Here is Part 1 of a 3-part clipping of the Variety review from August 1939 mentioned by Comfortably Cool (Judy Garland-Mickey Rooney stage show). All 3 parts are in the Photos section.
Thanks, bigjoe. If I was a few years older than 13 in 1968, I would have gone back again and again. I still have my program also, though it’s a little frayed around the edges. I remember it cost $1. Unless you saw it about two or three days after opening day, you saw the version with 19 minutes removed from it by Kubrick. A college film student, who later went on to be a Hollywood producer, wrote an angry letter to the New York Times complaining that the studio had butchered the film, not knowing that it was done by Kubrick himself in an effort to improve it.
I remember reading about how the triplex was created without closing down the Warner (Strand) Theatre. It didn’t seem possible. I’ll post the ad describing it on the Strand page.
It was the best presentation, and I’ve seen it 91 times (and counting) in a theater. A close approximation was the Omnimax showing at the Franklin Institute in Philadelphia in the fall of 2018. I hope they bring it back there again.
In that same scene from Sweet Charity, you can see part of the giant billboard that took up the whole block between 45th and 46th Sts., advertising Doctor Dolittle at the State.
51 years ago today, and it was a Saturday like today, I was in the Capitol with my dad seeing “2001”. I just finished watching it at home, on a 92" screen, but it just wasn’t the same.
All I know is that the Brothers Grimm print belonged to a private collector from, I think, Australia. Maybe this person wouldn’t allow it to be used for anything except those few Dome screenings. I’m sure someone else knows more than that about it.
Mr. Sittig, I just wanted to use this space to thank you personally for the 3-strip showing of Brothers Grimm. I came in from New Jersey to see it and while sitting in the theater, I felt like the most privileged of all movie fans, seeing one of the rarest of all big studio films in the best possible way. Unfortunately I can’t attend Grand Prix, but I look forward to the next time I get to experience Cinerama at the Dome. Thanks again, and I hope the 55th anniversary shows are a big success.
Another 2001 achievement: it’s been re-released so many times, from exclusive showings in the big cities to nationwide runs, that it’s effectively been in an off-and-on theatrical release for the past 50 years.
The Fathom/TCM screening events are very cool too. I saw Jaws, North by Northwest, The Ten Commandments, and just recently West Side Story. But 2001 is still in a class by itself. It’s been in almost continuous release all summer, since the middle of May. In NYC it played 8 weeks at the Village East Theater, in its initial 70mm run. After that it played in NJ (thanks, markp) and Astoria, Queens. Now it’s in IMAX. It’s had a longer run in 2018 than some brand-new movies.
Having just returned from a front-row viewing of the 70mm IMAX version, I have to give it the edge over the digital. This is based solely on how easy it was to read the buttons in the space pod. Every one of those buttons has a label on it, and they were easier to read in 70mm. The level of small details that were put into every facet of that film is astounding. It really is like no other.
On the way out I met a couple who came all the way to New York City from Boston just to see 2001 at this theater, on that screen.
Maybe it was because I sat in the front row for the digital edition. Level of detail was excellent in both versions.
I did notice another change in digital: the last shot of the Russians sequence, which for 50 years ended in a fade to black, is now a cut to black. I don’t know why changes like this have to be made, or if there’s any reason for them. The 70mm version has the advantage in this regard.
No trailers before the 70mm version or the digital version. There was an IMAX promo before the digital version, announcing they were going to show what will be coming soon in IMAX, but it led right into the overture of 2001.
I just saw the digital version in Clifton, NJ. It was quite beautiful. You could easily see all the incredible details in so many scenes. For example, the dinner recommendation on the wall of the kitchen on the Jupiter ship included roast beef, mashed potatoes, blueberry pie and coffee. I had never been able to read that before.
But it wasn’t perfect. One shot near the end, part of the “last meal” sequence, came out wrong somehow. It was too dark and a little blurry. Don’t know if all digital prints have this problem. The opening MGM logo also looked like the wrong color.
Overall, definitely worth seeing. Can’t believe it’s in 350 theaters across the US. What other 50-year-old movie could accomplish that?
Thanks, Al. Very funny. It reminded me of the time I saw the soundtrack album of Hello, Dolly!, not too long after its big 70mm premiere at the Rivoli on Broadway, in the cutout bin at a record store, selling for $1.99.
According to this 2001 timetable, the long version was shown at the Capitol for only three days.
Here is Part 1 of a 3-part clipping of the Variety review from August 1939 mentioned by Comfortably Cool (Judy Garland-Mickey Rooney stage show). All 3 parts are in the Photos section.
Thanks, bigjoe. If I was a few years older than 13 in 1968, I would have gone back again and again. I still have my program also, though it’s a little frayed around the edges. I remember it cost $1. Unless you saw it about two or three days after opening day, you saw the version with 19 minutes removed from it by Kubrick. A college film student, who later went on to be a Hollywood producer, wrote an angry letter to the New York Times complaining that the studio had butchered the film, not knowing that it was done by Kubrick himself in an effort to improve it.
Here is the link to that photo.
July 31, 1968.
I remember reading about how the triplex was created without closing down the Warner (Strand) Theatre. It didn’t seem possible. I’ll post the ad describing it on the Strand page.
It was the best presentation, and I’ve seen it 91 times (and counting) in a theater. A close approximation was the Omnimax showing at the Franklin Institute in Philadelphia in the fall of 2018. I hope they bring it back there again.
The final Capitol Theatre ad, September 15, 1968.
September 14, 1968. The Capitol would close forever in 2 days.
You can also see that billboard in Midnight Cowboy. Jon Voight’s hotel room was across the street from it.
In that same scene from Sweet Charity, you can see part of the giant billboard that took up the whole block between 45th and 46th Sts., advertising Doctor Dolittle at the State.
51 years ago today, and it was a Saturday like today, I was in the Capitol with my dad seeing “2001”. I just finished watching it at home, on a 92" screen, but it just wasn’t the same.
Keir Dullea introducing “2001: A Space Odyssey” on April 7, 2019.
October 13, 2018.
First time I’ve ever seen a film composer up on the marquee right next to the star of the movie.
All I know is that the Brothers Grimm print belonged to a private collector from, I think, Australia. Maybe this person wouldn’t allow it to be used for anything except those few Dome screenings. I’m sure someone else knows more than that about it.
Mr. Sittig, I just wanted to use this space to thank you personally for the 3-strip showing of Brothers Grimm. I came in from New Jersey to see it and while sitting in the theater, I felt like the most privileged of all movie fans, seeing one of the rarest of all big studio films in the best possible way. Unfortunately I can’t attend Grand Prix, but I look forward to the next time I get to experience Cinerama at the Dome. Thanks again, and I hope the 55th anniversary shows are a big success.
Another 2001 achievement: it’s been re-released so many times, from exclusive showings in the big cities to nationwide runs, that it’s effectively been in an off-and-on theatrical release for the past 50 years.
The Fathom/TCM screening events are very cool too. I saw Jaws, North by Northwest, The Ten Commandments, and just recently West Side Story. But 2001 is still in a class by itself. It’s been in almost continuous release all summer, since the middle of May. In NYC it played 8 weeks at the Village East Theater, in its initial 70mm run. After that it played in NJ (thanks, markp) and Astoria, Queens. Now it’s in IMAX. It’s had a longer run in 2018 than some brand-new movies.
Having just returned from a front-row viewing of the 70mm IMAX version, I have to give it the edge over the digital. This is based solely on how easy it was to read the buttons in the space pod. Every one of those buttons has a label on it, and they were easier to read in 70mm. The level of small details that were put into every facet of that film is astounding. It really is like no other.
On the way out I met a couple who came all the way to New York City from Boston just to see 2001 at this theater, on that screen.
Maybe it was because I sat in the front row for the digital edition. Level of detail was excellent in both versions.
I did notice another change in digital: the last shot of the Russians sequence, which for 50 years ended in a fade to black, is now a cut to black. I don’t know why changes like this have to be made, or if there’s any reason for them. The 70mm version has the advantage in this regard.
No trailers before the 70mm version or the digital version. There was an IMAX promo before the digital version, announcing they were going to show what will be coming soon in IMAX, but it led right into the overture of 2001.
The digital version is also showing at the AMC Kips Bay on 2nd Ave. and 32nd St. in Manhattan, as well as the Empire 42nd St.
I just saw the digital version in Clifton, NJ. It was quite beautiful. You could easily see all the incredible details in so many scenes. For example, the dinner recommendation on the wall of the kitchen on the Jupiter ship included roast beef, mashed potatoes, blueberry pie and coffee. I had never been able to read that before.
But it wasn’t perfect. One shot near the end, part of the “last meal” sequence, came out wrong somehow. It was too dark and a little blurry. Don’t know if all digital prints have this problem. The opening MGM logo also looked like the wrong color.
Overall, definitely worth seeing. Can’t believe it’s in 350 theaters across the US. What other 50-year-old movie could accomplish that?
Thanks, Al. Very funny. It reminded me of the time I saw the soundtrack album of Hello, Dolly!, not too long after its big 70mm premiere at the Rivoli on Broadway, in the cutout bin at a record store, selling for $1.99.