—4PM, CT)
The full story of the WARNER is told in a nine-page article in MARQUEE magazine of First Qtr., 1980 of the Theatre Historical Soc., titled: “The Atlantic City Story” by the late Irvin Glazer. The ten b/w photos there reveal the opulence that was the WARNER, and the issue also includes stories on other WARNERs around the nation in: Erie and West Chester, PA; Milwaukee, and Washington DC, along with a biography of the Warner Brothers.
PHOTOS AVAILABLE:
To obtain any available Back Issue of either “Marquee” or of its ANNUALS, simply go to the web site of the THEATRE HISTORICAL SOCIETY OF AMERICA at:
www.HistoricTheatres.org
and notice on their first page the link “PUBLICATIONS: Back Issues List” and click on that and you will be taken to their listing where they also give ordering details. The “Marquee” magazine is 8-1/2x11 inches tall (‘portrait’) format, and the ANNUALS are also soft cover in the same size, but in the long (‘landscape’) format, and are anywhere from 26 to 40 pages. Should they indicate that a publication is Out Of Print, then it may still be possible to view it via Inter-Library Loan where you go to the librarian at any public or school library and ask them to locate which library has the item by using the Union List of Serials, and your library can then ask the other library to loan it to them for you to read or photocopy. [Photocopies of most THSA publications are available from University Microforms International (UMI), but their prices are exorbitant.]
Note: Most any photo in any of their publications may be had in large size by purchase; see their ARCHIVE link. You should realize that there was no color still photography in the 1920s, so few theatres were seen in color at that time except by means of hand tinted renderings or post cards, thus all the antique photos from the Society will be in black and white, but it is quite possible that the Society has later color images available; it is best to inquire of them.
Should you not be able to contact them via their web site, you may also contact their Executive Director via E-mail at:
Or you may reach them via phone or snail mail at:
Theatre Historical Soc. of America
152 N. York, 2nd Floor York Theatre Bldg.
Elmhurst, ILL. 60126-2806 (they are about 15 miles west of Chicago)
Phone: 630-782-1800 or via FAX at: 630-782-1802 (Monday through Friday, 9AM—4PM, CT)
The following message was sent to me by the courtesy of Mr. John Dahlman who is connected to the DOWNER, and is most illuminating regarding the new improvements in sound to come to both the ORIENTAL and DOWNER theatres here. As much as many patrons appreciate the new more ‘high fidelity’ sound, I shudder to think what the possible addition of future “ceiling speakers” could mean for the decor of the ORIENTAL. The DOWNER’s ceilings are no longer pristine since the 1990 splitting of that theatre, so one could add such speakers there with a minimum of architectural disruption, but I am not sure that that will be the case in the as yet untouched, ornate ceiling of the East Indian-inspired ORIENTAL. Let us hope for the best!
Great news for all who watch movies at the Oriental and Downer: We now have Dolby Digital in both smaller theatres at the Oriental, and weâ€\ve had it in the main theatre for 6 years, so the Oriental Theatre, Milwaukeeâ€\s last surviving movie palace, is an all digital sound theatre now. Also, the Downer Theatre now has Dolby Digital in itâ€\s main house. The oldest operating movie theatre in Milwaukee, possibly Wisconsin, now has digital sound.
Iâ€\m sure most of you know all of this, but to clarify: there have been 3 competing digital sound formats SDDS (Sony Dynamic Digital Sound), DTS (Digital Theatre Sound) and Dolby Digital, all competing with each other for ~13 years. SDDS seems to have lost the battle, and the other 2 are the prevailing digital sounds. SDDS and Dolby Digital sound information is found on the film itself, while DTS sound info is found on an accompanying CD-type disc, which you cannot play on a normal CD player.
Most films that we show currently, say 95%, are encoded with digital sound info. However, not all films we show will have been made with digital sound information. For example, THE BATTLE OF ALGIERS(1965), which we are currently showing, is in mono sound, much like most titles before ~1965, unless they have been digitally-sound-restored. Mono sound means that the sound emanates from the speakers behind the screen only, so there is only one dimension to the sound. All Hollywood studio films today are encoded for all sound formats, the three digitals and stereo. The older titles, and some foreign language films, and smaller independent films and documentaries may not be encoded to play in digital. It is an expensive luxury to some filmmakers and companies on a tight budget. So a few rare films that we will show in the future will be silent, or in mono, or a few more in stereo, and even more in Dolby SR, but most will now be in Dolby Digital. The smaller theatre at the Downer will continue to play films in stereo, which will be fine.
Stereo sound in movie theatres took off in the ‘60â€\s and ‘70â€\s and in 1977, STAR WARS was the first film issued with Dolby SR sound. SR means surround sound, or a kind of enhanced stereo. Speakers were not just behind the screen anymore but placed in the auditorium on the left and right side, and in the back. With Dolby SR, you can have a different amplifier process sound for the left and right speakers in the auditorium. Also, it is a kind of branding and marketing tool, of course.
THE ROCKY HORROR PICTURE SHOW was released in 1975 in stereo. The Oriental Theatre started showing it as a midnight film in January of 1977. The Oriental did show it as a regular first run feature a year earlier for one week; it didnâ€\t do so well. Several years ago, 20th Century Fox recalled all prints of RHPS, and reissued new prints to theatres with a more defined Dolby SR soundtrack, which is how we present it now. Incidentally, we still have the world record of the longest continuous engagement of a film and we are on our 3rd or 4th print of RHPS.
Digital sound really took off in the 1990â€\s. With digital sound, there is more definition of sound throughout the theatre, especially on the left and right speakers in the auditorium. With digital sound there is more differentiation of sound effects, music, dialogue, etc. emanating from specific speakers. With STAR WARS PHANTOM MENACE, a new sound came in the way of Dolby Digital EX. Iâ€\m not sure what the “EX†specifically stands for, but this whole new phase meant that another amplifier was added, and speakers were added in the back of the auditorium(unless the theatre already had back speakers), so sound can emanate from these speakers themselves. EX is something used predominantly in mainstream theatres for certain blockbuster films. Iâ€\ve heard tell that the next big thing in sound will be to add speakers to the ceilings of auditoriums so there will be yet another dimension of sound.
All of this enhanced sound doesnâ€\t matter too much in a dialogue-driven movie; itâ€\s the story for which everyoneâ€\s looking. But proper use of sound can really enhance the movie. You will notice that the sound will be louder, and that there will be more definition of sound on the left and right sides of the auditorium. The sound presentation will be more in tune with how the filmmaker(s) have created the film. In my experience, some filmmakers are extremely good with using the potential of digital sound, certain films could be improved with better uses of sound, and some filmmakers really need some instructing in how to use sound. Iâ€\m sure weâ€\ve all heard abuses of the sound as well. Weâ€\ve shown low-budget films in stereo that are far superior in sound quality to A-list multi-million dollar blockbusters. But weâ€\ve also shown some great sounding blockbusters, and poor sounding smaller budget films. It all comes down to how well the filmmaker recorded the film, and how much emphasis they have placed in creating the sound environment of the film. Unfortunately, there does not yet exist an amplifier to better process those pesky British, Irish, Scottish, Welsh, Australian, New Zealand, South African, etc. accents. Youâ€\ll just have to play it by ear.
Now, what is THX? THX is not an amplifier, nor a speaker, nor information on film. THX is a term and the concept was developed by George Lucas with projectionists and technicians to create some kind of perfectly balanced auditorium. For an auditorium to be “THX Certified,†technicians must come in and test the sound levels at all locations throughout the auditorium, and try to balance the sound levels so that wherever you sit everything sounds perfectly balanced. So an auditorium is THX certified, not an entire theatre, unless itâ€\s a 1-screen, or all auditoriums are THX certified. One component for a theatre to be THX certified is that there can be no internal or external sound influences heard in the theatre. The Orientalâ€\s main theatre could not be THX certified because we have air conditioners that make a small amount of noise in the auditorium when we use them in the summer. Theatres built today generally have all HVAC machines built on the roof, with long ducts separating the noisy machine from each auditorium. Neither the Oriental or Downer has THX certified auditoriums, but there are some in the area.
To find out what sound formats our films will be played in, refer to our website, the Milwaukee page of www.landmarktheatres.com, or refer to the daily ad in the Milwaukee Journal Sentinel. We will also have this info on our recorded message line, which for both theatres is (414) 276-8711.
Sorry to ramble….. perhaps in a year or 2 weâ€\ll have our tutorial on Digital Cinema. I lament the passing of film, but we seem to be heading that way.
Dolby website: http://www.dolby.com/
THX: http://www.thx.com/index.html
Thanks,
John Dahlman
Milwaukee Marketing Leader for Landmark Theatres
(414) 276-8711, ext. 6
Downer House Manager
(414) 964-2916
The following message was sent to me by the courtesy of Mr. John Dahlman who is connected to the ORIENTAL, and is most illuminating regarding the new improvements in sound to come to both the ORIENTAL and DOWNER theatres here. As much as many patrons appreciate the new more ‘high fidelity’ sound, I shudder to think what the possible addition of future “ceiling speakers” could mean for the decor of the ORIENTAL. The DOWNER’s ceilings are no longer pristine since the 1990 splitting of that theatre, so one could add such speakers there with a minimum of architectural disruption, but I am not sure that that will be the case in the as yet untouched, ornate ceiling of the East Indian-inspired ORIENTAL. Let us hope for the best!
Great news for all who watch movies at the Oriental and Downer: We now have Dolby Digital in both smaller theatres at the Oriental, and weâ€\ve had it in the main theatre for 6 years, so the Oriental Theatre, Milwaukeeâ€\s last surviving movie palace, is an all digital sound theatre now. Also, the Downer Theatre now has Dolby Digital in itâ€\s main house. The oldest operating movie theatre in Milwaukee, possibly Wisconsin, now has digital sound.
Iâ€\m sure most of you know all of this, but to clarify: there have been 3 competing digital sound formats SDDS (Sony Dynamic Digital Sound), DTS (Digital Theatre Sound) and Dolby Digital, all competing with each other for ~13 years. SDDS seems to have lost the battle, and the other 2 are the prevailing digital sounds. SDDS and Dolby Digital sound information is found on the film itself, while DTS sound info is found on an accompanying CD-type disc, which you cannot play on a normal CD player.
Most films that we show currently, say 95%, are encoded with digital sound info. However, not all films we show will have been made with digital sound information. For example, THE BATTLE OF ALGIERS(1965), which we are currently showing, is in mono sound, much like most titles before ~1965, unless they have been digitally-sound-restored. Mono sound means that the sound emanates from the speakers behind the screen only, so there is only one dimension to the sound. All Hollywood studio films today are encoded for all sound formats, the three digitals and stereo. The older titles, and some foreign language films, and smaller independent films and documentaries may not be encoded to play in digital. It is an expensive luxury to some filmmakers and companies on a tight budget. So a few rare films that we will show in the future will be silent, or in mono, or a few more in stereo, and even more in Dolby SR, but most will now be in Dolby Digital. The smaller theatre at the Downer will continue to play films in stereo, which will be fine.
Stereo sound in movie theatres took off in the ‘60â€\s and ‘70â€\s and in 1977, STAR WARS was the first film issued with Dolby SR sound. SR means surround sound, or a kind of enhanced stereo. Speakers were not just behind the screen anymore but placed in the auditorium on the left and right side, and in the back. With Dolby SR, you can have a different amplifier process sound for the left and right speakers in the auditorium. Also, it is a kind of branding and marketing tool, of course.
THE ROCKY HORROR PICTURE SHOW was released in 1975 in stereo. The Oriental Theatre started showing it as a midnight film in January of 1977. The Oriental did show it as a regular first run feature a year earlier for one week; it didnâ€\t do so well. Several years ago, 20th Century Fox recalled all prints of RHPS, and reissued new prints to theatres with a more defined Dolby SR soundtrack, which is how we present it now. Incidentally, we still have the world record of the longest continuous engagement of a film and we are on our 3rd or 4th print of RHPS.
Digital sound really took off in the 1990â€\s. With digital sound, there is more definition of sound throughout the theatre, especially on the left and right speakers in the auditorium. With digital sound there is more differentiation of sound effects, music, dialogue, etc. emanating from specific speakers. With STAR WARS PHANTOM MENACE, a new sound came in the way of Dolby Digital EX. Iâ€\m not sure what the “EX†specifically stands for, but this whole new phase meant that another amplifier was added, and speakers were added in the back of the auditorium(unless the theatre already had back speakers), so sound can emanate from these speakers themselves. EX is something used predominantly in mainstream theatres for certain blockbuster films. Iâ€\ve heard tell that the next big thing in sound will be to add speakers to the ceilings of auditoriums so there will be yet another dimension of sound.
All of this enhanced sound doesnâ€\t matter too much in a dialogue-driven movie; itâ€\s the story for which everyoneâ€\s looking. But proper use of sound can really enhance the movie. You will notice that the sound will be louder, and that there will be more definition of sound on the left and right sides of the auditorium. The sound presentation will be more in tune with how the filmmaker(s) have created the film. In my experience, some filmmakers are extremely good with using the potential of digital sound, certain films could be improved with better uses of sound, and some filmmakers really need some instructing in how to use sound. Iâ€\m sure weâ€\ve all heard abuses of the sound as well. Weâ€\ve shown low-budget films in stereo that are far superior in sound quality to A-list multi-million dollar blockbusters. But weâ€\ve also shown some great sounding blockbusters, and poor sounding smaller budget films. It all comes down to how well the filmmaker recorded the film, and how much emphasis they have placed in creating the sound environment of the film. Unfortunately, there does not yet exist an amplifier to better process those pesky British, Irish, Scottish, Welsh, Australian, New Zealand, South African, etc. accents. Youâ€\ll just have to play it by ear.
Now, what is THX? THX is not an amplifier, nor a speaker, nor information on film. THX is a term and the concept was developed by George Lucas with projectionists and technicians to create some kind of perfectly balanced auditorium. For an auditorium to be “THX Certified,†technicians must come in and test the sound levels at all locations throughout the auditorium, and try to balance the sound levels so that wherever you sit everything sounds perfectly balanced. So an auditorium is THX certified, not an entire theatre, unless itâ€\s a 1-screen, or all auditoriums are THX certified. One component for a theatre to be THX certified is that there can be no internal or external sound influences heard in the theatre. The Orientalâ€\s main theatre could not be THX certified because we have air conditioners that make a small amount of noise in the auditorium when we use them in the summer. Theatres built today generally have all HVAC machines built on the roof, with long ducts separating the noisy machine from each auditorium. Neither the Oriental or Downer has THX certified auditoriums, but there are some in the area.
To find out what sound formats our films will be played in, refer to our website, the Milwaukee page of www.landmarktheatres.com, or refer to the daily ad in the Milwaukee Journal Sentinel. We will also have this info on our recorded message line, which for both theatres is (414) 276-8711.
Sorry to ramble….. perhaps in a year or 2 weâ€\ll have our tutorial on Digital Cinema. I lament the passing of film, but we seem to be heading that way.
Dolby website: http://www.dolby.com/
THX: http://www.thx.com/index.html
Thanks,
John Dahlman
Milwaukee Marketing Leader for Landmark Theatres
(414) 276-8711, ext. 6
Downer House Manager
(414) 964-2916
Please let me know if you learn anything more about this theatre. Thank You. Jim Rankin =
Please let me know if you learn anything more about this theatre. Thank You. Jim Rankin =
Please let me know if you learn anything more about this theatre. Thank You. Jim Rankin =
Please let me know if you learn anything more about this theatre. Thank You. Jim Rankin =