Showing 301 - 325 of 787 comments
Cecil Kellaway hurts the film. Who wants to see him killed as the unwanted husband? It should have been Hume Cronyn.
Well that’s strange. Maybe that’s why people are confused. Is it the same with the exit music? It’s there but a bit tricky to find?
I read that the entr'acte or intermission music that is the music played before the second half begins was cut in this release along with the exit music. So it’s there?
Do you see the Astor when she is bouncing on I believe it’s a convertible bed in the Times Square Castro showroom? I know you can see the sign for Dr Dolittle which was on the block long sign above the Astor and Victoria right across from Loew’s State where it premiered. This then is right before the Astor Hotel was demolished because it was gone by Sept of ‘68.
I’ve never seen the alternate ending. I think the bittersweet ending is wonderful. Although I personally think it’s sad because you sense as she disappears into the city she will always be alone ‘hopefully ever after.’ Original audiences I think felt betrayed by it.
I kind of doubt they ran out. Somebody probably didn’t put them out at that performance and I was foolish not to ask. It was strange because they would usually hawk them like peanuts or hot dogs at the Garden.
As per CC’s new photo I wonder if The Hallelujah Trail negative still exists in the UA Archive or at least a Super Panavision print. I understand the bluray was taken from a 35mm print and is supposedly very poor and a big disappointment. One wonders why they waste such an opportunity and anger fans and lessen the possibility of a better release in the future.
Didn’t Melanie do a concert here in the 70s?
Didn’t Young Winston play reserved seats at the Columbia twin? Or was it reserved performances?
Acronyms can be fun to figure out though I get your frustration. On Lynley’s death I emailed a friend about TPA. He had no idea what I was talking about and wrote me an annoyed email calling me inscrutable and asking me to explain it. It seemed pretty obvious to me.
I assume that’s where the large elegant oval white lounge was on the lower level. Can anybody who remembers the original theater confirm that?
Bigjoe I assure you I am not making this up! I was scandalized. If I knew how to post pictures I would find that image so you could see. Unfortunately the Criterion marquee is a bit in the distance but you get the idea.
Of course when I first walked into the Criterion the first thing I looked for was the program but I didn’t see it! Strange because when I walked in for the Jan revival of MFL earlier in the year there was a guy in a tux selling an abridged version in softcover of the ‘64 hardback.
I’ve learned about Twilight Time limited edition blu rays the hard way. I did get the Japanese edition of Magnificent Men in Their Flying Machines because somebody wrote it was the exact same transfer and you could get rid of subtitles. Do you know if this is the same situation for Nicholas? That it is the exact same transfer and subtitles can be eliminated?
I’ve been reading that the kino Lorber Sweet Charity bluray is better than the French blue ray. The problem is they advertised it as the roadshow version yet they left out the entr'acte and exit music. I guess the young people who put these things together don’t know what a roadshow was and don’t really research what that entails. These things exist in earlier video releases of the film. Sloppy.
Oh by the way I think the blu ray is sold out and now goes for extortionist prices. Sadly I did not get it. I do remember walking up the aisle of the Criterion after the film was over very shaken.
Yes! I thought it was lousy for a roadshow film(I know why should I care?) that there wasn’t the art work but just the lettering. By the way did you get the souvenir program from there? I know there was one but they weren’t selling it at my performance. I’ve seen it on ebay or maybe someone posted it in the Criterion photo section.
Also if you pull up images Times Square 1970s you will see it in one of the images. Though to be honest someone stuck it in the images for the 60s which is where I saw it again all these decades later. Sadly the last roadshow film at that most prestigious of Times Square theaters which was a short while later to become an exploitation house before being sliced up into a slew of shoebox theaters. Superman looked great there before the theater ended up on the chopping block. Too bad its first very successful run was at the Astor Plaza.
I should mention the Criterion with Nich and Alex had no film artwork on any side except for the lettering itself. Yet I believe the Newman Judge Roy Bean did on all sides from what I remember. Or was it McCabe and Mrs Miller? I wish I had taken photos of all of this.
I didn’t think of it but you’re right. Odd for the time. But I was surprised that the front of the marquee for WSS at the Rivoli did not have the film’s artwork but the regular frozen plastic. Also Nich and Alex at the Criterion which disappointed me. My Fair Lady when it was revived at the theater in ‘71 nicely had the films artwork which was good to see though not as elaborate as in '64.
Who did this restoration? Was it Harris? If not what did he think of it if he made any comment? Also considering size the Museum’s screen wasn’t the image small?
So how many shows per day? Seven days? How many weeks? How many songs did Garland sing in a show? I’m sure Rooney was climbing the proscenium at every one of them.
Well you did get to see it at the Capitol. There are very few people who can say that. One of a very fortunate few. I bet it was the best presentation ever of this film.
One thing I can say for sure is that Bill Boggs and Hermione Gingold were sitting behind me at Napoleon. Can one dream that?
I saw Spartacus at both the Ziegfeld and went back to see it at Worldwide. And yes it was very nicely presented at Worldwide. That was a great place to see movies cheaply. Saw Eyes Wide Shut there twice as well.
A rising curtain doesn’t seem to make much sense to me in the case of Cinerama. But he was there I wasn’t. And I’m quite surprised they would show it at that time with curtains not working. It would remove all element of surprise as to the screen size.
Also I saw Napoleon at the Music Hall during its first run not the second. I distinctly remember the curtain being used. If it wasn’t I would have been appalled and remember it. But then maybe I’m having a senior moment(ugh, I can’t believe I’ve reached an age where I can say that.)
Yes I do remember the lights but I did not mention them and perhaps Canby did not as well because it was so poorly and weakly executed(I had no idea they were meant to simulate curtains) that it made no difference. To me it was still a bare screen. From what I’ve read the curtains and borders truly made a difference. In fact the use of them at the beginning of This is Cinerama was so effective it knocked audiences for a loop. I wonder if the Vistavision screen at the Paramount was larger than that of the Music Hall which of course always used curtains no matter what. Also wasn’t it slightly curved compared to the Hall’s flat screen?
It was an old Cinerama print simply transferred to 70mm so shown with a single lens on a bare screen with no curtains and therefore no showmanship whatsoever. Vincent Canby wrote a piece on it at the time so if you have access to the Times' archive you might want to read it.
Terrible terrible terrible. Even if the movie wasn’t good like some bad artsy French film it was always a pleasure coming here. Still remember those long weekend lines from decades ago. One of the last remaining signs that New York was once a great city.
Ok. I just mentioned that the news was very sad assuming that people on CT knew that I was referring to Fonda and putting it on this page because he was due to speak here in a highly publicized event in a month. Even at 79 he seemed healthy and planning public events.
Can the hall monitor of Cinema Treasures explain this?