Radio City Music Hall
1260 6th Avenue,
New York,
NY
10020
1260 6th Avenue,
New York,
NY
10020
116 people
favorited this theater
Showing 1,751 - 1,775 of 3,325 comments
Incredible, This most be the theatre with most comments here on Cinema Treasures. So many in fact, they could use a bit of ordering and sorting. In any case if anyone still likes to, have a look at a couple of Curteich cards I recently bought of the RCMH, from the Thirties and Fourties: View link
Thanks Rob, I sorta thought that is what a MUTT is, I ran a similar transport system, made by Cinemacanica, that could also rewind the reel as well.
Sad to hear so few peole can do changeovers these days, a lost art
I suppose. In addition, I was told at a recent screening that cue marks are being phased out and soon will no longer be on prints.
Well, from my point of view I guess I like to see that the movie is being shown on 35mm film rather than Digital, and of course anything to keep those dang-blasted platters out of the Music Hall booth.
By the way, with the new and improved Digital 3-D we now have, do you suppose the Hall will eliminate the 70mm 3-D interlock format for the opening of the Christmas show this year? I would hope the presentation is still better with 70mm and they stay with it.
Thanks for all the info, it’s always entertaing and informative when you post.
Yes the projectors are run concurrently. The company supplying the MUTTS called me yesterday to ask about the Scope back up lens focal length and gave me the information about tonight’s screening. I suggested that if they REALLY wanted to get fancy they could run the same print through the two 35/70mm projectors that are interlocked for the 3-D film effect in the Christmas Show, and run the second print on a third projector! (Actually, we went that one better with the “Lion King” premiere where we had a 70mm print on a platter interlocked to a 35mm print on another platter for Dolby Digital sound, and then a second 70mm print run reel-to-reel on the other two 70mm machines. Sometimes people get a little “back-up crazy” to the point where there is so much back-up involved it starts to create its own problems.)
Vito: I’m sure the decision to run 12,000' reels was made by Fox or its representative doing the screening. Since there are so few houses running changeovers tech people don’t trust anyone to make them. While I was still at Radio City the tech supervisor for the Fox in Detroit called to ask about our lamps, and said they were installing a platter just because no one knew how to do changeovers any more. Also the MUTT is the unit Eprad made as an answer to platters. MUTT stands for Make Up Table Transport (or some such thing), and it can be used as a make up table or a show feed if the platter failed or the show feed itself. Its a small table which feeds out on one side and takes up on the other. They can be used in situations where the booth is too small for a platter, or in a temporary set-up, since they are easier to move around than platters. We used one for the “Lion King” press conference at the Hall, again because there was more than 2,000 feet of 35mm film involved along with a 35mm interlocked mag track, so the track was run on a MUTT while the print was on a 6,000' reel.
Interesting Rob, but why the 12,000 foot reels? can’t they be trusted to make a chngeover any more?. I am sure if you are not available, Peter and I would be happy to come by and run the show reel-to-reel for them. In addition I am not familiar with “double mutts”, and would be interssted in how the reels are being feed to the projector. I recall running a theatre back in the early 70s
(pre platters) that had a tower mounted behind the projector which served to feed and take up the print which was mounted on 15,000 foot reels.
Very cool, thanks for the info REndres. I assume the projectors run concurrently so that an instantaneous switch can be made if there’s a problem?
Tonight’s screening of “Live Free or Die Hard” is being done on 35mm film from the original booth. The prints have been assembled on 12,000' reels and three double mutts are being brought in as well as new sets of Scope lenses. Two projectors will be used for the screening with one serving as a back-up.
Any information about the premiere tonight at the Music Hall of the new film “Live Free or Die Hard”? They’ve been talking about it on the radio today.
I attended Radio City on a school outing in the 70’s and was quite stunned to see such an ornate interior. The most striking feature was that curve around the top of the stage, it really stands out. I also got there early, so I got to hear that incredible and massive organ, which I recall sat recessed into the left wall, with the organist facing his back to the audience, so you could see all the rows of keys, a truly unique and spectacular sight!. The other unique aspect of this great venue ,is that the acoustics are that of no other theater I have ever attended, perhaps the clam shell appearance of the Art Deco ceiling has to do with that.
Ah, after some online searching, I can answer my question as to the wallpaper.
Nicotine Room aka Men’s Lounge, in 2006, with same wallpaper, sconce, and some surviving furniture:
http://www.flickr.com/photos/kencta/89841688/
Ah, after more searching online, I can answer my question as to the wallpaper.
Nicotine Room aka Men’s Lounge, in 2006, with same wallpaper, sconce, and some surviving furniture:
http://www.flickr.com/photos/kencta/89841688/
A family member of decorator Armando T. Ricci (who worked on the Boyd Theatre www.FriendsOfTheBoyd.org)) sent me a 1941 Theatre Catalog article by Ricci. To share historic photos of Radio City Music Hall, I scanned it.
These are likely Opening Day photos with Ricci’s description, of a corner of the grand lounge, and the Nicotine Room!
View link
close-up of Nicotine Room:
View link
Online, here’s Donald Deskey in the Nicotine Room:
View link
corner of Grand Lounge:
View link
I’ve been to Radio City Music Hall, but don’t recall seeing the Art Deco furniture. Does Bouche’s mural survive? Does Deskey’s Nicotine Room wallpaper (assuming that’s wallpaper) survive?
Thanks Warren… Must have been a technical problem (or perhaps a user problem?) when I first clicked on the link. As the tagline goes – “Holy Mackel!”
Warren… Back on May 7th, you posted an ad that for an engagement you described as being “RCMH’s first (and possibly only) employment of famous headliners for its stage shows.” Since that link no longer works, would you kindly tell us who those headliners were? Thanks.
In the late ‘90’s, I had the opportunity to see revivals of THE EXORCIST (with on-stage appearances by William Friedkin and Ellen Burstyn), JAWS (with on-stage appearance by Peter Benchley) and SATURDAY NIGHT FEVER (with on-stage appearance by Karen Lynn Gorney). Must be the biggest movie screen in New York City!
I wish I could go back in time to 1933 when KING KONG first premiered at RCMH!
16 May 2007:
Ziegfeld Theatre enthustiasts,
You have the opportunity to capture theatre and film history at the Walter Reade Theatre [Lincoln Center] at the end of this month. Being presented is the Stanley Kubrick’s BARRY LYNDON which showcased at the Ziegfeld in December 1975. In note, I recollect Rex Reed, lighted pen to page and noting the showing with Intermission my questioning of his annoyance of the film which he gave an excellent review thereafter, in publication. Leon Vitali (Lord Bullington of the film) will be present at the theatre for the 35mm positive struck from the internegative. In addition, John Schselinger’s DAY OF THE LOCUST, which premiered at the Cinema I, will be presented at two performances with William Atherton (Todd Hackett of the film) in a question and answer session. Both films are American/UK cinema masterpieces. I advise your particaption at these events as a mark of excellence to yourselves and the brilliant recollections that serve as the base of all that you aspire toward. Your performance checks are:
View link
for DAY OF THE LOCUST (the Day Hollywood collapsed and fell into an $88,000 hole – Esquire, September 1974)
and the cinematic masterwork filmed without artificial lighting – BARRY LYNDON
View link
1975 was a critical year in American film.
When you screen the films at Walter Reade, obtain the DVDs of both films for better analysis.
If you don’t have access;
DAY OF THE LOCUST is Fri May 25: 3:30
Sat May 26: 6
Q&A with William Atherton
and BARRY LYNDON
May 27: 3 & 7
May 28: 3 & 7
May 29: 3 & 7
Respectfully,
Don Griffiths
Cinema Centre CEO
16 May 2007:
Ziegfeld Theatre enthustiasts,
You have the opportunity to capture theatre and film history at the Walter Reade Theatre [Lincoln Center] at the end of this month. Being presented is the Stanley Kubrick’s BARRY LYNDON which showcased at the Ziegfeld in December 1975. In note, I recollect Rex Reed, lighted pen to page and noting the showing with Intermission my questioning of his annoyance of the film which he gave an excellent review thereafter, in publication. Leon Vitali (Lord Bullington of the film) will be present at the theatre for the 35mm positive struck from the internegative. In addition, John Schselinger’s DAY OF THE LOCUST, which premiered at the Cinema I, will be presented at two performances with William Atherton (Todd Hackett of the film) in a question and answer session. Both films are American/UK cinema masterpieces. I advise your particaption at these events as a mark of excellence to yourselves and the brilliant recollections that serve as the base of all that you aspire toward. Your performance checks are:
View link
for DAY OF THE LOCUST (the Day Hollywood collapsed and fell into an $88,000 hole – Esquire, September 1974)
and the cinematic masterwork filmed without artificial lighting – BARRY LYNDON
View link
1975 was a critical year in American film.
When you screen the films at Walter Reade, obtain the DVDs of both films for better analysis.
If you don’t have access;
DAY OF THE LOCUST is Fri May 25: 3:30
Sat May 26: 6
Q&A with William Atherton
and BARRY LYNDON
May 27: 3 & 7
May 28: 3 & 7
May 29: 3 & 7
Respectfully,
Don Griffiths
Cinema Centre CEO
Even though Cablevision will go private, it will still operate Radio City, as well as the Beacon Theater and the profitable MSG and Clearview Cinema chain. Quite a few around the metro area have been getting digital projection and are still keeping the equipment. I’m sure Radio City has a DLP projector; it’s been awhile since a major movie got a gala premiere at the Hall (the last I can recall is “The Lion King”)…most movie premieres in NYC usually debut at the smaller Ziegfeld (also owned by CV) or the more popular AMC Loews Lincoln Square theater. Too bad Times Square doesn’t get a fair share of movie premieres as much as those in Hollywood.
Warren, Thanks for clearing that up, I am glad to hear Cablevision will continue to operate the theatre. Although I may not always appreciate the “talent” booked into the theatre, I will always be greatfull for the magnificent restoration.
The Dolan family has taken Cablevision private, does anyone know what that will mean, if anything, for RCMH?
Good news today!
The MTV video awards will NOT be held at RCMH this year.
You will all remember the desecration those people did on our beloved theatre last year.
A little insight into better times from Variety, August 8, 1951
RIVALRY MOUNTS FOR B’WAY PIX: DEMANDS SOARING WITH HOT BIDDING
Product jams at a couple of spots and intensifying rivalry within the ranks of both distributors and exhibitors are resulting in sweeping departures from traditional booking practices in N.Y.’s showcase sector.
There’s a rift between United Paramount Theatres’ flagship house, the Paramount, and Paramount Pictures. UPT refused to go along on Par’s terms on “Rhubarb†and consequently the pic has been booked for Harry Brandt’s nearby Globe. Par’s “A Place in the Sun†is set for the Capitol marking the first time the Loews house will serve as a first-run outlet for Par.
Columbia and City Investing Co., operator of the Astor and Victoria, disclosed a deal yesterday (Tues.) for a continuing tieup. This is designed to guarantee the two theatres a constant source of supply and, of course, provides Col with important showcase outlets.
The long runs of Metro’s “The Great Caruso†and the current “Show Boat†are forcing three films, which normally would play the Hall, elsewhere, including “Place in the Sunâ€. Other two are Par’s “Here Comes the Groom†and Warners’ “Streetcar Named Desireâ€.
WB’S “Capt. Horatio Hornblowerâ€, which follows “Show Boat†at the Hall, also is expected to hold for a long run and this will further aggravate the booking jam Conditions… (article continues)
I wish I would have been there to see those lines and in fact, stood in those lines. Alas, my first trip to New York was in 1998, way past its GLORY DAYS. Love to see any photos or stills of the RCMH that people send..for that matter, would love to see photos of Times Square with all the big movie palaces that were standing up to the 60’s. Does anyone know of a book with photos of the Great White Way during the 40’s-60’s?
Warren, I wonder if we bumped into one another at that Sinatra show.
My sister,(a bobbysoxer in every sense of the word) and I attended his shows. As for “Singin in the Rain”, I can close my eyes and still see those lines wrapped around RCMH.
In an answer to Justin Fencsak. I believe It’s mostly the cost factor holding them back from producing more shows. I do remember only one year they brought back the Easter show. Guess they didn’t fill as many seats as they expected. I have performed on the Great Stage and boy it is a thrill the stand there and look out at almost 6,000 people. I’m sure a lot of acts would love to put their show on there but like any other business, you want to make some money. So they will go for the smaller places like the 1,200 to 1,5000 seat houses which cost a lot less and the real big acts would want to go for something like MSG. Even for RMH to produce a show the cost is great on a day to day basis and a BIG outlay of cash way before the people sit in the seats. But most of us here can remember seeing a movie and the stage show for $1.25 (general admission) if you stood on line for hours in the cold and snow.
After the war, did anybody really care what was playing as long as the Rockettes were kicking up their heels?
Where were you when the lights went out?
Oh Warren, Singing in the Rain at RCMH. To quote Sinatra in one of the “That’s Entertaimnent” movies, “you can wait and you can hope but you will never see the likes of this aagain!”