Palladium Times Square
1515 Broadway,
New York,
NY
10036
1515 Broadway,
New York,
NY
10036
32 people
favorited this theater
Showing 376 - 400 of 573 comments
Re: Lawrence in 92 at the Ziegfeld – it looked fantastic to these jaded eyes.
Regarding the Loew’s Jersey, they do not have 70mm gear. I’m hoping they can one day finish their restoration of the theatre and then work on getting 70mm gear up there, it would be a great place for the big epics (if the sound echo can be tamed a little).
Columbia has a number of 70mm titles available, probably more than any other studio. They are available for regular bookings to any theatre that has the 70mm projection equipment.
Pete Apruzzese
Director of Film Programming
Big Screen Classics at the Lafayette Theatre
Bill….Well then America needs a 70MM ambassador to import these prints from Norway or Denmark or England or wherever all these 70mm prints are shown and bring them here. Geeze, they’re all shown overseas!!
RE: Lawrence/Arabia 70mm print last year…was it grainey?? What I remember was I went to the 10:30am show and when the first frame hit the screen i went …Whoa!! It was a great print
RE: Around The World In 80s Days photo at www.in70mm.com
The photo was taken in Norway.
Rhett wrote: I would love to start some sort of organization to show 70MM flicks.
That would be a great organization. As you mentioned, money, contacts, etc. could be a “small” hurdle. Also, despite the number of new restorations of 70mm films, others seem to be hard to come by. There are some studios who will rent out 70mm prints to places like American Cinematheque. Columbia/Sony let them run a 70mm print of “Starman” in early 2002. It was in mint condition.
Rhett wrote: Oct. 2002 I saw the 40th Anniversary of Lawrence of Arabia.
Was the film a little grainy? The clips I’ve seen of this 40th Anniversary re-release were grainy/dupey.
Rhett: Around the World in 80 Days….it has been stated here that no 70MM prints were struck for it…but on the site in70mm.com there is a photo of the film showing on a screen?? Is this a 70MM print Bill??
My pal Thomas Hauerslev took that picture in 1995, but hasn’t gotten back to me where it was shown. My guess is that the 70mm print was shown at Bradford, England, during one of their Widescreen Weekends. I’ll post here with the definitive answer once I get it.
As far as I know, there was a 70mm print shown at a private screening in Los Angeles in 1999. I’ll try to clarify that, too.
Vincent wrote: Hell I would love to see anything on even a 60ft screen in NY.
Perhaps the Loew’s Jersey Theatre could, over time, get 70mm projection and show the restorations. As far as I know from postings on other sites devoted to film, I don’t believe the theatre is yet equipped to show 70mm. Anybody know? I haven’t found any references on their website as such.
Bill thanks for clarifying that. Hell I would love to see anything on even a 60ft screen in NY.
RE Bill K’s quote: So why not invest a few extra dollars in shooting in 65mm, or even printing a few 70mm prints for those massive 80-foot screens?
And Vincent’s Response: On a previous posting somebody mentions 80 ft screens in NY. Where are they? I would love know.
Hi Vincent, I was speaking in general about the state of cinemas and lack of 70mm today. Some complexes in Southern California, at least when they first opened, boasted huge 80-ft. screens. I believe Pacific’s Winnetka Stadium 21 has at least one or two. The Irvine Spectrum 21, an Edwards theater, boasts at least two 80-foot screens in their “Chinese” and “Egyptian” auditoriums. I’ve heard two different specs on Edwards Newport (a.k.a. Big Newport) that their screen is between 70 and 75-feet. And I think that the Mann’s Chinese (Hollywood) and Mann’s Village (Westwood) have 70-ft. screens. These specs are from memory of newspaper ads and may vary. :)
I was wondering if the Ziegfeld still uses the two curtains they had instead of those stupid reapeating slides? The last movie I saw there was the opening day of Yentyl in 1983 and than I moved to Florida.
Mike
On a previous posting somebody mentions 80 ft screens in NY. Where are they? I would love know. Even the Ziegfeld has only a 50ft screen. Pretty pathetic for the only roadshow house left in Manhattan(and I believe it only showed one roadshow film-Marooned in ‘69. Others were reserved performances. Correct me though if I’m wrong.)
This could be a minor point but a true 70mm release print of
“WORLD IN 80 DAYS” would be in 30 frames per second (like Oklahoma)
This means a 25% increase in film stock- and cost- for the same running time.
Also,if there are any projectionists reading this and you ever
have to run one of these 2 30fps release prints, strange things can
happen to a 70mm projector (higher speed and vibration).
Tighten up everything.
I saw “OKLAHOMA” IN 70MM 30FPS several years ago at the Wang Theatre in Boston. The show went off first class (thanks to the great crew there) but you could hear the film going though Norelco's
in the front row.
East coast 70mm fans: Try and get to Silver Spring, Maryland sometime. AFI has a newly restored art deco theatre there which is fully equipped for all formats except three projector Cinerama. In recent months they have shown two very rare 70mm prints: the French 1967 comedy PLAYTIME directed by Jacques Tati (which on the giant screen plays like a cross between Stanley Kubrick and Buster Keaton) and the Russian version of WAR AND PEACE (undoubtedly the most spectacular movie ever made). Also in the same vicinity, in DC, is the Uptown theatre with one of the last of the old Cinerama screens… deeply curved and about 70 feet wide. They show mostly new blockbusters, but has been a prime site for such restorations as LAWRENCE OF ARABIA, MY FAIR LADY, VERTIGO, and SPARTACUS. It was also where 2001 had its world premiere in 1968. Too bad about NYC… it is amazing to me that they have lost/destroyed so many venues for spectacular presentation.
Bill, I would love to start some sort of organization to show 70MM flicks. The problem is, no money, no theater, no contacts, wouldn’t know where to start and I couldn’t get a theater anyway. I’m afraid (for myself) this will just have to be a dream.. a MAJOR life regret. If there was an existing organization, I would be the most loyal soldier, but money talks…and who has it? Oh well.
RE: Does Zeigfeld put on a good presentation…..last year in Oct. 2002 I saw the 40th Anniversary of Lawrence of Arabia…in remastered 70MM. Probably the last 70MM I’ll ever see..I hope not..it was an awesome experience to see.
RE: Around the World in 80 Days….it has been stated here that no 70MM prints were struck for it…but on the site in70mm.com there is a photo of the film showing on a screen?? Is this a 70MM print Bill??
Bill, I would love to start some sort of organization to show 70MM flicks. The problem is, no money, no theater, no contacts, wouldn’t know where to start and I couldn’t get a theater anyway. I’m afraid (for myself) this will just have to be a dream.. a MAJOR life regret. If there was an existing organization, I would be the most loyal soldier, but money talks…and who has it? Oh well.
RE: Does Zeigfeld put on a good presentation…..last year in Oct. 2002 I saw the 40th Anniversary of Lawrence of Arabia…in remastered 70MM. Probably the last 70MM I’ll ever see..I hope not..it was an awesome experience to see.
RE: Around the World in 80 Days….it has been stated here that no 70MM prints were struck for it…but on the site in70mm.com there is a photo of the film showing on a screen?? Is this a 70MM print Bill??
Rhett wrote: What can we do here (East coast) to get these knuckleheads to keep 70MM alive??
Do you have a film society, like an American Cinematheque? The Cinematheque out here has presented a number of fine 35mm, 70mm and even some rarely seen widescreen films at the Hollywood Egyptian Theatre. Perhaps a film society in NYC could procure some 70mm prints of the newly restored classics. As for new 70mm, well…
There’s some kind of thought in the film business that 70mm is a cumbersome thing. But when I’ve listened to some DPs at various seminars, they’ve commented that the newer 65mm cameras are almost every bit as easy to use as their 35mm counterparts. The lighting set-ups are virtually identical and the cost isn’t as bad as some anti-70mm people might say. Considering it costs about $150-million to make and market a film today, shooting a handful of films in 65mm is nothing!
Rhett: I remember going to see Spartacus at the Ziegfeld in 91 in 70MM. I was told…“You have it on tape, why are you paying to go see it? Thetaer chains are run by ignorants or high schoolers who could care less, they just flip the switch.
So many people just don’t get it! Does the Ziegfeld still put on a great presentation? I know that some of the Westwood and Hollywood houses still care about quality presentation.
Scott wrote: One problem with IMAX is that it is a “large screen” format and not a “widescreen format”—The aspect ratio of IMAX is 1:37-1(the original standard pre-widescreen was 1:33-1). The only way you could show “widescreen” films on an IMAX screen is by letterboxing.
If I may, the approximate aspect ratio on IMAX is 1.44:1. And it’s true, if a director wishes to maintain the original widescreen aspect ratio on his film, the film does need to be letterboxed. But with “Apollo 13, ” and “Attack Of The Clones,” the films were cropped. “Apollo 13” was done in 1.66:1 (similar to Disney’s re-purposed animated films), and “Clones” was cropped to an unusal 1.81:1 ratio. Thus both films were letterboxed. With the tallness factor of an IMAX screen, the lettterboxing isn’t as bothersome.
Those digitally re-purposed films do look pretty good on the IMAX screen, though we’re still not getting true IMAX, or a true 35mm widescreen presentation.
I would bet that Astor Plaza will have Spiderman 2 in it…
This will probably be the last film that I see there…
Sounds good Bill….I may have to venture to the Astor to see Potter too. Scott….egarding the editing of Attack of the Clones…gee, I bet it was a better picture shorter. I had seen Apollo 13 in IMAX..it was good, edited also and it was just like the TV version, cropped. But on the IMAX screen, it was a good experience
Rhett: When you said:
We’re outnumbered and doomed to lose…but we’ll fight to the end.
I appreciate that you used a 70mm movie (“The Alamo”) to make your point.
I saw the new Harry Potter at the Astor Plaza on Friday night. It was a packed house, the screen was huge, the audience was enjoying themselves … if this was to be the last time I’d ever see a movie there, I’m glad it was a fine example of all that a big single-screen theater can be.
One problem with IMAX is that it is a “large screen” format and not a “widescreen format”—The aspect ratio of IMAX is 1:37-1(the original standard pre-widescreen was 1:33-1). The only way you could show “widescreen” films on an IMAX screen is by letterboxing. I actually recall seeing Star Wars II-Attack of the Clones that was “especially done for IMAX”—What had been done was the following:
The image was cropped from 2:40-1 to 1:37-1 in order to show it full-frame. The film itself was filmed digitally, but most theaters do not have digital projection systerms, so prints had to be struck. The digital files were not reconfigured for IMAX, instead the film was cropped.
For the IMAX edition, the film was also edited by about 20-25 minutes due to its original length. Slower expository scenes and some of the “romantic” storyline was edited out.
Well Bill…what can we do here (East coast) to get these knuckleheads to keep 70MM alive?? You know, it’s like the youth today who don’t like to watch a Black and White film…you mention 70MM to them and they don’t care….many adults too for that matter.
I remember going to se Spartacus at the Ziegfeld in 91 in 70MM. I was told…“You have it on tape, why are you paying to go see it?”
Lord they have eyes but cannot see!
I believe we in this room are a minority….film lovers, who value the presentation. Thetaer chains are run by ignorants or high schoolers who could care less, they just flip the switch. They are the Mexican army under Santa Anna and we are the small army inside The Alamo. We’re outnumbered and doomed to lose…but we’ll fight to the end.
Rhett wrote: “In my research, it’s amazing, all the "presentations” (for you Vincent) that played in 70MM."
Kind of ironic how the format has been shoved to the backburner of film history especially considering how popular the format was!
“It seems every big movie played in at least 1 or 2 theaters in NY or NJ in 70mm.”
And then some! Just wait until you see the 1980s lists of 70mm runs in the region. Pretty incredible.
“You know, it has me thinking…have we seen the demise of the 70MM presentaion??”
Unfortunately, I think it has been pretty well “put to bed.” It seems that those who make films and those who distribute them, but not all, are content with pleasing the masses. So that means that virtually every film has to have that same jerky, zooming editing style; virtually every film is a sequel; virtually every movie theater built nowadays is like the one down the street, etc. So why not invest a few extra dollars in shooting in 65mm, or even printing a few 70mm prints for those massive 80-foot screens? I’ve even recently seen some 24p High Definition video transferred to 70mm print stock and it looks very good! The same footage, digitally projected, didn’t look even close to the quality of the 70mm print.
I find it funny that almost $200-million can be spent to make a film and market it, but someone in the ranks of getting a film distributed gripes about the cost of a 70mm print! More money is spent on Brad Pitt’s hair gel than would be spent on a 70mm print or two.
We do have some current 70mm first run presentations today. “Harry Potter 3” just opened day-and-date in select IMAX screens. But this is neither true IMAX nor is it a blow-up. The film, from what I’ve heard, is being shown in widescreen and was digitally transfered to IMAX via the original digital files.
I find this 70mm presentation awkward. The film is shown on a huge screen, but it’s letterboxed. But the picture quality is very good. You gotta figure that those commercial complexes that invested a lot of money into building and maintaining an IMAX screen are struggling. They need to make money somehow, even if that means showing crummy “enhanced 35mm” prints or psuedo-IMAX.
I think it’s far less expensive to strike 5-perf 70mm prints of the film. And with today’s film stock, they would look very, very good.
“It’s also a damn shame that most of the 70mm prints have been destroyed. Wouldn’t it have been great if the prints were preserved and used for the home video DVD transfers?”
I think it’s a shame that a number of 65mm negatives might be rotting as we speak. But there have been a number of 65mm transfers to home video formats over the years. And kudos to 20th Century Fox for restoring “The Sound Of Music,” “Patton,” and “Those Magnificent Men In Their Flying Machines” and having the guts to strike new prints and showing them. Warners and Disney are also to be commended for striking 70mm prints of “It’s A Mad, Mad, Mad, Mad World,” and “Tron” and “Sleeping Beauty.”
I think it’s sad that NYC/NJ hasn’t had the opportunity to see some of these restored 70mm titles. I guarentee you that if The Ziegfeld ran a 70mm restrospective on these classics, they’d have sell-outs. Even people who don’t know much about film formats do notice the difference in the quality of a 70mm print compared to 35mm. They would line up to see these films on the big screen. I’ve seen this succeed here in L.A. at the American Cinematheque.
Thanks again for the kind words.
Bill and Mike…the 70MM site is excellent. I look forward to the NJ list. Because of you guys, my interest has peaked and I have been doing my own research to all the 70MM flicks I have seen or has been presented. In my research, it’s amazing, all the “presentations” (for you Vincent) that played in 70MM. It seems every big movie played in at least 1 or 2 theaters in NY or NJ in 70mm.
You know, it has me thinking…have we seen the demise of the 70MM presentaion?? It seems the only special showing these days are the digital presentations. It’s also a damn shame that most of the 70mm prints have been destroyed. Wouldn’t it have been great if the prints were preserved and used for the home video DVD transfers? I mean even movies like Rocky III and Staying Alive, which were great being seen in 70MM might have had a better DVD presentation with the 70MM six track print…I don’t know…it seems such a waste.
The Loews/Sony multiplex in Willowbrook in Wayne showed many 70MM showings. Now it’s a multiplex dump.
Anyway good work guys, I wonder if both our researches turn up the same thing. I have been taking the microfilm and making copies of the pages for my own collection.
To Bill H. and Vincent:
Thanks for the kind words. And yes, it would be looking a gift horse in the mouth. :)
I don’t believe any Asbury Park engagements, at least during the roadshow era, were included in The New York Times. So as a result, additional research from other sources would be required in order to integrate that area’s engagements into our project. Our principal source of the info has been The New York Times.
We have a couple Asbury Park/Belmar/Neptune area 70mm-equipped theatres included in the theatre portion of our project (St, James in Asbury Park, Man Ray in Belmar….), but are debating whether or not they should stay since we’re undecided if we want to consider that area to be a part of the “New York” market.
I think it is reasonable to consider Atlantic City a separate market
entirely, and one we haven’t considered researching at this time.
It would be nice to cover some other major markets, like Boston, Washington D.C. and Philadelphia. But time contraints, as well as cost, limit us to select regions to research. Mike has had the opportunity to do some extensive traveling across the country, and has unearthed some excellent information on 70mm and 70mm-equipped theaters.
If you’re interested, we will eventually have Los Angeles, New York and Orange County (CA, and actually quite a sizable 70mm market) 70mm lists posted at …in70mm.com.
Again, thanks for the kind words and interest in our work.
I for one can’t wait and would it be looking a gift horse in the mouth to ask for Asbury Park and Atlantic City as well?(give them an inch…)
To Bill Kallay and Mike Coate: I’m sure all of us on this thread can’t wait to see your upcoming lists. We really appreciate the hard work you put into it and we’re grateful to you for even attempting it. Seeing a list like that will be the next best thing to seeing a beloved movie classic in 70mm.
Rhett wrote: I wish they had more about 70MM presentations from NY and NJ.
Rhett, I hope you and other fans of Cinema Treasures and 70mm will visit …in70mm.com in the coming month. Mike Coate and I have been compiling an engagement list of 70mm presentations in the Manhattan and New Jersey areas (Paramus, Upper Montclair and Cedar Grove) from the Roadshow Era to the Present. We’re closing in on the final years of our research.
Since this is a “work-in-progress,” we will, over time, attempt to compile further engagements, including those that may have played in New Jersey (as listed above), but may have not initially been advertised in the NY Times.
This project is an off-shoot of other lists we’ve compiled on 70mm engagements, including San Francisco, San Diego and Los Angeles (which will be posted soon).
As you know, New York was a big market for 70mm, therefore it took us some time to compile these engagements. We started this project back in July of 2003 and have done a week-by-week search of 70mm presentation in NYC and NJ. As you may suspect, it’s a time consuming project, and I say that in a positive way. Why would we do this? We did this not only because we’re fans of 70mm and the theaters those kind of films played in, but also as a historical document of this format. Hopefully you’ll be able to link those 70mm engagements with theaters listed on this site, as well.
Thanks to Bill Huelbig for pointing out my collaborator’s “Star Wars” articles on …in70mm.com. Michael Coate put a lot of time and research into this article. Hopefully you got a “kick” out of finding out which places showed the classic in 70mm. He also compiled a list of “The Empire Strikes Back,” “Alien” and “Close Encounters Of The Third Kind” 70mm engagements.
One of the important aspects about the phenomenon of “Star Wars” was the fact that its presentation in 70mm really set it apart from other films. It truly took the way audiences, for a time, experienced a movie. Certainly the Roadshows were on a higher level than their 35mm counterparts, but it was “Star Wars” in 70mm that introduced an new generation to better picture quality and super sound. So if you go through Mike’s list, I hope you can appreciate that a number of theaters upgraded their projection and sound equipment to “wow” audiences with this film. No longer was 70mm Six Track Stereo presentation just for musicals and epics; it was for exciting popcorn movies, too. Some exhibitors figured that great projection of 70mm and six track sound could bring in audiences and $$$$. Why can’t they figure that out nowadays?