Correction: Loew’s took over the Cinema 70 in 1967, as they began an expansion into South Florida. They also briefly had the old Boynton Cinema (Sunshine Square, U.S. 1 at Woolbright) in their circuit.
The “unique” 20-speaker Dolby Sound system was only in their largest auditorium (typical of UA multiplexes in South Florida, along with the occasionally difficulties of snagging a parking spot).
Also meant to mention that if the Deerfield Ultravision went out with a whimper, it was still packing them in almost to the end: “Raiders of the Lost Ark,” “ET: The Extra-Terrestrial,” and “Beverly Hills Cop” each played for the better part of six months.
Thanks for locating that grand opening ad, Mike. The Gold Coast Drive In (a couple blocks south) and GCC’s Pompano Cinema (2 ½ miles south) certainly weren’t celebrating that day. In particular, Pompano lost their lock on Disney product, and changed their policy to allow R-rated films.
The Ultravision fed my moviegoing habit from ages 9 to 24, supplying kiddie/summer matinees (often MGM and Selznick library classics) early on and later introducing me to the midnight movie movement. I know now that’s what they needed to do to keep the place solvent, but it was a nice coincidence to have those movies readily available. One hasn’t lived until they’ve stood in a long line populated with “A Clockwork Orange” and “Dawn of the Dead” fans.
Interesting that the grand opening ad mentions “Song of Norway” being presented in 70MM and stereo. A projectionist there in the later years told me they didn’t have the tracks for 70MM, and stereo wasn’t installed (south auditorium only) until 1980 (“The Elephant Man” being the first I saw with enhanced sound).
The Ultravision have other hoped-for spectacles in its early years: widescreen travelogues like “The RA Expeditions” and the psychedelic reissue of “Fantasia” (except for me and my mom, hippies occupied all 648 other seats — standing ovation for Mickey Mouse, mock cries of “Shame!” upon sight of the bare-breasted centaurettes, a massive cloud of weed…). They did their best to ballyhoo the likes of “The Great Waltz” remake, spelling out the film’s name all the way across the front of the building, decorating the lobby — and mainly to empty rocking chair seats.
I was there closing night in September 1985, purely by chance. A subrun of “The Emerald Forest” was booked on the north screen; I’d seen it in one of the crummy tube theaters elsewhere, and was eager to revisit it on a real wide screen. Spotted a tiny sign reading “Goodbye” near the entrance. The manager came over and thanked me for the support. He introduced me to the regional rep for Plitt, who made it official: the Ultravision was now deemed a dinosaur, and a church was moving in.
Almost 25 years later, I’ve been meaning to go to one of their services just to see what they’ve done with the place. It’s obvious that the former south screen has now been refitted with offices and classrooms, and the north round provides the house of worship.
Certainly not forgetting you Rocky Horror cast members, some of whom I got to know and write about for the local community college newspaper! Heard you guys were having so much fun they almost had to call the sheriff a couple times : )
My guess would be that Miami Beach was more tourism oriented, and world premieres there would encourage word-of-mouth promotion when visitors returned to their respective hometowns. It’s also possible that “double world premieres” were arranged to meet extra demand.
The brief presence of the Fleischer Studios received substantial press in Miami; a generous sampling can be found in Leslie Cabarga’s book “The Fleischer Story” (out of print, but worth the money for animation history fans). Another animated feature, “Mr. Bug Goes to Town” and the first Superman cartoons were among Fleischer’s output there before Paramount withdrew their business.
Another (co- with the Sheridan) world premiere of note was the Fleischer Studios' first feature film, “Gulliver’s Travels” (1939), produced at the company’s short-lived Miami headquarters. For a look at what the Studios became:
Dennis, does that mean there wasn’t a seventh room for private showings after all? Enjoyed the advance screenings I attended in auditorium 3 myself, when I was in the (home video) industry. I knew of the amphitheater style at the time thanks to Miami Beach’s Colony Theatre — how few of us could predict it would become standard by the late 90s.
Thanks again, Mike. Between the 170th’s opening attraction and what was playing at the Mayfair and Sunset, looked like a great weekend for Brigitte Bardot fans.
Mike, thanks for all the Miami News links — been equally fascinating to revisit the full theater listings from those times. As it happened, a reunion of Miami News staff took place this weekend:
Latest wrinkle: Cocowalk hit with a $98 million foreclosure lawsuit, although Paragon/Muvico still aims to reopen this spring, now with 12 screens according to:
Ross, Patrick, Ken, Michael — Happy New Year and Decade to you as well, and THANKS for continuing to make Cinema Treasures one of the best destinations on the information superhighway!
Forgive me for going slightly off topic (visited and savored the Ziegfeld for “Ironman” on a past trip to The City), but since we have some projectionists in the room, a question:
Do digital projectors have settings to adjust the image (and especially titles/text/subtitles) to a particular screen’s curvature? Muvico Pompano (Pompano Beach FL) installed Sony 4K digital projectors in all 18 auditoriums, and any time there’s horizontal text it lines up straight across, not following the curve.
A minor nuisance, yes, but it the industry succeeds in making digital projection the norm this new decade, it would help with aesthetics.
General Cinema opened the PGA 6 in 1983, with two decent stereo auditoriums and GCC’s soon-to-be-obsolete corrugated metal walls. Local independent BMC Cinemas came on board after GCC’s departure from Florida; PGA was their most enduring site after taking over and eventually closing other local multiplexes from the majors.
“Plaza” (along with “Florida”) appears to be a name Florida State Theatres used in multiple cities, including West Palm Beach. While the WPB Plaza now hosts auto repairs, the current operators of Orlando’s Plaza have a busy and variety-filled music, theater, and comedy schedule.
Made a journey to see singer Neko Case. The Plaza’s layout seems to offer great views from all corners, with the best acoustics these ears have heard in a long time.
Anyone know if the seats are originals (or refurbs of the originals)? They still rock, but the spacing’s a bit cramped. (Yes, people tended to be shorter and especially narrower once upon a time.)
Al, thanks for the tip; this was great reading for an eight-hour round-trip Amtrak ride (leading to Orlando’s Plaza Theatre and singer Neko Case).
Toby Talbot’s dismissal of Roger Corman and his perceived inability to properly distribute “Shoah,” however, doesn’t take into account Corman’s solid presence in the 70s/80s art film scene (“Cries and Whispers,” “Amarcord,” “Fitzcarraldo,” etc.) New World Pictures knew how to serve both the arthouse and the grindhouse.
This book was the first I’d heard of New Yorker Films closing down after 44 years (in March 2009). I’m grateful to them for presenting much of the work that first lured me to international cinema.
Another great resource for General Cinema history, the remnants of their former Website:
http://generalcinematheatres.com/
Just realized one nice thing about digital projection: no splices, scratches, or other flaws.
Based on the article above: seated 999.
Correction: Loew’s took over the Cinema 70 in 1967, as they began an expansion into South Florida. They also briefly had the old Boynton Cinema (Sunshine Square, U.S. 1 at Woolbright) in their circuit.
What happened when “The Godfather” came to town:
View link
I stand corrected: opened in early 1982.
The “unique” 20-speaker Dolby Sound system was only in their largest auditorium (typical of UA multiplexes in South Florida, along with the occasionally difficulties of snagging a parking spot).
That is correct, as I indicated on that other page.
“Wall to wall screens” — in glaringly narrower spaces. The things you can get away with in ad copy (mea culpa, I’ve done some, too).
For more background on the Ultravision concept, check the commentary and links at:
/theaters/27447/
Also meant to mention that if the Deerfield Ultravision went out with a whimper, it was still packing them in almost to the end: “Raiders of the Lost Ark,” “ET: The Extra-Terrestrial,” and “Beverly Hills Cop” each played for the better part of six months.
Thanks for locating that grand opening ad, Mike. The Gold Coast Drive In (a couple blocks south) and GCC’s Pompano Cinema (2 ½ miles south) certainly weren’t celebrating that day. In particular, Pompano lost their lock on Disney product, and changed their policy to allow R-rated films.
The Ultravision fed my moviegoing habit from ages 9 to 24, supplying kiddie/summer matinees (often MGM and Selznick library classics) early on and later introducing me to the midnight movie movement. I know now that’s what they needed to do to keep the place solvent, but it was a nice coincidence to have those movies readily available. One hasn’t lived until they’ve stood in a long line populated with “A Clockwork Orange” and “Dawn of the Dead” fans.
Interesting that the grand opening ad mentions “Song of Norway” being presented in 70MM and stereo. A projectionist there in the later years told me they didn’t have the tracks for 70MM, and stereo wasn’t installed (south auditorium only) until 1980 (“The Elephant Man” being the first I saw with enhanced sound).
The Ultravision have other hoped-for spectacles in its early years: widescreen travelogues like “The RA Expeditions” and the psychedelic reissue of “Fantasia” (except for me and my mom, hippies occupied all 648 other seats — standing ovation for Mickey Mouse, mock cries of “Shame!” upon sight of the bare-breasted centaurettes, a massive cloud of weed…). They did their best to ballyhoo the likes of “The Great Waltz” remake, spelling out the film’s name all the way across the front of the building, decorating the lobby — and mainly to empty rocking chair seats.
I was there closing night in September 1985, purely by chance. A subrun of “The Emerald Forest” was booked on the north screen; I’d seen it in one of the crummy tube theaters elsewhere, and was eager to revisit it on a real wide screen. Spotted a tiny sign reading “Goodbye” near the entrance. The manager came over and thanked me for the support. He introduced me to the regional rep for Plitt, who made it official: the Ultravision was now deemed a dinosaur, and a church was moving in.
Almost 25 years later, I’ve been meaning to go to one of their services just to see what they’ve done with the place. It’s obvious that the former south screen has now been refitted with offices and classrooms, and the north round provides the house of worship.
Certainly not forgetting you Rocky Horror cast members, some of whom I got to know and write about for the local community college newspaper! Heard you guys were having so much fun they almost had to call the sheriff a couple times : )
Say goodbye:
View link
2010 — still home of the New World Symphony. 2011 — shops and restaurants.
My guess would be that Miami Beach was more tourism oriented, and world premieres there would encourage word-of-mouth promotion when visitors returned to their respective hometowns. It’s also possible that “double world premieres” were arranged to meet extra demand.
The brief presence of the Fleischer Studios received substantial press in Miami; a generous sampling can be found in Leslie Cabarga’s book “The Fleischer Story” (out of print, but worth the money for animation history fans). Another animated feature, “Mr. Bug Goes to Town” and the first Superman cartoons were among Fleischer’s output there before Paramount withdrew their business.
Another (co- with the Sheridan) world premiere of note was the Fleischer Studios' first feature film, “Gulliver’s Travels” (1939), produced at the company’s short-lived Miami headquarters. For a look at what the Studios became:
View link
Sub-pumps probably became a standard feature of Dade’s shoreline theaters. See what “generalcinemainfo” has to say about the 170th Street:
/theaters/15996/
As of January 22, California Club’s still open with three new wide release movies. Perhaps they’re riding it out until “Avatar” runs out of steam.
Dennis, does that mean there wasn’t a seventh room for private showings after all? Enjoyed the advance screenings I attended in auditorium 3 myself, when I was in the (home video) industry. I knew of the amphitheater style at the time thanks to Miami Beach’s Colony Theatre — how few of us could predict it would become standard by the late 90s.
In the end, the (very short lived) Sunny Isles Beach Cinema incarnation had SIX screens. Glad I didn’t see the results.
Thanks again, Mike. Between the 170th’s opening attraction and what was playing at the Mayfair and Sunset, looked like a great weekend for Brigitte Bardot fans.
Correction: that should be “Claughton,” not “Creighton” Theaters per:
View link
Mike, thanks for all the Miami News links — been equally fascinating to revisit the full theater listings from those times. As it happened, a reunion of Miami News staff took place this weekend:
View link
This link will probably be gone or transfer to pay-per-view in a couple weeks.
Latest wrinkle: Cocowalk hit with a $98 million foreclosure lawsuit, although Paragon/Muvico still aims to reopen this spring, now with 12 screens according to:
View link
Ross, Patrick, Ken, Michael — Happy New Year and Decade to you as well, and THANKS for continuing to make Cinema Treasures one of the best destinations on the information superhighway!
Forgive me for going slightly off topic (visited and savored the Ziegfeld for “Ironman” on a past trip to The City), but since we have some projectionists in the room, a question:
Do digital projectors have settings to adjust the image (and especially titles/text/subtitles) to a particular screen’s curvature? Muvico Pompano (Pompano Beach FL) installed Sony 4K digital projectors in all 18 auditoriums, and any time there’s horizontal text it lines up straight across, not following the curve.
A minor nuisance, yes, but it the industry succeeds in making digital projection the norm this new decade, it would help with aesthetics.
General Cinema opened the PGA 6 in 1983, with two decent stereo auditoriums and GCC’s soon-to-be-obsolete corrugated metal walls. Local independent BMC Cinemas came on board after GCC’s departure from Florida; PGA was their most enduring site after taking over and eventually closing other local multiplexes from the majors.
“Plaza” (along with “Florida”) appears to be a name Florida State Theatres used in multiple cities, including West Palm Beach. While the WPB Plaza now hosts auto repairs, the current operators of Orlando’s Plaza have a busy and variety-filled music, theater, and comedy schedule.
Made a journey to see singer Neko Case. The Plaza’s layout seems to offer great views from all corners, with the best acoustics these ears have heard in a long time.
Anyone know if the seats are originals (or refurbs of the originals)? They still rock, but the spacing’s a bit cramped. (Yes, people tended to be shorter and especially narrower once upon a time.)
Al, thanks for the tip; this was great reading for an eight-hour round-trip Amtrak ride (leading to Orlando’s Plaza Theatre and singer Neko Case).
Toby Talbot’s dismissal of Roger Corman and his perceived inability to properly distribute “Shoah,” however, doesn’t take into account Corman’s solid presence in the 70s/80s art film scene (“Cries and Whispers,” “Amarcord,” “Fitzcarraldo,” etc.) New World Pictures knew how to serve both the arthouse and the grindhouse.
This book was the first I’d heard of New Yorker Films closing down after 44 years (in March 2009). I’m grateful to them for presenting much of the work that first lured me to international cinema.