Motion Picture Herald (Oct-Dec 1956)

Theatre Remodeling as Exhibition Modernization (■ Continued from page 8) tentialh suitable. Such a figure could, with good reason, be increased in instances where seats and carpets are badly worn and by now written off. All parts of the theatre are important in a modernization program, but this discussion is concerned chiefly with that most vital part of today’s motion picture theatre, the auditorium. The seating, sightlines, lighting, acoustics and visual conditions for the projected picture establishes the degree to which the patron will be impressed with the dramatic difference between home screen performances and full-scale, ultimate realization of the art in a theatre. It is not enough to accept the mere ability to see and hear the performance. Even if you already have installed a larger screen, there are psychological values which should be exploited by other instruments of technique. The whole presentation should be one deserving the term high-fidelity— hi-fi, let us say, in both sound and picture, with all the sounds of the story as true as life, the music of the score faithfully that of a great orchestra, the scene and its peo ple utterly real with detail and color and freedom from invasion by mechanical trappings and architectural forms. That kind of expression of the art is exclusively a property of the theatre— preferably a public theatre, for obvious economic reasons, but also for psychological reasons. These are the conditions which can make— and keep— going to the motion picture theatre a unique experience, rewarding in stimulation and emotional satisfaction to a degree far out of the reach of screen dramatics contrived elsewhere. Here it seems to me necessary to get in a few words about screen technique itself. Although something like four years of technical investigation and development have gone by since the industry started to take the medium out of the swaddling clothes that had become a straitjacket, there is still great indefiniteness as to where the business is going with what. Important progress has been made, however, and certain possibilities beyond this have emerged. The projected picture has become wider. Will the film itself be widened? It would, of course, be ideal, strictly as a matter of the screen image, if the picture were projected from film, say 55mm to 65mm wide, even if the image were no wider than 35 feet. As matters stand at this time, however, that would seem to be impracticable. But we do have certain product printed down to 35mm from wider negative, and it would seem only good business for exhibition to urge standardization of this procedure. PICTURES OVER 40 FEET At the same time, there is no evading the fact that 35mm film, no matter how printed, cannot accommodate a photograph big enough for projection, with proper resolution, to a width more than 35 feet. “High-fidelity” projection cannot be achieved with that kind of magnification. It requires some technique like CinemaScope 55mm prints, VistaVision horizontal projection, Todd-AO 65mm or 70mm technique, or the MGM-Gottschalk widefilm method now underway. Thus far, these four systems are in the roadshow category, and apparently there is no basis for predicting when they might become available for more or less general exhibition. But it can be stated with complete technical authority, that owmen the the world over hav/e acclaimed new PERLUX screen/ TRADE MARK See the difference ! Acclaimed it and installed it ! From Marble Arch to Mexico City, the new ‘Perlux’ screen has This unretouched photograph shows an aluminised screen (left) and RANK PRECISION INDUSTRIES LTD GAUMONT-KALEE DIVISION Mortimer House. 37-41 Mortimer Street. London W 1, England Cables : 'RANK ALEE LONDON' * here are some of the cinemas where the 'Perlux' screen is already packing 'em in! Odeon. Marble Arch. London: Alhambra. Frankfurt: Capltole. Brussels: Savoy. Antwerp: St. George Theatre, Lisbon: Wepler Cinema. Paris; Rex Cinema. Olten. Switzerland: • gives a brilliant picture tor every seat • eliminates picture greyness • is white at all angles • gives colour films a breath-taking beauty • gives black and white films startling definition The new ‘Perlux ’ screen marks the greatest advance In cinema presentation since the Wide Screen ! Send for full details to: — (right) the new ‘Perlux’ screen had a phenomenal success. And no wonder — The screen which diis is the screen that’s right because it’s white. Splendlde, Berne: New Paseo Cinema. Mexico City. 14 MOTION PICTURE HERALD, DECEMBER 8, 1956