Tuesday, July 31, 2007

Upcoming from Image Entertainment

Coming soon from Image Entertainment/The Blackhawk Library:


Lon Chaney stars as the gentle outcast Quasimodo in the first film version of Victor Hugo's classic novel, The Hunchback of Notre Dame. Paris of 1482 was meticulously recreated on the back lot of Universal Studios for this powerful drama that turned Chaney into a screen legend -- now presented in the ultimate special edition of this timeless classic.
  • Mastered in high definition from an original multi-tinted print.
  • New symphonic score compiled by Donald Hunsberger, adapted and conducted by Robert Israel. Recorded in Europe in digital stereo.
  • Insert essay and optional audio essay through the film, both by Michael F. Blake, author of two books on Lon Chaney.
  • Facsimile reproduction of original souvenir program.
  • Gallery of Original 3-D stills (3-D viewing glasses are included with this DVD).
  • Extensive gallery of 2-D stills including production shots, scenes and advertising materials.
  • Behind-the-scenes footage of Lon Chaney out of makeup on the set.
  • A rare 1915 short starring Lon Chaney in a dual role of a hunchback fisherman and fate in Alas and Alack.

  • LENGTH: 118 minutes
    LANGUAGE: English
    AUDIO FORMAT: Dolby Digital 2.0 Stereo
    DVD LAYERING: Dual
    DISCS: 1
    FORMAT: DVD
    ASPECT RATIO: 1.33:1

    More information here.

    Monday, July 30, 2007

    Coming Friday to the Central

    A preview of this Friday's blog.

    Stereo at the drive-in? What it's all about...

    Sexy, leggy usherettes will also be welcome.

    Sunday, July 29, 2007

    Concession Conforms to Theatre Design

    From June 5, 1954:

    This graceful concession stand of serpentine design was recently installed in the mezzanine lobby of the Roxy Theatre, New York City. It is easily accessible to patrons entering the theatre, whether on their way to loges, orchestra or balcony. The 33-foot stand was custom built by Sinicrope Son and is constructed of stainless metal, highly polished fireproofed wood and plate glass. Its flowing lines conform to the architecture of the theatre. Complete refrigeration maintains all commodities on sale at the proper temperature, including candy and the beverages dispensed from Selmix units. Brilliant spotlighting highlights the refreshment merchandise.

    Saturday, July 28, 2007

    Friday, July 27, 2007

    Bunker Theaters

    For those of you entrepreneurs out there who want to get started in the Exhibition biz, consider this cheap alternative to finding an existing theater...

    ALL-ALUMINUM PREFAB THEATRE BUILT FOR $60 A SEAT
    From BoxOffice Magazine, The Modern Theatre, April 2, 1949



    The 600-seat Rose Theatre, which recently opened in Franklin Park, Ill., industrialized Chicago suburb, is an all-aluminum prefabricated building adapted to theatre use.

    Of greater significance, however, is the fat that the theatre was built at a cost of only $60 a seat. This compares with the price of $150 to $200 a seat for the conventional type of construction, according to T. J. Theodore, chief engineer of the Fairfield Enterprises, Inc., designers and builders of the Rose.

    Although construction time on the Rose Theatre was less than three months, actually more than a year of intensive investigations and studies of the special requirements and problems of theatre construction preceded building activities.

    The field of prefabricated buildings was searched carefully by Fairfield Enterprises before the all-aluminum arch type prefab manufactured by the Reynolds Metal Co. under the trade name of Alumi-Drome was selected. This building proved to be ideal for adapting to theatre use.

    Aluminum does not rust or corrode and requires no painting or tarring. It combines structural strength with lightness which speeds construction and cuts building costs. Important too, according to Theodore, are its insulating properties. Aluminum is said to reflect 95 percent of all radiant heat striking its surface. In the winter inside heat is reflected back into the interior of the building. The heavy-gauge sheets of embossed aluminum are firmly grasped by rigid aluminum framing members on all sides so there are no loose edges to catch the wind. A patented, all-bolt method of assembly is used.

    Theodore points out that obtaining an appropriate prefab building in just one phase in the complex job of designing and building a theatre. Without competent and experienced planning and engineering savings made in purchasing a prefab building can be wiped out by the succeeding phases of construction.

    According to Theodore, expensive frills are dispensable since patrons soon overlook these but never forget poor screening, uncomfortable seating or inadequate ventilation. These functional considerations were paramount in planning and constructing the Rose. Yet, appearance was not forgotten as is attested by comments of visitors that have inspected the building.

    The auditorium of the Rose is finished in Nuwood, insulation is Fiberglas throughout. The lobby is laid out for efficient handling of patron traffic. A glass enclosed cry-room is provided on the second floor adjacent to the projection booth. Heating is furnished by an automatic oil-burning forced air heating system. The front of the building is dressed up by using red face brick with lannonstone and glass block trim.

    C R E D I T S:
    • Prefab Building: Reynolds Metal Co.
    • Adapted by: Fairfield Enterprises, Inc.
    • Insulation: Fiberglas
    • Seating: RCA International
    • Projection & Sound: Simplex
    Captions
    1. Auditorium of the Rose, a 600-seat prefab theatre in Franklin Park, Chicago suburb, The front of the house was dressed up by using red face brick with lannonstone and glass black trim.

    2. Auditorium of the Rose is finished in Nuwood, and is insulated with Fiberglas.

    3. Above. View of the cry room showing the seating, plate glass window in front and the loudspeaker above the window which provides the sound. Below. Lobby of the Rose Theatre. Note that the candy bar and popcorn machine are at the end of the lobby where they are readily accessible yet do not interfere with handing of lobby traffic.


    EPILOGUE/MY THOUGHTS

    It is interesting to note that in the '40s during and particularly post-War there was a interest in structural recycling in the US. Buildings that were previously used as war manufacturing facilities quickly became renovated into the most commonplace of business places.

    So it is not so surprising that enterprising exhibitors would turn to these "Quonset Hut" locations in creating a functional movie theater, as shown above. The Rose Cinema, which was constructed in 1941 (same year as the Central in Passaic), survived until 1981. It saw its last days (as many theaters did) as with triple-x/grindhouse programming.

    For more information about Quonset Hut style theaters, check out Cinema Treasure's listing of Quonset Hut Theatres.

    Monday, July 23, 2007

    Come to Capitolfest 5!

    Just a plug here for my good friends at the Capitol Theatre, Rome, NY. I will be there Saturday and have a show I am hosting on Sunday. For those in the greater Northeastern US, you owe it to yourself to see great films of the silent and early talking era, presented in 35mm in a 1,741 seat, 1928 movie palace. Eminent film musicians Avery Tunningley, Dr. Philip C. Carli, Bernie Anderson and Robert Israel will be performing throughout the weekend on The Capitol's 3-manual, 7-rank Moller theater organ.


    Among the schedule will include Barbara Stanwyck's first talkie, THE LOCKED DOOR (1929), the rarely seen 1926 version of BEAU GESTE with Ronald Colman, the silent comedy SICK ABED (1920) with Wallace Reid and Bebe Daniels, HIS GLORIOUS NIGHT (1929) with John Gilbert, the East Coast premiere of the silent version with synchronized music & effects track of ALL QUIET ON THE WESTERN FRONT (1930) and a tribute to Bebe Daniels, with two features and two shorts.


    My show will consist of 40 minutes of rarities from my collection as well as from archives and collectors all over the world. Included in the program will be a rarely seen Hal Roach short as well as miracles of the screen you may or may not need special glasses to see! The show will be presented entirely in 35mm. If you are a reader here, please come up and say "hi" to me afterwards.

    Find out more about Capitolfest at The Captiol Theatre's website for Capitolfest 5.

    Wednesday, July 4, 2007

    Happy 4th of July

    The Management would wish to convey to you and your family a most happy Fourth of July!

    For those Exhibitors who want to feature a sing-a-long with their show....

    DEVELOP HIGH-INTENSITY ARC SLIDE PROJECTOR


    Projecting pictures of a size and brilliancy comparable to large-screen theatre projection, a universal high-intensity arc slide projector which accommodates 2x2-inch, 3 1/4-inch and 4x5 slides has just been developed by Strong Electric Corp. of Toledo.

    This new projector fills a long-standing demand for an arc slide projector capable of projection pictures to the mammoth size screens of drive-in theatres. It is also ideal for school, college and and church auditoriums and classrooms, particularly where there is difficulty in darkening the room.

    In projecting 4x5-inch slides it will largely be employed by TV and motion picture studios for projecting background scenes before which the play is enacted. A 50 C.F.M. capacity blower cools the slides so effectively that even dense slides may be projected for an hour or more without damage, it is claimed.

    As compared to the yellow light of the Mazda, heretofore relied upon for slide projection, this high-intensity arc projects a snow-white light that gives the picture real brilliancy and sparkle. The projector is extremely simple to operate. It can be plugged into any 110-volt A.C. convenience outlet.

    Economical of carbons, the motor-driven arc burns 6mmx7-inch copper-coated carbons at 45 amperes and 21 volts to project 7,500 lumens of light. The burning time for one carbon trim is 80 minutes. The optical system includes three lenses and a 3 1/4-inch focus polished glass reflector of 24-inch working distance and 10 1/4-inch diameter.

    The length of the projector is 78 inches and adjustable legs permit establishment of the optical center at a height of from 36 to 55 inches. A projection angle of as much as 27 degrees downward of 10 degrees upward is afforded.

    (BoxOffice, Modern Theatre Section, Page 34, October 4, 1952.)

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