Movie Makers (Jan-Dec 1950)

A PACK-AWAY PLAYHOUSE 417 A Chicago amateur filmer describes the "fold-up" features of his Cellar Cinema CHARLES T. KLOEPFER, ACL HERE'S our entry in the Cellar Cinema derby. And, at least in one way, it differs markedly from those other homemade cine shrines we've been seeing in Movie Makers. Ours disappears! Not magically, of course. Although, when you consider that making the entire screen and stage setup takes only ten minutes, it may seem like magic. In other words, our cellar theatre is collapsible. It knocks down in between shows and can be stored away, so that the space it occupies can be used in other ways. Perhaps you (or your wife) would like this feature in your own cine cellar. STAGE AND CURTAINS Here's how we set it up. The stage area, in a back corner of the basement, is 10 feet wide and 8 feet deep. It has two sets of curtains, both of them on "travelers" and rigged with draw cords. The front curtains are pea-green in color and of a plain fabric. Behind them, the rear curtains are gold in tone, with a rich brocaded pattern gleaming from the material. Behind both of them, as a backdrop, stands a beautiful, hand-painted Chinese garden scene, done on beaver board and then backed. Directly behind and above the front curtains I have installed a trough unit of stage lights in three different colors — red, blue and white. Wired on separate circuits, they can be faded in and out from the projection booth. In between the two curtains we place the screen. This too is movable, being mounted on a castered table which is slid into place in a matter of seconds. Black baffles, from above, below and on both sides, are then brought into place to mask the screen. The exact placement of the screen unit is marked permanently on the floor. Out front, the theatre seats twenty five guests on folding chairs. PUTTING ON THE SHOW Like the majority of movie makers, we try to put on our shows as smoothly and attractively as possible. Here is our routine. With the audience seated, the house lights dim and a yellow spotlight (from the rear of the theatre) shines warmly on the pea-green curtain. The overture now begins (we use excerpts from The Student Prince) and, as the final strains fade away, the front curtains part, showing the gold curtains gleaming in the spotlight. Flanking the gold curtains are two Chinese lamps, which glow with a soft amber color as the next musical selection — By A Sleepy Lagoon — is started. Then, after a few seconds of this number, the gold curtains part, revealing the Chinese garden scene. The spotlight dims now, leaving for a moment only the two Chinese lamps. Then, slowly, there is a flood of blue light on the garden backdrop, followed by the red lighting, and at last by both the blue and red together to create a glowing magenta. As the second musical selection draws to an end, the front curtains close, the yellow spotlight comes on, and a third musical number is played. It is during the third piece that our stage manager rolls the screen into position and adjusts the masks. On our printed programs we call this entire routine our Musical Stage Montage. During the screening itself, the full house lights are never brought up between reels. Instead, the front curtain is closed, the spotlight comes on, and a lively organ record keeps the audience in good spirits. A typical program, consisting of a newsreel and four travelogs such as Cuba-Mericana or Hav-Ana Wonderful Time, lasts just two hours. At the end we conclude with a final curtain overture, the house lights are turned on, and refreshments are served. Then, ten minutes after the last guest leaves, our Cellar Cinema folds up till the next time. FROM TOP TO BOTTOM are seen, as described by author, his theatre's outer curtain, inner curtain and lamps, hand-painted Chinese backdrop, the removable screen, and the sound equipment in his projection room setup.