Category Archives: fox theater

3 Spooky Silent Shows for Halloween 2017

WHAT COULD BE SPOOKIER
THANDARK THEATER HAUNTED BY SILENT GHOSTS FROMCENTURY PAST, BROUGHT BACK TO LIFE BYSINGLE HAND, CRANKING AN ANTIQUE MOVING PICTURE MACHINE

JOIN US THIS OCTOBER FOR THESE
HIGHLY SPIRITED SHOWS:


OCT. 14HAL-OWEEN EVENING OF HAL ROACH COMEDIES WITH LIVE ORCHESTRA

CHRIST LUTHERAN CHURCH
Bur­bank, Cal­i­for­nia

OCT. 22PHANTOM OF THE OPERA (1925) WITH LIVE ORGAN AND RESTORED COLOR SEQUENCES

BAKERSFIELD FOX THEATRE
Bak­ers­field, Cal­i­for­nia

OCT. 27 & 28 ♠ HAPPILY HAUNTING SHORT COMEDIES & DRAMA WITH MIGHTY WURLITZER

NETHERCUTT COLLECTION
Syl­mar, Cal­i­for­nia

The Spooky Details:

SATURDAY, OCTOBER 14, 2017 at 7:00 PM
CHRIST LUTHERAN CHURCH
Bur­bank, Cal­i­for­nia
$15 Pur­chase Tick­ets Here

A HAL-OWEEN EVENING OF HAL ROACH COMEDIES

Crazy Like a Fox 1926

Charley Chase and Martha Sleeper in “Crazy Like a Fox” (1926)

Join us Sat­ur­day, Octo­ber 14, 2017 as we present a screen­ing of four clas­sic come­dies from the Hal Roach Stu­dios. Includ­ed on the pro­gram will be:

Do Detec­tives Think (1927)
Crazy Like a Fox (1926)
Cat, Dog & Co. (1929)
Also, Buster Keaton in The Haunt­ed House (1921)

The films will be accom­pa­nied by a peri­od musi­cal score per­formed live by The Famous Play­ers Orches­tra under the direc­tion of Scott LaskyJoe Rin­au­do will project 35mm film on an orig­i­nal hand-cranked Power’s 1909 Cam­er­a­gragh Mod­el 6 Motion Pic­ture Machine. Your Mas­ter of Cer­e­monies will be film his­to­ri­an Stan Taffel.

Show­time:
Sat­ur­day, Octo­ber 14, 2017
7:00 PM

Loca­tion:
Christ Luther­an Church
2400 West Bur­bank Blvd.
Bur­bank, CA 91506

Admis­sion:
Tick­ets $15
Order Tickets Here
Pur­chase Tick­ets Here

FULL DETAILS on this pro­gram (as fea­tured in our pre­vi­ous post)


SUNDAY, OCTOBER 22, 2017 at 2:00 PM
FOX THEATER BAKERSFIELD
Bak­ers­field, Cal­i­for­nia
$10 Pur­chase Tick­ets Here

THE PHANTOM OF THE OPERA

The Phan­tom of the Opera at the Fox Bak­ers­field will be a very spe­cial view­ing of the silent clas­sic hor­ror film that you and your fam­i­ly won’t want to miss. You will get to watch this film, com­plete with restored 2-STRIP TECHNICOLOR sequences, accom­pa­nied with the live per­for­mance by Dean Mora at the organ, just like you would have, had you been watch­ing a movie the the Fox Bak­ers­field in 1930. And to add more char­ac­ter and his­toric appeal, the film will be pro­ject­ed from a ful­ly restored 1909 Pow­ers Cam­er­a­graph Hand-Cranked Motion Pic­ture Machine, set up in the cen­ter of the audi­to­ri­um.

The Bakersfield Fox c. 1930The Phan­tom Of The Opera will be screened at the his­toric Fox The­ater Bak­ers­field. Opened in 1930, The Fox was one of the last of its kind built in the Gild­ed Age. The 1500 seat Fox The­ater was designed by famed Los Ange­les archi­tect S. Charles Lee. Known for his trade­mark “The Show Begins on the Side­walk;” his designs would lat­er gain clas­sic sta­tus as paragons of style and beau­ty.  In 1953, the orig­i­nal inte­ri­or was replaced with a con­tem­po­rary Art Deco motif inspired by Fox West Coast The­aters’ Charles P. Skouras. A lav­ish con­ces­sion area was added, along with a remod­el of the mar­quee, box office and main entrance — embell­ished with glitzy 50’s bright met­als, ter­raz­zo and neon. Read more his­to­ry about the Fox The­ater Bak­ers­field here.

Syn­op­sis
In this silent hor­ror clas­sic, aspir­ing young opera singer Chris­tine Daaé (Mary Philbin) dis­cov­ers that she has a mys­te­ri­ous admir­er intent on help­ing her become a lead per­former. This enig­mat­ic masked pres­ence is Erik, also known as the Phan­tom (Lon Chaney), a hor­ri­bly dis­figured recluse who lives under­neath the Paris Opera House. When the Phan­tom takes Chris­tine pris­on­er and demands her devo­tion and affec­tion, her suit­or, Vicomte Raoul de Chag­ny (Nor­man Ker­ry), sets out to res­cue her.

Restora­tion
The film is the only 35mm print in exis­tence that tells the com­plete sto­ry (as orig­i­nal­ly intend­ed) by com­bin­ing the 1929 release and the 16mm show at home ver­sions (blown up to 35mm). It also now has all of the orig­i­nal 2-STRIP TECHNICOLOR sequences restored as they were seen in 1925. Orig­i­nal nar­ra­tive and spo­ken inter-titles (about 68) have been restored as well as the pro­logue titles that describe the begin­nings of the Phan­tom and his con­nec­tion to the Paris Opera House. Since this print is drawn from the orig­i­nal 1925 and the 1929 (sound speed) ver­sions, hand crank­ing will allow you to see, for the first time, the film pre­sent­ed at the prop­er speeds. Gary Gib­son will present a glass lantern slide show dur­ing all reel changes.

The Phan­tom of the Opera
Restora­tion Cred­its:
see below

Show­time:
Sun­day, Octo­ber 22, 2017
Doors open 1:00 PM ◊ Show 2:00 PM

Loca­tion:
Bak­ers­field Fox The­ater
2001 H Street
Bak­ers­fieldCA 93301
map
Box Office phone: (661) 324 -1369

Admis­sion:
Tick­ets $10
Order Tickets Here
Pur­chase Tick­ets Here


FRIDAY, OCTOBER 27, 2017 at 8 PM
SATURDAY, OCTOBER 28, 2017 at PM & 8PM
NETHERCUTT COLLECTION
Syl­mar, Cal­i­for­nia
Request Tick­ets
avail­able Sept. 27, 2017 at 4pm
(Admis­sion is free but you must request tick­ets in advance.)

HAPPY HAUNTED HALLOWEEN SHORTS

Koko's Earth ControlThe Nether­cutt Col­lec­tion will host anoth­er three silent film hand crank shows. Fri­day at 8:00 p.m. & Sat­ur­day at 2:00 & 8:00 p.m. The pro­gram will be the same for each show. Tick­ets will be avail­able Wednes­day, Sep­tem­ber 27 start­ing at 4:00 p.m. by call­ing in for up to 4 tick­ets per caller. Phone: (818) 364‑6464. Please be per­sis­tent as the office only has 3 phone lines. How to Request Nether­cutt Show Tick­ets

This hap­pi­ly haunt­ed show will fea­ture sev­er­al shorts we haven’t pre­sent­ed in a num­ber of years:

Koko’s Earth Con­trol (Car­toon)
The Thiev­ing Hand
Do Detec­tives Think (Lau­rel & Hardy)
Sus­pense
Cat, Dog, and Co. (Our Gang)
Super-Hoop­er Dyne Lizzies 

Mighty (Spooky) Wurlitzer
Ghost of Mil­dred Smith

Musi­cal nar­ra­tion and sound effects by Dean Mora at the Mighty Wurl­itzer, the third largest the­ater organ in the world.

Gary Gib­son will pro­vide orig­i­nal glass lantern slides dur­ing all reel changes.

Your host is Kyle Irwin, cura­tor, who will demon­strate the Nether­cutt Collection’s auto­mat­ed musi­cal instru­ments before the show and dur­ing inter­mis­sion.

You may also tour the col­lec­tion of over fifty clas­sic cars which are on dis­play in a muse­um set­ting that recre­ates the mar­ble and mir­rored show­room of an ear­ly auto­mo­bile deal­er­ship.

Busi­ness or semi-for­mal attire is appro­pri­ate. Chil­dren must be 10 and old­er.

Don’t for­get to call for tick­ets Wednes­day Sept. 27 at 4pm sharp — and enjoy the show!

Show­times:
Fri­day, Octo­ber 27, 2017 at 8:00 p.m.
Sat­ur­day, Octo­ber 28, 2017 at 2:00 p.m. and 8:00 p.m.

Loca­tion:
Nether­cutt Col­lec­tion
15200 Bled­soe Street
Syl­mar, CA 91342
map

Admis­sion is free, but you must obtain tick­ets in advance.
Order Tickets Here
How to Request Nether­cutt Show Tick­ets


RESTORATION CREDITS

The Phan­tom of the Opera

35mm source mate­r­i­al:
Spe­cial thanks to
Mr. David Shep­ard
Black­hawk film library

16mm source mate­r­i­al:
Mr. Stan Taffel

Script and cut­ting con­ti­nu­ity:
Mr. George Wag­n­er

Title re-cre­ation, design and typog­ra­phy:
Mr. Chaz DeS­i­mone
DesimoneDesign.com

Title & film dig­i­tiz­ing & out­put to film:
Mr. Michael Broder­sen
Mr. Rico Her­nan­dez
Neg­a­tive and print col­or tim­ing:
Mr. Doug Ledin
Project man­ag­er:
Mr. Allan Tudzin
Fotokem Film & Video Ser­vices
Fotokem.com

Film and title restora­tion
pro­duced and super­vised by:
Mr. Joe Rin­au­do
SilentCinemaSociety.org

Habeas Cor­pus” film cour­tesy of the Black­hawk film library.


MORE INFORMATION:
Pow­ers Cam­er­a­graph pro­jec­tor
Dean Mora, organ­ist and swing band leader
Nether­cutt Col­lec­tion
Fox The­ater Bak­ers­field
Silent Cin­e­ma Soci­ety
Famous Play­ers Orches­tra
Glass Lantern Slides


Meet Joe Rinaudo

For a sight-and-sound glimpse into the world of Joe Rin­au­do, which includes silent films, pro­jec­tors, mechan­i­cal instru­ments, ear­ly phono­graphs and vin­tage light­ing, watch the Huell Hows­er “Cal­i­for­nia Gold” doc­u­men­tary which aired Feb­ru­ary 18, 2006. The pro­gram begins after a 60-sec­ond spon­sor announce­ment, and runs 30 min­utes:

Professor Rinaudo”

Joe RinaudoJOSEPH A. RINAUDO
Silent Cin­e­ma His­to­ri­an and Preser­va­tion­ist
Founder of the Silent Cin­e­ma Soci­ety

Having been best friends with Joe for over 50 years, I am honored to introduce you to my friend,
Mr. Joseph A. Rinaudo…

Introduction by Chaz DeSimone

PROFESSOR RINAUDOas silent cin­e­ma afi­ciona­dos call him, has been my friend for over fifty years, since junior high school.

model-ABack when I met Joe he was restor­ing his Mod­el A to show­room con­di­tion, and it was always fun rid­ing around in that thing… includ­ing the some­what embar­rass­ing episode when Joe pulled into a gas sta­tion and pur­chased a whole nickel’s worth of gaso­line! It got us home, though.

At that time Joe was also col­lect­ing 16mm silent films and would put on shows for his friends. Today he research­es, col­lects, restores and exhibits silent films (35mm these days) on a Pow­ers Cam­er­a­graph hand-crank pro­jec­tor, usu­al­ly with live accom­pa­ni­ment of the­ater organ or piano, as itin­er­ant shows to audi­ences far and wide, includ­ing the Acad­e­my of Motion Pic­ture Arts and Sci­ences (in oth­er words, the Oscar peo­ple). Joe Rin­au­do is also con­sul­tant and provider of restored films to the Library of Con­gress.

This is Joe’s story, in his own words:

My inter­est in old films began in the 1950’s on black & white tele­vi­sion when most of the sta­tions would show silent car­toons and come­dies. The col­lect­ing bug came to a head when my father (who loved to film every­thing with his 8mm cam­era) dur­ing our reg­u­lar Sat­ur­day night 8mm home movie film shows insert­ed a Buster Keaton silent com­e­dy reel in with our home movies. He pref­aced this reel by stat­ing that this was an old home movie of our fam­i­ly from the 1920’s. Imag­ine my shock and hap­py sur­prise when I real­ized that I could own one of the mag­i­cal films that I thought could only be seen on tele­vi­sion! I then saved up enough allowance mon­ey to buy my own 8mm films from Sears & Roe­buck for 99 cents! I then began show­ing these films to kids in the neigh­bor­hood for 5 cents. I used a 78 rpm phono­graph with Spike Jones and Fats Waller records for the music. When I had saved up enough mon­ey I would buy anoth­er film.

The Music BoxThe mad­ness con­tin­ues! By the ear­ly 1960’s I began col­lect­ing 16mm silent films. I remem­ber how excit­ed I was when my moth­er would dri­ve me down to Films Clas­sics Exchange on Ver­mont Avenue in Los Ange­les. There a man by the name of Char­lie Tar­box would be seat­ed at his antique desk with an old Under­wood type­writer. He always wore a black suit with a thin black tie. He had a shock of white hair and a cig­ar in his mouth. There were stacks of film every­where. This was an old build­ing with a wood­en floor and high ceil­ings. It smelled of stale cig­ar smoke and acetate film. This was right out of the 1920’s! Char­lie was always very kind to me and his voice remind­ed me of some­thing like a com­bi­na­tion of W.C. Fields and Maxwell Smart! Then the big moment arrived when I pur­chased my first sound 16mm film from Black­hawk Films, Lau­rel and Hardy’s The Music Box. Talk about mag­ic! I now had a film of high qual­i­ty (com­pared to 8mm) and it talked! I began show­ing my 16mm films to orga­ni­za­tions and for pri­vate par­ties for mon­ey that I could invest into more 16mm film. By the 1970’s I had amassed a very large 16mm col­lec­tion.

When I was at Glen­dale Col­lege in the ear­ly 1970’s, there was a short­age of funds (some­thing called a tax over ride?).  We had heard that  two teach­ers were going to lose their jobs. A fund rais­er was start­ed. I offered to show films in the audi­to­ri­um with all pro­ceeds going for the teach­ers’ salaries. I ran Lau­rel and Hardy and W.C. Fields films. The pro­gram was a big suc­cess and enough mon­ey was raised, to the best of my rec­ol­lec­tion, from this and all of the oth­er fund rais­ing efforts to save the teach­ers’ jobs. The Glen­dale News Press inter­viewed me about the film shows and my col­lec­tion of film. Unfor­tu­nate­ly, the reporter took the lib­er­ty of stat­ing that “Joe loves to show movies at his house and any­one is wel­come to stop by and watch a film!” This was only for my friends but it was too late for a retrac­tion and the phone start­ed ring­ing with peo­ple ask­ing if they might come over for a “Show”! Com­plete strangers would stop by and ring the bell to see when the next show would be! Fend­ing off all of the crazy calls was becom­ing a real problem…until one phone call in which a woman’s voice said:

I under­stand that you have some of my father’s films.”

Now I thought, oh my, anoth­er nut case. What can this be about?  The voice iden­ti­fied her­self as Lois Brooks — Stan Laurel’s daugh­ter! She had seen the arti­cle in the paper and read the part where I men­tioned I had almost every Lau­rel & Hardy film. Since videos were not avail­able, these films could only be seen on TV, in a the­ater, or on 16mm film. Since she found it dif­fi­cult to find any of her father’s films, she asked if she and her hus­band Rand Brooks might come over some­time to watch a Lau­rel & Hardy film! There a great friend­ship began. I brought Lois to her first Lau­rel & Hardy club meet­ing (The Sons Of The Desert). Lat­er I became the film archivist for the Lau­rel fam­i­ly as well as for the local of the Sons Of The Desert chap­ter, the Way Out West tent. I would trav­el with Lois and her new hus­band Tony Hawes for local shows and lec­tures that Lois and Tony would put on. These were very fun times as I got to meet a lot of old actors from the Hal Roach stu­dios as well as show films reg­u­lar­ly at the Masquer’s Club in Hol­ly­wood.  There I had the priv­i­lege to meet a lot of famous peo­ple back at the pro­jec­tor.

Powers CameragraphThe mad­ness gets worse! Com­pared to 35mm I always thought that 16mm was the end all be all for film col­lect­ing. In many ways it is due to the avail­abil­i­ty of so many titles, cost and ease of mov­ing the light weight equip­ment.  But…I always had a fas­ci­na­tion for 35mm hand crank pro­jec­tors. A friend of mine, Dave Feld­man, and I took a road trip to vis­it Mr. George Hall in Tuc­son, Ari­zona. George, who I now con­sid­er my men­tor, had a vast col­lec­tion of ear­ly 35mm pro­jec­tion equip­ment and film. In fact his house was set up as an ear­ly cin­e­ma muse­um. When we were there, George demon­strat­ed his 1905 Power’s mod­el 5 Cam­er­a­graph hand crank pro­jec­tor with a live arc in the lam­p­house! What a thrill to see this! I asked if I could crank a film and he took me back to anoth­er pro­jec­tor (a Sim­plex) which was hard­er to crank — but that didn’t mat­ter. All that I can remem­ber is that I start­ed crank­ing and was so mes­mer­ized by the mag­i­cal image cre­at­ed by crank­ing this won­der­ful machine, I couldn’t stop, and at about 2:00 a.m., after crank­ing some 20,000 feet of film, Dave and George had to pull me away from the pro­jec­tor!

I pur­chased a Power’s mod­el 6A lam­p­house and base from George. I then pur­chased a very nice Power’s mod­el 6B pro­jec­tor head from Mr. Dick Prather in Port­land, Ore­gon. I did a full-on restora­tion and con­vert­ed the lam­p­house to a high inten­si­ty halo­gen light source that is safe for film. I begged and bor­rowed small pieces of 35mm film. I would do demon­stra­tions on the side of my build­ing and on my garage door at home. Wow! What a pic­ture! 35mm rules!

Restored-by-Joe-RinaudoI start­ed doing out­door demon­stra­tions with any film that I could find. I nev­er thought that I would be able to afford a real 35mm film, let alone a silent. My good friend Mr. David Shep­ard asked me if I would do a show for him at the Silent Movie The­ater in Los Ange­les. He said that this year (2002) was the 100th anniver­sary of Georges Melies’s A Trip To The Moon.  Mr. Bob Mitchell would be play­ing the music and David Shep­ard would be read­ing the spo­ken text.  We would have to do two shows. He kind­ly offered to let me make a new print off of his neg­a­tive in return for crank­ing the shows! To do my first pub­lic per­for­mance with such impor­tant and won­der­ful peo­ple as Bob Mitchell and David Shep­ard at the Silent Movie The­ater with CNN in attendance…heck, I would have paid David to do the shows! So with my able assis­tant, Mr. Gary Gib­son, both of us dressed like itin­er­ant pro­jec­tion­ists from the ear­ly 1900’s, both shows went over well to full hous­es and great reviews.

Professor RinaudoSince that time I have worked with The Library of Con­gress in the restora­tion of silent film, as well as doing reg­u­lar hand crank shows for the Acad­e­my of Motion Pic­ture Arts and Sci­ences’ 100 Years of Film series. With Mr. Dean Mora  and Mr. Gary Gib­son we have done and reg­u­lar­ly do re-cre­ation turn-of-the-last-cen­tu­ry itin­er­ant motion pic­ture shows for The Hand­ford Fox The­ater, The Visalia Fox The­ater, The Bal­boa The­ater, The Peter­son Car Muse­um, The Turn­er Clas­sic Film Fes­ti­val, The San Rafael The­ater, six shows a year at the Nether­cutt Muse­um (boast­ing the third largest the­ater organ in the world) and numer­ous col­leges, schools, and oth­er venues.

Look­ing back to my 8mm days, I would have nev­er thought in my wildest dreams that I would have end­ed up pro­ject­ing 35mm — with a crank, no less!”


I am very proud of my friend Joe for accomplishing his dream of founding the Silent Cinema Society to preserve the art and technology of silent cinema. I am also honored he employs my talent to restore the titles for his films…

A Golden Opportunity

BC-FRONT-WEB-lowActu­al­ly, this was a Black-and-White Oppor­tu­ni­ty: Joe asked me a few years ago if I’d be inter­est­ed in restor­ing the title cards for his films and cre­ate new ones when the orig­i­nals are lost to time. Who knew two best friends would be so valu­able to each oth­er near­ly fifty years after meet­ing in sev­enth grade — my restor­ing the miss­ing parts to his films and he restor­ing my pas­sion for let­ter­ing and typog­ra­phy? I have enjoyed ren­der­ing titles for Joe for sev­er­al years now, and I even get to see them pro­ject­ed on the sil­ver screen in silent come­dies and dra­mas accom­pa­nied by the Mighty Wurl­itzer. (Twice a year Joe brings his itin­er­ant show to the Nether­cutt Muse­um in Syl­mar, Cal­i­for­nia. A cal­en­der of events and details about the shows are on their web­site.)

Silent…with Sound

Fotoplayer Model 20 modifiedJoe is all about silent film, but he also loves sound. Loud sound! Not the dia­log and music that pass­es through the pro­jec­tor that is print­ed on the film. Oh no, Joe’s silent films are accom­pa­nied by an ear-shat­ter­ing, robust “sym­pho­ny” cre­at­ed by one per­son sit­ting at one machine: The Foto­play­er. This resem­bles a play­er piano, but with two rolls for chang­ing music for dif­fer­ent scenes; an assort­ment of pull cords, levers, but­tons and stops con­nect­ed to a side cab­i­net con­tain­ing organ pipes, per­cus­sion, brass, sound effects, and lit­er­al­ly bells and whis­tles. The pianist usu­al­ly lets the rolls play the music while he selects the instru­ment stops and cre­ates the sound effects. He’s watch­ing the film, of course, all at the same time.

Joe has one of these machines. He acquired his Amer­i­can Foto­play­er Style 20 while he was 21 years old and spent the next three years restor­ing it to brand-new con­di­tion. it’s the cen­ter­piece in his liv­ing room. This thing is loud! It’s amaz­ing Joe has any neigh­bors left, unless they’re all hard of hear­ing. Joe recent­ly com­plet­ed the restora­tion of a Style 41 Amer­i­can Foto­play­er for the Acad­e­my of Motion Pic­ture Arts and Sci­ences (remem­ber, the Oscar peo­ple).

Learn more about the Foto­play­er on Joe’s Foto­play­er Page.

See the cal­en­dar of Pro­fes­sor Rinaudo’s Itin­er­ant Shows under “COMING ATTRACTIONS” and treat your­self to some com­e­dy, sus­pense, or pathos of the gold­en — er, black and white — era of silent cin­e­ma.

The End