#regal cinemas commercial

[poppibranchlover]

That will sound interesting! We’re looking forward to that commercial!!! 🤩🤩🤩

My sister shared with me apparently DreamWorks got Regal to do a special advertising for Trolls Band Together. Before a movie starts at regal theaters they do a “Welcome to Regel” animation like a rollercoaster. The Trolls advertising is Poppy and Branch riding the coaster together to the theater full of other trolls.

[archinform]

Lost Chicago Building 6 - The Granada Theater

By Roger Jones, August 2023

The Granada at night

I only saw a movie at the Granada Theater once, in the late 1970s; I believe the offering was Murder by Death. Nonetheless, I always marveled at the movie palace's facade every time the el train passed the Loyola stop on Chicago's north side.

Granada Theater from the CTA Loyola platform, found photograph, Flickr, probably 1970s

Granada marquee, c. 1930

The grand lobby in 1929

Historical details:

Opened: Tuesday, September 21, 1926

Status: Closed/Demolished Sunday, September 30, 1990

Style: Spanish Baroque

Seats: 3,443

The Granada Theater was a 3,400–seat movie palace located at 6427-41 North Sheridan Road, in the Rogers Park neighborhood of Chicago and adjacent to Loyola University. Constructed in 1926 for the Marks Brothers, major theatre operators in the U.S., Edward E. Eichenbaum was the principal designer for the architectural firm of Levy & Klein. Eichenbaum also designed the Marbro, Regal, and Century theaters in Chicago.

The Marks Brothers operated the theatre until 1934, when Balaban and Katz purchased the property. That firm and its successors—United Paramount Theatres, ABC Great States Theatres and Plitt Theatres—operated the facility until approximately 1978. From then until the mid-eighties, it was used sporadically for rock concerts and presented midnight showings of The Rocky Horror Picture Show for several years.

Despite all attempts to save the theater, Senior Life Styles Corporation purchased the property and demolished it in 1989-90 for a planned apartment/commercial structure.

The new 16–story apartment tower and shopping arcade constructed in 1991 was named "Granada Center.”  Loyola University eventually purchased the structure and transformed it into 12 floors of student apartments over a base containing parking, retail and university offices.

Source: Wikipedia

1920s photo, credit John G. Chuckman Collection

Following are scanned pages from The Chicago Movie Palaces of Balaban and Katz, by David Balaban:

Granada Theater under construction

Architectural rendering, front elevation (no date)

Advertisement (no date)

Thanks to Cinema Treasures for the following details:

Built in 1926 for the Marks Brothers circuit, this was one of the largest movie palaces on Chicago’s Far North Side, located in Rogers Park. The Granada Theatre was opened September 18, 1926 with a Jack Haskell stage show “Eastern Nights” and on the screen Belle Bennett in “The Lilly”. The Wurlitzer 4 manual 20 rank theatre organ was opened by organist Alfred F. Brown The proscenium was 60ft wide and the stage 32ft deep. Seating was provided for 3,448, with 1,833 in the orchestra level and 1,615 seats in the balcony.

On November 18, 1932, the theatre was acquired by the Publix/Balaban & Katz chain and it was briefly closed, reopening on July 29, 1933 with John Barrymore in “Reunion In Vienna” & Laurel & Hardy in “Me and My Pal”. The Granada Theatre was originally designed by Edward Eichenbaum (of the firm of Levy & Klein) for both live stage shows and movies, but by the 1940’s, was only showing films. On November 19, 1975 the World Premiere of Jack Nicholson in “One Flew Over the Cuckoo’s Nest” was held at the Granada Theatre, with Jack Nicholson & Louise Fletcher appearing ‘in person’. It remained open as a movie theatre, operated by Plitt Theatres until the late-1970’s.

Information from the HABS Report on the Granada:

The report goes on to say that the primary reasons for the Granada’s historic significance include:

its size, as it was one of the three largest movie theatres ever built in Chicago, the other two being the Uptown and the Chicago theatres; its elaborate design, often cited as the most ornate in the city; its place as the flagship of the Marks Brothers empire, who were second only to Balaban and Katz in the construction and operation of opulent movie palaces; and its association with architect Edward Eichenbaum.

Perhaps the most heartbreaking element of the HABS report is one of its closing statements: “The Granada had survived in essentially unaltered condition until the past two years (1988-89), when it was left unattended and the weather and vandalism were allowed to proceed unchecked.” This was a demolition that could have been avoided.

The HABS report included several dozen photos of the interior and exterior of the Granada Theatre, taken shortly before demolition. While it is depressing to see the damage the theatre suffered in its final two years, especially during a time when movie palaces across the country were being renovated to the benefit of communities large and small, these photos do show in great detail the artistry of Edward Eichenbaum.

Source: Compass Rose Cultural Crossroads

In addition:

...the Granada was still in remarkably good shape as recently as 1987. While it was allowed to deteriorate after that, eyewitnesses to the demolition mourn the fact that there was little wrong with the theatre structurally, that it could, in fact, have been saved.

Despite efforts to landmark the theatre or get it reopened, the Granada’s fate was sealed. Much of the terra cotta of the facade was stripped and sold off, as were many of the interior decorative elements. One of the large chandeliers from the lobby was salvaged and now hangs in the Riviera Theatre. Another, smaller, chandelier hangs in the Music Box on Southport.

Source: Compass Rose Cultural Crossroads

Photographs from the HABS Report, Library of Congress:

VIEW OF BLOCK FROM NORTHWEST LOOKING SOUTHEAST, 1980s, N. Sheridan Road

MAIN LOBBY CEILING FROM GROUND LEVEL

HORIZONTAL VIEW FROM STAGE LOOKING SOUTH

VIEW OF CEILING FROM STAGE

ALCOVE 2ND FLOOR LOBBY WALKWAY, during demolition

LOOKING EAST, VIEW OF COMMERCIAL OFFICE SECTION, NORTH PORTION OF THEATER COMPLEX

VIEW OF BLOCK FROM SOUTHWEST LOOKING NORTHWEST - during demolition

Admission ticket

Photos during the theater's destruction can be viewed in the Flickr set by Genial23 Ruined and abandoned.

A final view: Granada Theater, 1920s - Cinema Treasures, photo by Chicago Architectural Photographing Company

An incredibly detailed description of the building can be found on Historic Structures.

Today:

"Completed in 1991, Granada Center hosts residential apartments, a parking garage, office space for Loyola University, and several store fronts. The Center was built to help aid the growth and development of the Rogers Park neighborhood, as well as to provide more space for Loyola University." Loyola University Chicago Digital Special Collections

Finally, if you're interested in fragments, view the Urban Remains site for some interesting pieces of the Granada Theater.

[ghostbustermelanieking]

have confirmed the reality of the dead regal cinemas movie quotes commercial with my own eyes

[addindiagroup]

10 Best Office Interior Designer in India for Commercial Spaces

Office Interior Designer companies in India are many but finding the one that suits both your aesthetic and your pocket can be tough. Looking for an office interior designer for designing your new commercial space?

1. Phi Designs - Office Interior Designer company in India

Over the years, Phi Designs has established itself as one of India's top office interior designer companies for commercial premises. Clients' visions for their environments are transformed into elegant, comfortable living areas.

Contact: +91 96017 77795, hi@phidesigns.in Locations:

Delhi NCR – 10th Floor, Tower A, Logix Cyber Park Plot C-28 and 29, Sector 62, Noida, Uttar Pradesh 201031

2. Morph Designs

An office interior design company goes by the name Morph Design Company. It focuses on developing spaces for a variety of uses, including home, business, hospitality, and much more.

Contact:morph@prestigeconstructions.com

Locations:

The Falcon House, No.1, Main Guard Cross Road, Bangalore – 560001

3. Studio Lotus

Studio Lotus, whose motto is "creating meaning, celebrating context,"is another from the list of top office interior designer companies. It utilises context to provide design ideas that consistently surpass those of any previous competition. Two primary areas of focus for Studio Lotus are architecture and spatial design.

Contact:business@studiolotus.in

Locations:

F 301 First Floor Chaudhari Prem Singh House, Lado Sarai New Delhi 110030

4. Add India Group

Enhanced performance is a guarantee because of efficient office interior design. Maximise the potential of every employee you have. Our modern workplace design concepts guarantee higher levels of enthusiasm and productivity at work. Over 150 companies have already chosen us.

Contact:info@addindiagroup.com

Locations:

Plot No. 9, Sector 125, Noida, Uttar Pradesh 201303

5. Lipika Sud Interiors Pvt. Ltd.

Lipika Sud Interiors, one of India's top office interior designer companies for commercial spaces, is based in Delhi NCR. Lipika Sud's artistic sensibilities have earned her respect throughout the world. Her ability to effectively transform client needs into architecture masterfully demonstrates her love of design.

Contact:lipika@lipika.com

Locations:

C-9, Panchsheel Enclave, LGF, New Delhi- 110017

6. Ajay Shah Design Studios

Ajay Shah, the chief designer of Ajay Shah Design Studios, is based in the energetic city of Mumbai and has an impressive portfolio consisting only of amazing design projects. ASD's design endeavours emphasis on individualism, the surrounding environment, and numerous other minute elements that designers frequently overlook as insignificant or trivial.

Locations:

Ajay Shah Design Studio 41F, Regal Cinema Building, Apollo Bunder Pier, Mumbai 400 001, Maharashtra, India

7. Amir and Hameeda Contractors and Office Interior Designer in India

AANDH, or Amir and Hameeda office interior designer and contractors, have a decade of experience under their belt and are highly well-liked in Hyderabad. But their importance extends far beyond Hyderabad's borders and is not precisely contained there.

Contact:

design_ah@yahoo.co.in

Website:

www.aandh.co.in

Social Media Handles: Locations:

Dimension 3, Flat No. 301, Plot, No – 38, Rd Number 5, Women’s Welfare Housing Society, Jubilee Hills, Hyderabad, Telangana 500033

8. Tanya Gyani

Tanya Gyani is a National Institute of Fashion Technology undergrad with a focus in home decor and residential, and office interior designer firm. She has a tonne of architectural examples to support her claims of excellence in the mentioned design disciplines.

9. Morphogenesis Office Interior Designer in India

With more than a few significant national recognitions under their belt, Morphogenesis has consistently maintained its leadership position. It is present in Bangalore, New Delhi, and Mumbai.

Morphogenesis frequently incorporates cultural allusions with regional significance into their imaginative translations, which are then realised through their exquisite designs.

Contact: contact@morphogenesis.org

Locations:

Mumbai - 501, B Wing, Kanakia Wall Street, Andheri East, Mumbai – 400093, Maharashtra, India

New Delhi - N-85B Panchsheel Park, New Delhi – 110017, India

10. Group DCA Office Interior Designer in India

Group DCA, also known as DCA Architects, is a group of creative people who have joined hands in New Delhi to transform client demands into one-of-a-kind design solutions.

DCA office interior designer firm finalise ideas for both domestic and commercial areas adhering to a distinct architectural style.

Contact: info@groupdca.in Website: www.groupdca.in Locations:344, Sultanpur, M.G. Road, New Delhi-110030, India Source Link : https://addindiagroup.com/10-best-office-interior-designer-in-india-for-commercial-spaces/

[popsixsquishcicerolipschitz]

"The Anti-Drug" Commercial - Marijuana

I will never forget the cinema premier of Chicago in 2002, that brutal winter night. We had just seated ourselves at that moment between pre-show cinema music to pre-show movie music; this was the first film that played, an A/V public service reminder that caught us quite avant-garde... for some reason, Avery, I remember it played incredibly loudly. Then, that stern moment when it was over and the hause fell silent.

We tried to maintain,

Avery and I,

we really did...

We tried to maintain.

But after all, we were there to see

Chicago <archive>

Warren Theatre ~ Broken Arrow, Oklahoma

[tllgrrl]

Star Wars: The Rise of Skywalker was the last time my Sis and I went to the movies. It was our Annual Sister’s Christmas Movie: 25 December, 2019. A few months before the world shut down.

Haven’t been back to any kind of theater ever since. Until yesterday.

This was our 2nd viewing of Black Panther: Wakanda Forever.

The first time we saw it was opening night at a local Drive-in and it would’ve been great except our screen had a really bad projector or something.

The sound was fine because my car has a great sound system, but the picture? Not so much.

We’d seen commercials and even watching the teaser and trailer on TV looked waaaay better than what we saw at the drive-in. So we decided to go see it at the cinema.

We went back to our favorite stand-alone theater, one of the smaller Regal cineplexes, and we looked at the website graph and picked a time we knew it would almost be empty: Monday morning, first screening, 11am.

We sat in the very last row, right in the middle. We were the only people in the room…and it was wonderful.

And, yes, I was masked. Because even vax’d and all the boosters, ya girl ain’t playin’ with Covid or the flu.

[scarlettjiang430]

Arthouse VS. Mainstream Commercial Films–– Where Do We Draw The Line?

Edgar Wright's newest arthouse film Last Night In Soho was released on Halloweekend, opening on more than 3000 screens. in North America market. This is a gamble in the theatrical market as statistics show that the global box office of the highest-grossing films of all time is all big-budget, studio franchise-produced blockbuster films.

In theatrical history, Focus Features (distribution company of Last Night In Soho) has never released an arthouse film on that many screens besides Downton Abbey in 2019.

With Last Night In Soho reaching $4.16 million within three days of its opening, coming at No.6 in all North America Box Office during the competitive weekend of Halloween, Focus distribution is very satisfied with their risky decision.

The pandemic has caused a very obscure line between what gets chosen to be played in mainstream cinemas like AMC and Regal and what was played in arthouses. Blockbusters like Black Widow and Shang-Chi have been played in struggling arthouses which was an unprecedented operation. This not only reflects how mainstream theater chains have been prioritizing the offering of a variety of films during this period (as there are limited newly released films) but also indicates how the division between what is considered a commercial film and an art film is no longer trackable.

According to Deadline, 68% of the ticket buyers for Last Night In Soho were below 35 years old which reflected a rather young audience base for the film. As specialists reveal that the success of theatrical-released films is no longer predictable during this ambiguous period, it inevitably raises a question of whether the audience has expanded their preference by appreciating more art films with the high-quality releases of emerging independent film studios like A24, or are they simply craving for all types of films after the prolonged suspension of the cinema-going experience in the past year.

[dweemeister]

Movie Odyssey Retrospective

Cinderella (1950)

In the first few decades of Walt Disney Productions’ (now Walt Disney Animation Studios) existence, the studio veered perilously between periods of feast and famine. The success of Snow White and the Seven Dwarfs (1937), Dumbo (1941), and the modestly-budgeted films of the package era kept the studio afloat despite Walt Disney’s occasionally disastrous business instincts and rotten luck due to World War II cutting off European audiences. With WWII concluded, Disney’s propaganda commitments to the federal government and tightened budgets were no more. With the exception of the aftermath from the release of The Black Cauldron (1985), the studio’s survival has not been seriously endangered since. That is in large part because of the gamble that is Cinderella, directed by Clyde Geronimi, Hamilton Luske, and Wilfred Jackson.

Any rebirth for Disney animated features depended on Cinderella’s success. Not since Dumbo had so much been riding on one of the studio’s movies – especially now as Walt was dividing his attention between animation, live-action features, television, a preliminary plan to build a small play park, and collaborating with the FBI to root out suspected communists at his own studio. More later on Cinderella’s legacy (I think you, the reader, have an idea about what happened to the Disney studios after this), but the film was the fifth highest-grossing movie in North American theaters that year, ahead of Born Yesterday and behind Cheaper by the Dozen and Annie Get Your Gun. In various ways, Cinderella is among the most important movies in the Disney animated canon, even if it does little to nothing to elevate animation in cinema and contains issues that have metastasized in subsequent Disney animated features.

Decades before the Disney name became synonymous with fairy tales and princesses, the writing team assigned to Cinderella used Snow White as their template on this film. The opening minutes of Cinderella share much of Snow White’s alchemy: the opening of an ornate storybook, an orphaned young woman whose lot in life is to be a rag-wearing scullery maid, that same woman singing about dreams to an audience of animals that instinctively know of her kindness. What starts off too similarly like the second coming of Snow White then descends into an overstretched sequence of the animals’ tomfoolery (half the film is dedicated to the animals’ hijinks!).

Cinderella’s animals, unlike those in Snow White, are fully anthropomorphic – they wear clothes, converse with Cinderella in their high-pitched squeak-talking, tiptoe around the obviously villainous cat named Lucifer, and make fools of themselves to entertain the youngest set. In the opening minutes, Cinderella squanders its serviceable musical opening for vapid hilarity as it unlearns the lessons that began with Snow White and reached its apotheosis with Bambi (1942). In works where animals live alongside humans, animal side characters serving as comic relief are most effective and timeless when they behave like animals, not humans. Disney’s animated canon has been hampered by this development – one codified by Cinderella and, in its foulest iterations in recent decades (e.g. 2005′s Chicken Little), originates from commercial, not artistic, decision-making. The excessive screentime for the animals in the film’s opening third and especially the heavily gender-coded dialogue and behavior by the mice – “Leave the sewing to the women!” – is enough to eject Cinderella from the upper echelons of the Disney animated canon.

In my review to Snow White, I wrote that the writing of female characters in Disney’s animated canon films reflects the writers’ understanding of gendered roles in their respective times. Cinderella expressly looked to Snow White for inspiration after two decades where the Great Depression and World War II upended traditional gender norms. In the 1930s and ‘40s, thousands of American women found themselves in traditionally male occupations, altering – if only for a time – popular beliefs about what might be considered masculine or feminine behavior. Over in Burbank at the Disney studios, its departments were segregated by gender (its ink and paint department was solely staffed by women, and there were no significant clusters of women elsewhere in the studio) – insulating it from this phenomenon.

As if foreshadowing the gender-conforming atmosphere of the 1950s, it should not be a surprise that Cinderella cannot envision women beyond a vessel for marriage or a homemaker. With an eye towards a prince to sweep her away from her stepmother and stepsisters, an interesting protagonist Cinderella does not make. And with Cinderella not showcasing as much of her personality as Snow White did, she feels far more inert as a character than her predecessor. However, comparable to Snow White, Cinderella’s life has been one of deprivation and a lack of healthy human interaction – one without quarter, love from others. Knowing little else about life beyond her scullery duties, it is easy to see why she holds such retrograde beliefs for her own salvation.

Cinderella’s rough beginning is nevertheless the prelude to its visual wonderment. The visuals in animated feature films are the collaborative work of hundreds – credited or otherwise – of animators, background artists, character designers, painters, inbetweeners, cinematographers, and more. Sometimes, one particular artist wields an influence that extends across an entire feature. In the correct set of circumstances, they set an aesthetic that alters the artistic direction of animated films for an entire national film industry or a single studio. For Cinderella, its visual beauty is set by its backgrounds. Tyrus Wong’s background art defined Bambi a decade earlier; here, it is Mary Blair’s work that defines Cinderella.

Blair, a modernist whose style fit the films at United Productions of America (UPA; a breakaway studio which was founded by striking Disney animators) better than Disney, had been working at the studio since 1940. She worked through the package films era and on two live-action/animation hybrids in Song of the South (1946) and So Dear to My Heart (1948). But it is Cinderella where Blair’s style – flat, graphic, abstract – is the dominant force of the film. Blair’s buildings and their arches shoot upwards, supported by architecturally impossible reed-thin columns, making rooms cavernous and façades larger than life. The sprawl of these interiors suggests not only the fantastical atmosphere that this fairy tale inhabits, but the grandiosity of Cinderella’s story. The vertical frames of Blair’s buildings are elegant and abstract, never intimidating, as if hailing from a children’s storybook. With the exception of when Cinderella is dancing with (and fleeing) Prince Charming, blues, whites, and sometimes muted greens dominate the scenes of her regal desires – as if shimmering in moonlight.

In character design, three men – all part of the “Nine Old Men” fraternity – served as supervising animators for Cinderella. I find Cinderella’s character design plainly uninteresting, but it is how she moves that will leave awestruck this film’s most vocal detractors. Marc Davis (the three principal animated characters in Song of the South, Alice in 1951’s Alice in Wonderland); Eric Larson (Peter Pan in 1953’s Peter Pan, Mowgli and Bagheera in 1967’s The Jungle Book); and Les Clark (1928’s Steamboat Willie, 1961’s One Hundred and One Dalmatians) made heavy use of rotoscoping in their attempts to animate Cinderella. Rotoscoping, developed by Max Fleischer (and made exclusive to Fleischer Studios by patent from 1915-1934), involves an animator tracing the movements over projected live-action footage as opposed to animating something from scratch or some other form of reference. As an animator traces over the footage, they may add a personal flourish – a delay or embellishment of movement – in the process. For animating humans, adhering completely to human movement via Rotoscope results in footage that looks stilted, as if hailing from a different universe than one created for an animated film. For Davis, Larson, and Clark, there hardly is a scene where Cinderella is not benefitting from rotoscoping. The rotoscoped animation allows Cinderella to move more fluidly than any human character drawn by the Disney animators at this point in the studio’s history. Whether she is scrubbing the floors, waltzing with her animal friends or Prince Charming, or making herself scarce before the stroke of midnight, there is a majestic grace to her movement – and yes, that includes the moment where she loses her glass slipper.

The less cartoonish a character acts in Cinderella, the more they are rotoscoped. So alongside Cinderella, Prince Charming and especially stepmother Lady Tremaine – the latter’s supervising character animator was Frank Thomas (an animator for the Seven Dwarfs on Snow White, supervising animator for Tod and Copper on 1981’s The Fox and the Hound) – are the two other characters heavily rotoscoped in the film. Lady Tremaine’s imposing posture and manner of dress gifts her a wordless authority over everyone residing in the Tremaine château. In contrast to Cinderella’s stepsisters – characters who act and look in ways that one might expect in a bawdy animated short film – her stern demeanor, realistically angled long face, and deliberate movements effuse opportunism, menace, spite. Lady Tremaine’s appearance, in respect to how much it contributes to the film, is a pronounced upgrade from the Queen in Snow White. She relates a spectacular amount of characterization in just a glance, a scowl. Yet, Lady Tremaine’s darkly charismatic character design would only be the appetizer to even more iconic villainous designs to appear later that decade.

The incidental score by Oliver Wallace and Paul J. Smith is dominated by quotations from the songs, and is not nearly as independent from the soundtrack as previous Disney animated canon scores. For the first time in a Disney animated feature, the studio looked outside its Burbank campus for its songwriters. Looking towards Tin Pan Alley, Disney hired Mack David (the title songs to 1959’s The Hanging Tree, 1963’s It’s a Mad, Mad, Mad, Mad World); Al Hoffman (“Papa Loves Mambo”, “A Whale of a Tale” from 1954’s 20,000 Leagues Under the Sea); and Jerry Livingston (the title songs to The Hanging Tree, 1965’s Cat Ballou). Cinderella possesses a wonderful musical score, headlined by “A Dream is a Wish Your Heart Makes”, “Bibbidi-Bobbidi-Boo”, and “So This is Love” – ignoring “The Work Song” (squeak-sung by the mice in something that set a precedent for Alvin and the Chipmunks), of course.

One of these, obviously, is unlike the others. “Bibbidi-Bobbidi-Boo”, sung by the Fairy Godmother (voiced by Verna Felton, who voiced the Elephant Matriarch and Mrs. Jumbo in Dumbo and, over the 1950s, became a Disney voice cast regular), is an exuberant frolic, and easily one of the best songs with nonsense lyrics in film history. Nonsense and novelty songs in Hollywood typically wear out their welcome, running a minute or more longer than they should. Clocking in at roughly one minute, the Fairy Godmother performs her magic, and promptly whisks Cinderella away to Prince Charming’s ball by song – a musical exemplar in narrative brevity.

Thirteen years following Snow White, Cinderella benefits from advances in recording technology and a richer – if not necessarily fuller – orchestral sound. Ilene Woods was primarily a radio singer, and her voice’s timbre is suited to play Cinderella. “A Dream is a Wish Your Heart Makes” parallels Snow White’s “I’m Wishing” in its exceptionally early placement and nowadays-formulaic function. But it is a serviceable introduction to Cinderella as a character, even with no specific dream mentioned in the lyrics. Sung with Mike Douglas (as Prince Charming), “So This is Love” is a dreamy duet, a waltz that musically defies a typical waltz. Waltzes, in ¾ time, usually have a pulse that even those not versed in music can “feel”. That pulse is usually on the downbeat, the “1”. Yet “So This is Love” generally begins its phrases and pulses on the “and” of the second beat (as one would count a measure as: “1 and 2 and 3 and”). The song’s frequent use of slurred notes, even fermatas, gives it its romantic flow and dramatic ebbs. This is an unconventional waltz, one that resists categorization and a song that would have been quite difficult to compose – despite its outwards simplicity.

Walt Disney appreciated the financial cushion that Cinderella provided (funding for the project met fierce resistance from his brother and the company’s CEO, Roy), and never truly worried about funding issues after the film’s release. The funds from Cinderella were injected across the company: for feature animation, live-action narrative features, the True-Life Adventures nature documentary series, Disney’s eventual television presence, and into purchasing a tract of orange groves in Anaheim. As for Cinderella itself, Walt could see the artistic shortcuts (rotoscoping included) in most every frame. It was no Snow White, he thought to himself. And though this 1950 adaptation was technologically superior in every way from the 1922 silent Laugh-O-Gram* short based on the same story, there seemed to be no artistic fulfillment for Walt in this Cinderella’s success.

Cinderella heralds the start of the Disney studios’ “Silver Age” – the second half of Walt Disney’s tenure as the creative ringleader at his namesake studio. Various film writers will provide conflicting definitions for these periods in Disney animation history. According to this blog, the Silver Age (1950-1967) is named as such due to the cessation of the package films and the return of more traditional animated features, Walt retreating from his once-omnipresent role in the artistic decision-making for those animated features, and the limited animation of the 1960s. However, the Silver Age is also the beginning of the studio consciously crafting large portions of these movies (if not the entire movie) explicitly for children. This is not to say films specifically for children are not worthwhile – Dumbo being a prime example. But to introduce characters, plot devices, and humor geared for children at the expense of the film’s storytelling or thematic resonance to viewers of all ages is the Disney studios at its most cynical and business-minded. These trends – that are not solely the fault of any single film – have persisted into modern animation, and are artistically incompatible with Disney’s Golden Age animated features. Those cynical trends are absent in the next Disney animated feature – an adaptation of a Lewis Carroll work that embraces a tsunami of colors and its own looniness.

To audiences in North America who had not seen a non-package animated feature in almost a decade and to war-weary audiences abroad reintroducing themselves to Disney films, Cinderella must have been an astonishing work after episodically-structured movies without a natural through line. In this Silver Age, Walt Disney and his animators would define the studio’s hallmarks – princesses, fairy tales, comic relief intended for children inserted for non-artistic reasons, and the distinctive visual style of artists like Mary Blair. Cinderella is the genesis for these developments. The Silver Age’s most innovative, accomplished work would still be several years away.

My rating: 7/10

^ Based on my personal imdb rating. Half-points are always rounded down. My interpretation of that ratings system can be found in the “Ratings system” page on my blog (as of July 1, 2020, tumblr is not permitting certain posts with links to appear on tag pages, so I cannot provide the URL).

* Founded in 1921 by Walt Disney, The Laugh-O-Gram studio was located in Kansas City, Missouri, and was the short-lived predecessor of the modern-day Walt Disney Animation Studios. Alongside future animation industry stalwarts Ub Iwerks, Hugh Harman, Rudolf Ising, and Friz Freleng, the Laugh-O-Gram studios made short animated silent films. Many of these films were based on fairy tales – including Cinderella (1922).

For more of my reviews tagged “My Movie Odyssey”, check out the tag of the same name on my blog.

This is the twentieth Movie Odyssey Retrospective. Movie Odyssey Retrospectives are reviews on films I had seen in their entirety before this blog’s creation or films I failed to give a full-length write-up to following the blog’s creation. Previous Retrospectives include 12 Angry Men (1957), Oliver! (1968), and Jingle All the Way (1996).

[chiefavenuewerewolf]

5 Star Cinema Garden Grove

All Theatres Starlight Terrace Cinemas, Rancho Palos Verdes, CA Starlight Whittier Village, Whittier, CA Starlight Cinema City Theatres, Anaheim, CA Starlight West Grove Cinemas, Garden Grove, CA Starlight Triangle Square Cinemas, Costa Mesa, CA Starlight Dos Lagos 15, Corona, CA.

Reviews 14

ST

Steven Crow

Garden Grove features a number of movie theaters, but Starlight Cinemas always offers convenient show times and a great movie selection. Bring the whole family to this theater, where kiddos are welcomed with open arms.Patrons can park in a lot near Starlight Cinemas or take advantage of the generous street parking. Whatever you're in the mood for, Starlight Cinemas has.

All Theatres Starlight Terrace Cinemas, Rancho Palos Verdes, CA Starlight Whittier Village, Whittier, CA Starlight Cinema City Theatres, Anaheim, CA Starlight West Grove Cinemas, Garden Grove, CA Starlight Triangle Square Cinemas, Costa Mesa, CA Starlight Dos Lagos 15, Corona, CA.

Enjoy the latest movies at your local Regal Cinemas. Regal Garden Grove features stadium seating, digital projection, mobile tickets and more! Favorite place to go to the movies. Using the card is the best program. It really helps senior citizens. Everyone is always.

Garden Grove Cinema - Deals in Garden Grove, CA Groupon. Cinema deals in Garden Grove, CA: 50 to 90% off deals in Garden Grove. AMC DINE-IN Fullerton 20. AMC Anaheim GardenWalk 6. Active: 2019-11-22.

Please read this oneI don’t usually write reviews but the experience me and my wife had is unbelievable My wife was in a car wreck on 1-24-15 and hurt her back but still wanted to see a movie for Valentine’s day 2-14-15 so I got the tickets and went I asked the lady at the door if my wife could Just sit on bench until movie time and she got a bad attitude problem with me so I asked to see The manager she came out and I told her about the problem she seemed like she didnt care at all. But she finally let my wife sit then all we heard was laughing and giggling from them made my wife feel very bad and very uncomfortable we left and won’t be back ever.By the way me and my daughter usually go to the movies there at least once a week sometimes twice a week and have been going there for almost four years now and the guy’s that work there on the weekdays are great very kind and never any Problems at all.

BR

Brian Bergström

Was happy with the pricing of the movies here. First run movies at discounted prices. The theaters are small, but comfortable. I first saw a movie here in 1987 and it hasnt changed much, except the technology.What disappointed me were the lights that never turn off and when the movie starts nobody closes the doors (I went to the back and closed the doors myself, nothing I could do about the lights). How can one really enjoy a movie theater experience with lights in the ceiling shining down in your eyes.I came here for 3D, because ONLY the Dolby Digital 3D works for me, the crappy RealD 3D doesnt work nearly as well. Then as it turned out the movie I wanted to see was not being shown in 3D at all.I would go back again, but probably sit more towards the front away from the spotlights and open doors.

PA

Pat Butterfield

5 Star Cinema Garden Grove Ca

This place and staff has always given me a pleasurable experience and have gone on various days and times for the last 5yrs Even going during regular hours/days but frequent the senior/family days & hours. Been there during peak hrs & always someone at doors ready to go in and clean soon as a movie is over. Cant go to the Regals or Edwards and the like for top movies popcorn and drinks for the same price or less than what others charge just to get in the doors! Too bad Steve Crow had a bad experience, I have never seen or heard of such a thing all the times Ive gone. Im even greeted & asked where my friend is when I go alone. And acknowledged when Ive not been seen for awhile! Local theaters always best over commercial places anytime!

A

A Private User

I see a lot of people complaining about the employees and the seats and screens. Download blackberry handheld software for 8520. I have never had a problem with any of the employees. They arent really friendly, but have never been rude to me or any of my kids. Sure it s small, but for the value, worth it for me. We could never afford to see a movie otherwise. If you get their saver card, you get a free ticket for every four you buy, even on family night. Plus you get free popcorn and free refills on popcorn and soda. Tip..go early in family nights, you will be in line for a bit, and it will fill up.

WE

Wesley To

Dont be fooled by the price and Starlight brand. This place has almost nothing else in common with other Starlights. No reserved seating. No seats in the center (aisle runs down the middle). Small, dim screen. But the other Starlights (Triangle Square in Costa Mesa, Cinema City in Anaheim) have identical pricing and feature reserved seating, center seats, and larger screens, as well as having more total screens, more seats per screen, and nicer aesthetics. Go to those ones if possible. Those actually deserve the '4 Star' nomenclature.

A

A Private User

5 Star Theater Garden Grove

Hate it. We came to watch sherlock holmes and half way through my lady went to use the restrooms and got kicked out cause the management said she was trying to jump movies. she had the ticket stub and she wasnt trying to jump movie.. she waited out side in the cold. while i was waiting for her to return. finally i went out side to look for her and i was very shocked to find out what had happened.. Never again will we ever come here again. Go some where else management seemed racist..

YA

Yaseng Yann

I go to this theater almost exclusively esp so that we could go bowling before or after a movie: $7 refillable (one time before the movie ends) popcorn, clean theater, good sound system, friendly staff. Prices are catching up to that of UA and Regency..$9/adult is more than at some other places; so we are pulling the reins a tad. Maybe it pays to be a frequent movie pass goer..then again, we should head out to the state parks and outdoors more. Head out and shape up, America!

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A Private User

i think this is a fantastic bargain to go to the movies in these most difficult of times. the popcorn is great ..the seating is good and the value is fabulous. we try to make it every Tuesday. i found the employees to be professional and courtesy so i suppose everyone has there opinion and mine is that keep the price low and the audiences will come. thanks.

JO

John Taylor

The movie industry is my passion. When I was a teen I loved going to the cinema. This place is comfy, small and a great place to take out your girlfriend. However last time my girlfriend and I went everything was just dirty. Spit bubble gums, popcorn and smelly restrooms. Not a romantic experience at all. I hope they take some actions!

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Lexi Buelna

Is this as fancy as Bella Terra? No. But as far as a discount theater is concerned, this is a definite 5 star theater! Everyone has been nothing but polite and friendly. Only 4 movies at a time but, for the price, im willing to wait a while until they change the options! And any theater with $1 hot dogs is fine by me.

JA

JAN VARELA

Awesome new movies. Get the frequent movie goer pass and get free movies and popcorn. CLEAN place and if you go to their site print a FREE popcorn and upgrade to large popcorn & Large drink with refills for $9.00Tuesday & Thursday $4.00 all day.everyday $5.00 until after either 4 or 5:00pm then its $6.00

BR Abs marvel connector types.

Brandon Kheang

Absolutely love this theater, $6 Tuesday, Thursdays, and Sundays every week are an excellent value. Though it may not be as large as the bigger theaters, the movie viewing experience is still very enjoyable, especially given the price. The employees are friendly and the popcorn is delicious

Garden Grove 5 Star Cinema

KA

Karen Taylor

We just moved to the area and we found this theater 'WONDERFUL' and it has a family environment in our neighborhood.The prices are good all doing the week and the popcorn is good and very affordable for us. The staff helpful. We love it there.Thanks,Resident of Buena ParkKaren

AL

Alina Ramirez

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Considering that it is a 4 screen theater with regular old school seating, it is nice. The floors arent sticky, the seats arent broken, the restrooms are clean and most importantly..very nice staff. Great place to take my family especially since we are on a very tight budget.

5 Star Cinema Garden Grove

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[oldbaton]

My favorite like big commercial release movie theater is also in the financial district. In order to get to it you have to notice an obscure sign next to a wind tunnel. Enter a hotel unrelated to the movie theater. Take the escalator up the conference floor. Then turn behind you to see the escalator that you wouldn’t have noticed otherwise. Then take that escalator to this bizarre floor of nothing. Then take another one more time to find the regal cinema. The financial district is bar none the most mysterious part of the city and we never discuss it.

[popculturebrain]

Regal Cinemas and Cinemark Know What Movie Lovers Want: More Commercials Before Trailers!

Hot on the heels of news that moviegoers want fewer trailers during their theatrical experience, Regal Cinemas and Cinemark movie theaters are giving audiences exactly what they want: even more commercials in movie theaters.

[karapauley]

Blog #2- Silver Screen to Stream: ‘Glass Onion’ to Have Thanksgiving Week Theater Release Before Moving to Netflix

Glass Onion, the sequel to Rian Johnson’s 2019 whodunit dark comedy Knives Out is set to have a special week-long theatrical “sneak peek” before being streamed exclusively on Netflix. Deadline reports that the film is set to hit theaters November 23 until November 29, when a blackout period will ensue before the film is finally released on Netflix on December 23. This move is significant because, although it will only be released in around 600 theaters, all three major theater chains will participate— AMC, Regal, and Cinemark. The Hollywood Reporter remarks that typically, cinema chains will not book a streaming title that is set to be released within a month on streamers. Any theatrical releases for streamers are usually reserved for independent chains or for FYC events in anticipation of awards show season.

There are a couple of reasons why this move to offer a limited theatrical run for Glass Onion makes sense. Firstly, the original film Knives Out was released theatrically on Thanksgiving weekend in 2019 and made $300 million worldwide on a modest $40 million budget. By releasing Glass Onion even for just a week, Netflix stands to make a good chunk of box office money, particularly given that Thanksgiving is one of the busiest weekends for cinemas. Netflix paid over $400 million for the rights to Rian Johnson’s sequels, and putting it out in theaters can recoup some of this money. This move is also beneficial to the theater chains, as the film is set to be a critical and commercial success, given its star-studded cast and success of the film on the film festival circuit. 

However, the timing of the release may prove tricky for other theater releases over Thansgiving weekend, including Stephen Spielberg’s The Fabelmans. Forbes points out that due to the nature of the limited release, audiences may turn out for Glass Onion, which leaves the other films who are relying primarily on theatrical release to make back their money at a disadvantage. 

It will be interesting to see how Glass Onion fares on the silver screen, and whether or not this sets a precedent for other streaming platforms to look to more extended partnerships with theaters.

photo courtesy of The Hollywood Reporter

[bighousela]

la live film festival 2022 at regal cinemas at la live

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[8u0]

Incredibly shitty and unhelpful of me to point this out but in NYC we have about a dozen art house theaters that screen movies that aren’t just regurgitated Hollywood action figure commercials. If you like movies I promise that every year there are plenty of films released worldwide with a mature adult audience in mind. The problem is that they don’t get a wide theater release in America. I think the market is there for Serious cinema but Regal Cinemas execs probably wouldn’t see it that way. Idk.

[candacefilmss]

Initiative Business Trend in Hollywood

For ages, the film industry has been definitely slow to change. The parameters of a standard cinematic run have been firmly established by movie theater owners. Until last year, a studio’s newest blockbuster had to be released on home videos. Now, studios are attempting to decrease marketing expenditures by shortening the three-month window.

Theaters were closed down, leaving the advertisers with no income for months due to the pandemic. Studios rearranged their release dates pushing certain films to another year. The unimaginable change started to occur at breakneck speed just a year ago. When theater owners were permitted to reopen their doors, they rapidly discovered that their negotiation strength had been substantially reduced.

The theater owner wanted to extend the discussion that had the capacity to uplift their economic system in order to continue mining the protracted period of big-screen monopoly until they were forced to submit to free markets. The emergence of streaming platforms, which let users see hundreds of movies at the push of a key, put extra strain on the theater’s irrefutable frame.

Universal has agreements with AMC, Cinemark, and Cineplex to make movies available on-demand within weeks of their theatrical release. In exchange, exhibitors receive a portion of the online earnings. Universal is poised to reach a reciprocal arrangement with Regal, the second-largest distributor in the U.S. Universal claims that their agreement is more commercially sustainable in the long term for the company.

Despite the pleasure of at-home viewing, Movie studios are not willing to accept the demise of the theatre industry. Any film producer will tell you that people are more than ready to return to normality. Even as Fincher anticipated the establishment of a new studio structure, he spoke of the risks of a new narrative.

It is also apparent that cinemas will need to develop and re-calibrate in order to get people back into their seats with more diverse and accurate representation. People have enjoyed the last year viewing movies from the comfort of their own homes during the tough situation for the same cost as a normal theatre ticket.

[priyasarmasblog]

10 best ways to celebrate this Diwali at your workplace

Diwali is the Hindu jubilee of lights, which signifies the palm of light over darkness. This time Diwali falls on November 4th, so we allowed it would be a good time to partake our top 10 ways to celebrate this Diwali at your plant. The fests are an excellent chance for workers to get near to each other while participating Indian culture!

Then's a list of ideas that would make Diwali fests special.

Gift- wrap your office

Wrap a gift for everyone at work. You can do this on the dusk of Diwali or indeed a many days before. Go around with a commercial Diwali gifts card and hand out unique Diwali gifts aimlessly to people you want to mark the occasion.

Organize a potluck lunch

This is easier to manage if your office is in the same megacity, but you can also arrange for this by traveling to one position where you can celebrate Diwali with all yourcolleagues.However, ask for unplanned particular leave for this day, If your company doesn't give perk leave.

Produce a gleeful air

Still, make sure that the place is lit up with candles or lights, If you're hosting the lunch. You can also try threading up some nets on your office with various lights in them. Play Diwali-themed songs on the Bluetooth while celebrating it with your platoon

  Play capriccios

Play jokes on the office next to you, platoon up with your associates and play capriccios. Cracking up jokes and laughing together is the stylish way to celebrate any jubilee. Also, you can arrange a treasure quest and play it together.

Embellish your Office

Prepare pooja for the occasion and embellish your office withrangolis.However, visit it after work hours and spend some time in prayers, If your office is close to a tabernacle. You can also prepare manual sweets rather of going out for regale or lunch.

Shoot substantiated cards

Still, you can shoot your Diwali wishes to people by giving a substantiated touch in the form of a card, If you can not get time to put together substantiated gifts. Get in touch with a paper- craft company and ask for customized cards to reach out to your musketeers and associates. Individualized cards are the stylish Diwali gifts you can give your associates.

Organize a fireworks night

Still, make sure that the place is lit up with candles or lights, If you're hosting the lunch. You can also try threading up some nets on your office with various lights in them. Play Diwali-themed songs on the DTH while celebrating it with your platoon. Eventually, organize a firework night on your office demesne.

  Cushion deals

On this day, Goddess Lakshmi showers all her blessings to everyone who lives with honesty and verity. You can have a small competition within your department or between departments where you try to vend the maximum number of products to celebrate the day in the stylish way.

Watch a Diwali movie

Partake your cinema experience with your platoon by watching one together if you can not make it to a live theater webbing of Bollywood blockbusters. You can indeed put up an open bean for this, and people can do the selection themselves. Make sure you have a projector in your office.

Host a quiz night

Remember when you went to academy, which was one of the most awaited periodic days? Host a fun quiz game for all your musketeers at work and treat them with succulent snacks, after which you can enjoy an early Diwali festivitytogether.However, shoot them home with online Diwali gifts, If possible.