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Maybe you know this CCI. Why didn’t Lean film Zhivago in 70mm? Because Ponti wanted to save money? Didn’t Lean have the clout at this point to say it has to be in 70mm? Most major roadshow films were still being filmed in 70mm at this point. It seems unusual to me.
Well I saw a few 70mm films on the Rivoli’s large curved screen and there were no focus problems. On the Warner Cinerama’s curved screen as well when they had their 70mm festival. I understand when Lean’s Lawrence was restored he wanted it on a flat screen in London. When Zhivago had its world premiere at the Capitol in NY did he not like the curved screen? Did anybody see it there.
Crowther’s South Pacific review:
The screen version of the famous stage show, which Twentieth Century-Fox has produced and which opened last night at the Criterion with a benefit showing for the Police Athletic League, is a tremendously big picture. It runs for close to three hours and fills a huge arcing panel that goes with its projection process, Todd-AO.
The Todd AO screen at the St James in Asbury Park where I saw Hello Dolly had a flat screen and so did Radio City when it showed the Todd AO Airport. It was just another 70mm format it seems.
When the Criterion showed South Pacific I believe I read in the initial reviews it was shown on a large curved screen. The Variety reviewer said the faces looked like Mt Rushmore.
What exactly is this person protecting? A theater box office from 70 years ago? What’s up with that?
That makes sense that they replaced Angela’s name with Celeste’s and then had to change it back after she returned. So Page had just started when 2001 opened at the Capitol.
I think I said this to you before but I don’t remember Nick and Al having a souvenir book at the Criterion. I know there was one but for some reason the day I went there wasn’t one. It was the first thing I would look for and I should have asked. Even the non roadshow Cabaret had a book at the Ziegfeld. Did you buy the souvenir books for Happiest Millionaire, 1776 and Tom Sawyer at the Music Hall? I know those films had one but I don’t recall them being sold there.
Probably. I just remember it as not looking like an especially big budget film worthy of the road show treatment. Did it have a souvenir book?
The Ziegfeld only had one reserved seat film and I don’t believe it played there very long. In fact I don’t even know why Marooned was a reserved seat presentation in the first place. It certainly could have been a continuous run film. Nothing special about it.
It was probably shown in regular 35 mm. This is the re release from the early 70s.
I always wondered why it didn’t play the Hall. It seemed like a no brainer.
I wonder if the Music Hall didn’t want this film after presenting all the other A and R films not finding it up to snuff.
This is in response to bigjoe’s comment on the Hollywood Egyptian page concerning D 150 but the response belongs here.
There were only two films produced in D 150-The Bible and Patton at respectively Loew’s State and the Criterion. I did see 2001 here in 1977 presented on the D 150 screen and it was one of the greatest film experiences of my life which I have written about before. I haven’t seen it since because I can’t imagine it on a smaller screen though because it was a very good price I bought the 4k version but I haven’t watched it. The size of the image is such an integral part of the film. I had seen the film as a boy but I had no recollection of it. So when the large curtains started slowly closing in that vast theater at the moment you realized HAL was reading their lips it was a hair raising moment that can never be duplicated again. Especially if you know the film. I had no idea it was coming and it was awesome-a word I rarely use.
I posted a picture of Kubrick with his family at the Capitol 2001 premiere and you see the Winter Garden across the street with Janis Paige in Mame. It was like the world premiere though the film actually had it at the DC Uptown a few days before.
As Mame opened in spring of ‘66 and Lansbury played in it through early '68 I wonder why they were redoing the billboard in'67. Maybe to put in Tony Winner? Looks like Bea Arthur was out at this point.
Cleopatra also got a fair amount of lousy reviews and was nowhere the hit it needed to be. I’m sure the Rivoli paid a ton of money for the film and needed a sold out hit for one and a half to two years to make a healthy profit on it. It needed to be a hit on the level of Ben Hur with a lot of Oscars being awarded to it. The fact that none of it happened made it ‘an inferior product.’
I’m a fan of the film myself and do not understand all the negativity surrounding it for decades even if there was all that pre-opening Taylor/Burton nonsense. I would give anything to see the original Mankiewicz 6 hour version which is lost forever. I saw it twice when the restored version was released in theaters in 2013. I had previously seen bits and pieces of it on TV. The 4 hours flew by.
I had no idea the Booth held the initial engagement of Julius Caesar. They were really out for the carriage trade with this one. Though the screen would have had to have been on the small size considering the intimacy of this theater.
Audrey would soon be duking it out with Julie across the street in
My Fair Lady at the Egyptian. Don’t let those Academy Awards pictures fool you.
The Cinerama Dome is closed for good? This is horrible. I was never in it and I’ll most probably never go to California again but I wanted it to always be there.
The Rivoli was ‘up’ on 49th Street and still showing The Sound of Music first run. It would have played the film into ‘67 but Fox wanted to get the film into the nabes and wanted the theater for The Sand Pebbles.
It never showed a D-150 movie. I think there were only two. I don’t even think it used its D-150 screen very often.
There is footage of the Royal premiere of Star! on youtube. As both Julie Andrews and Daniel Massey(at least we don’t see him but we see Noel Coward) are not there it doesn’t seem very exciting. And the Duke and Duchess of Kent? This makes it Royal? A wet firecracker. Like the film.
I saw this at MOMA many years ago. At the time I had no idea who Annabella was. She was at the presentation and spoke afterwards. A very elegant soignee old woman.
The stage show with the cars was a commercial for GM. They were also part of the finale ‘merry maypole romp.’ The ‘ballet’ was the dancers riding bicycles. The Matthau comedy festival would continue with the following feature Plaza Suite.
May was so furious with this cut of the film she demanded Paramount remove her name. They didn’t. If she had had her way the film would not have been the Easter movie. Though I have no idea at the time what they could have replaced it with as family films were no longer being made in this period.
Plaza Suite was not a family film and neither was the big summer film Murphy’s War which was a very depressing though not bad movie and the only time I heard f-ck in a Music Hall movie as I’ve already written about.
This theater housed the original Broadway production of Kiss Me Kate for a year and a half at which point it moved to the Shubert. Why such a big Cole Porter Broadway musical would play here so far uptown mystifies me. It didn’t keep it from being a smash it but still. Nothing else was available?
Anthony(Tony) Mordente was in the original cast of WSS, married Chita Rivera, is in the film of WSS and when Robbins was fired staged Peter Gennero’s Dance at the Gym choreography for the movie which I think is the highlight though others might prefer Robbin’s staging of America or Cool.
If you’ve seen the bluray of Hit the Deck that Hallelujah finale must have been mighty impressive on the Music Hall’s vast CinemaScope screen and in stereo.
Jeez Louise that was longer than Gone With the Wind. Everything but the bloodhounds nipping at his rear end.
‘and in private exclusive appointments where I was paid handsomely by the hour, never expecting to engage in any activity that endangered me legally, physically, or morally.’
Then what were they paying you for afternoon tea with cucumber sandwiches?