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Amid the trivia and legends surrounding Grauman’s Chinese one often comes across mentions of a secret underground tunnel which once linked the theatre to either the Hollywood Masonic Temple or Hollywood Roosevelt Hotel (the tunnel mate tends to vary by the age of the story’s source). Secretly constructed by Hollywood powerbroker Charles E. Toberman, operated under lock and key by showman Sid Grauman, and traveled by only the most elite of the day, the Chinese Theatre’s fabled tunnel has stood as a mysterious bit of history for nearly one-hundred years. But, did it ever exist?

In case you are unfamiliar with the legend, Grauman’s tunnel was alleged to have been built in 1927, devoid of permits and absent from all official plans. The brainchild of Charles E. Toberman and Sid Grauman, this subterranean passage was intended to be utilized by celebrities and VIP’s, as a means of entering/exiting the Chinese Theatre undetected; most often cited as the reason why famous individuals were seen arriving on the red carpet for events, but never seen departing. More salacious stories add secret rendezvous between stars, illegal gambling, and wild parties to the tunnel’s mythology. By the time of Sid Grauman’s death, in 1950, the tunnel access points had either been covered over or existed as locked basement doors, without a key (depending on who was telling the story). Finalizing the eternal mystery, all evidence of the tunnel’s existence was destroyed when the Los Angeles Metro Red Line was extended through the area in the late 1990’s.

So, did the secret passage exist? While Grauman’s tunnel sounds plausible on the surface, it simply doesn’t stand up under further examination. To begin with, the stories all suffer from the tell-tale red flag of being sourced from murky second or third hand accounts. Not a single celebrity, theatre worker, media figure, construction crew member, or directly involved party from the era ever documented, let alone mentioned, any tunnel; leaving us with accounts, decades removed, from “a person who once knew a, now deceased, guy who had seen the door” or “an individual who had met someone who heard stories from the old-timers.” Adding to the case against, there stands no physical evidence to back any of the tales; no photographs, no locked doors, not even a mismatched patch or suggestive outline of where an access point may have once been. Each of the three venues has undergone numerous facility surveys and remodels over the years, but no evidence of an entrance was ever uncovered. In the case of the Masonic Temple, a concerted search was undertaken, during the building’s 2001 El Capitan Entertainment Centre conversion, and nothing was found. Additionally, the multitude of utility and public works projects, which have taken place on Hollywood Blvd., never stumbled across an underground tunnel or void. Even the Metro excuse falls flat, as the tunnel not only had to go undetected for some seventy years, but the Red Line runs seventy feet below street level; surely too deep to have completely destroyed a basement passageway. If anything, the further you explore Grauman’s tunnel, the more you find to disprove its’ existence.

In the end, we have an urban myth which was likely rooted in the perceived mystique of showbiz people. Stars accessing a secret underground tunnel is far more exciting than the likely reality of them exiting out a back door to a waiting car. The fanciful image of showbiz people, especially those from a long-passed era, operating in a world of mystery and secrets, makes for a much better story.

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Irvine’s Woodbridge Theatre quietly turned forty on February 8, 2020. A significant milestone, when one considers all that has taken place over the past four decades. A saturation of modern theatres in the area, the megaplex/stadium seating era, the financial collapse of two operators, and countless shifts in public tastes unfolded around this modest five screen. Yet, the Woodbridge somehow managed to survive, even thrive, against all the odds. While current circumstances raise some questions, as to what the future holds for Irvine’s unlikely survivor, I thought I would share a little-known story of what almost was.

In early 2015, the Woodbridge was coming off a stellar run, as one of the more successful subrun venues in the nation. A “comeback kid” of sorts, the theatre had gone from single digit daily attendance figures in the early 2000’s, to regular sellouts by 2010. With the latest lease expiring in the Spring of 2015, the property’s owner, The Irvine Company, was keen to not only keep the current operator, Starplex Cinemas, in place, but to also expand their revived moneymaker (in addition to rent, the Irvine Company shared in the theatre’s yearly profits). Already moving forward on a $30 million renovation of the surrounding Woodbridge Village Center, the Irvine Company approached Starplex with the idea of an equally impressive investment in the center’s primary draw.

A basic sprucing up had been expected, as the two previous leases, in 2005 and 2010, had seen an investment in new fixtures, paint, carpeting, and a conversion to digital projection (the Woodbridge was the first all-digital discount theatre in the country). However, in 2015, the proposal was for a complete remodel, doubling of the lobby width, and addition of one or two auditoriums. There was even talk of exploring the possibility of terraced recliner seating and “luxury amenities”. The Irvine Company went as far as to have some rough plans drawn up, which had the theatre expanding to encompass most of the neighboring units. While the proposal would entail a significant increase in monthly rent, the normally frugal Starplex Cinemas was intrigued enough by the idea that the company’s COO flew out to meet with Irvine Company representatives for a walkthrough. For a moment, the Woodbridge looked to be heading towards a very bright future; but, as they say, “the best laid plans…”

Around the time that talk of a Woodbridge Theatre makeover grew serious, a drastic turn of events was unfolding behind the scenes. Unbeknownst to all but a handful of individuals (even Starplex’s COO was left in the dark until the last moment), Starplex Cinemas had entered the final stages of selling the company to AMC Theatres. As a result, further discussion of a grand remodel stalled, and the Irvine Company moved on. AMC took over management of the theatre in 2016 and the focus shifted towards trimming expenses, rather than investing in a future. In the end, little more than the addition of a self-serve soda machine and an exterior rebranding took place.

The cinema landscape has changed dramatically since the spring of 2015. Discount/subrun theatres have more or less vanished from the scene, most mid-sized exhibitors have been bought up by industry giants, and even these giants find themselves struggling to stay afloat. The Woodbridge Theatre has continued to survive, with business levels a shadow of what they once were, and the specter of what could have been left to speculation.   

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Fifty years ago, this week, the grand single screen era began its’ swan song with the opening of the National Theatre in Westwood.

Opened on 3/26/70, with an invitational premiere of “The Boys in the Band”, National General’s 1,112 seat modern palace was among the last grand single screen builds, as the industry had already begun a shift to multiplexes towards the close of the preceding decade. However, the National proved to be far more than the last gasp of a dying era or a mistimed offering. Over the ensuing decades, the National Theatre was a regional powerhouse, which hosted numerous record-breaking engagements and exclusive runs of top grossing tittles. The venue’s enormous 56’ x 26’ screen, cavernous auditorium, and highly regarded presentation quality remained a favorite of moviegoers and studios well in to the 1990’s.

Unfortunately, by the turn of the new millennium, the National’s days were numbered. While having survived the multiplex and megaplex eras, relatively unscathed, the theatre was unable to overcome rising property values, new zoning regulations, and the dwindling fortunes of its’ operator. After Mann Theatres shuttered the National on 4/19/07, the venue had a brief run under an independent exhibitor, before closing a final time six months later. The single screen era’s last gift to the moviegoing experience was razed in January of 2008 and a three-story retail/apartment complex was erected on the site in 2014.   

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In honor of Hal Drewek, whom I discussed in an earlier post, I thought I would share one of his more humorous stories.

Back in the 1980’s, Hal spent some time managing Jacksonville Florida’s Fox Drive-In. On one particular evening, there was an issue with a projector and the film cut out mid show. As the projectionist had already gone home for the night, Hal was left to deal with the problem himself. Utilizing the public announcement system, he calmly apologized for the interruption and informed those in attendance that their movie would be back up shortly. Then, he set to work.

Much to Hal’s chagrin, the task at hand proved to be more challenging than he had anticipated. For those who have never worked with 35mm film, suffice to say that the medium can be highly frustrating under the stress of show interruption conditions. Attempting to gain a handle on the coiling and tangled web of film, Hal’s growing irritation was soon voiced in an expletive laced rant. “Come on you stupid f*****! F*****g son of a b***h!” With each hurried movement, his effort was met with another tangle or twist of film, further fueling Hal’s verbal outrage. His symphony of profanity building to a crescendo, Hal suddenly noticed a man waving frantically outside the projection window. “Well, what the f*** does this idiot want?!”  The moment he acknowledged the man, Hal realized that he had never turned off the address system’s microphone. For the past ten minutes, his profane narration had been blaring across the drive-in.

Returning to his normal calm and professional demeanor, Hal quickly acknowledged his lapse, to the likely stunned audience, and went back to work; making sure to turn off the PA system this time around. At the end of the night, a thoroughly embarrassed Hal made sure to position himself beside the lot’s exit so he could personally apologize to each guest as they departed. To the best of his recollection, most were quite understanding and even shared a quick laugh with him. His general summary of the night being “they may not have remembered the movie, but I guarantee they never forgot me.”    

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This evening we witnessed an unprecedented event in the history of movie going, as every movie theatre in the United States (likely most of the world) closed indefinitely.

On hearing the news that the last few holdouts had fallen in line with national guidelines, I attempted to find a point of comparison, some similar period of long-term hiatus. However, there was no comparable entry in the long history of cinema to be found. Natural disasters, wars, tragedies, and even diseases had certainly come before. In turn, there had been closures to accompany each of these unfortunate events. Yet, there had always been a very different emphasis surrounding the closures of troubled times past.

One such example can be found with the San Francisco earthquake of 1906. Following an estimated 7.9 magnitude quake, more than 80% of the city was left in ruins. Among the structures destroyed were Sid Grauman’s Unique and Lyceum theatres. With aftershocks standing as an ever-present danger, the indoor activity of moviegoing appeared to be out of the question (assuming one could even find a structure to utilize). Despite this, there remained a demand for some return to normalcy, an escape from the devastation and horror that gripped the city. So, Sid obtained a tent from a local preacher and outfitted it with salvaged church pews. Opening Grauman’s Canvas Theatre a few days later, Sid promoted his cinema refuge with the reassuring message “Nothing to fall on you but canvas if there is another quake”. The Grauman family went on to open a second tent theatre (The National) to serve overflow audiences and continued these operations for another two years; providing a weary public with a much-needed escape.  

While troubled times varied in cause and outcome over the ensuing century, the desire to escape into the refuge of moviegoing had always remained a constant…Until now. Where once people sought the social camaraderie and distraction found in the theatre experience, we now find a force driving people away from such an experience. Where once the overlying question stood as to how soon we can return, the question currently stands as to how long we should stay away. The truly unprecedented event we are baring witness to is how the public is reacting to and viewing “closed indefinitely”.      

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Pondering the exhibition industry’s sagging ticket sales, declining market value, and struggling public image, I was reminded of a person I encountered over a decade ago, in a setting which has long since passed from relevance.   

I first crossed paths with Hal Drewek at a general management conference, circa 2005. By that time, he already had decades of theatre experience under his belt and was known as somewhat of a colorful character within the company we each worked for. A throwback to a different time, Hal defiantly eschewed the computers, automation, and analytics which had become standard procedure, remaining rooted to his background in showmanship, gut instincts, and human interaction. He was a guy who held strong opinions on the current state of our industry and plentiful stories of “the way things used to be”. No matter the topic, one was always sure to hear Hal’s take on it, beginning with his customary “Hal Drewek, general manager, Tallahassee 8, over twenty-five years in the business” and ending on an anecdote from one of his many career misadventures.

While one could easily write Hal off as an out of touch relic or roll their eyes in response to another one of his stories (far too many certainly did), I always looked forward to hearing what Hal had to say. Part oral history lesson, part ramblings of a stubborn curmudgeon, his voice lent a much-needed alternative take to the blindly uniform new agenda being presented. For, behind the dated ideology and less than politically correct references, there was a timeless message to be found in his frequent monologues. A reminder that, no matter how much the world or theatre industry changes over the years, we should never lose sight of what makes moving going special. The latest technologies, amenities, and procedures are merely temporary, destined to be replaced; the true magic is found in the very human social experience we provide. 

As is typically the case with workplace acquaintances, I lost track of Hal over the years. After he parted ways with the company, around 2010, there was no longer a tangible link between us, and he disappeared from my life. That’s not to say Hal was ever forgotten, as I continuously noted a sizeable void in his absence at the yearly conferences. Amid the dry lectures, cutting edge reveals, and new system roll-outs, there was no longer a voice of concern or “unique” life lesson shared. Presentations simply transitioned onward, without the “Hal Drewek, general manager, Tallahassee 8, over twenty-five years in the business” interruption.

A few weeks ago, I found myself reflecting on Hal’s stories and sought to discover what Mr. Drewek had been up to since I last heard of him. Sadly, a quick internet search revealed that his stories had fallen silent on November 9, 2019. I can’t honestly say that Hal was someone I was close with or even knew all that well. Our interactions had been confined to annual meetings, held in hotel conference rooms, over a relatively brief period in our lives. Yet, I find his passing an unusually poignant reminder of the message he repeatedly attempted to impart. Looking back, I barely remember the assortment of new gadgets and programs that were introduced at those meetings; I remember the experiences found in people like Hal.

Movie going transitions onward, but there is a growing void in the experience, as we lose those who value the true magic. Perhaps, some answers to the exhibition industry’s current woes can be found in actually listening to those “colorful characters” and “out of touch relics” before it’s too late.    

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As the 92nd Academy Awards wrap up a 3 1/2 hour worldwide broadcast and transition into endless recaps, reviews, and followup commentary, we take a quick look at a very different ceremony that took place for the 1st Academy Awards.

Back on May 16, 1929, two hundred seventy people paid $5 a piece to attend a celebration banquet at the Hollywood Roosevelt Hotel. Following a private dinner, “merit trophies” were handed out for work on films produced in 1927 and 1928; the award segment of the evening lasting a mere fifteen minutes, with winners having been notified, via telegram, three months prior. Unlike all ceremonies which followed, the 1st Academy Awards were not broadcast, nor recorded for posterity. The Los Angeles Times’ coverage of the event consisted of little more than the photo above and this brief recap.

The Academy Awards’ pageantry, public adulation, and media coverage would quickly escalate from these humble beginnings; which almost seems par for the course. The awards’ founder, Louis B. Mayer, later commented “I found that the best way to handle (filmmakers) was to hang medal all over them…That’s why the Academy Award was created.”

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Following up on our earlier post, covering Babe Ruth’s 1924 appearance at Grauman’s Million Dollar Theatre, we have this Los Angeles Times news piece from the week.

In what might be a contender for most underwhelming reporting, we learn one of the most famous people of the day “does stuff” on stage and this primarily consisted of batting tips. Related articles describe his appearances at other local events and a turn at acting in a film short with far more fanfare; leading one to suspect Ruth’s week at the Million Dollar Theatre may not have lived up to the hype of the opening night party.

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Following up our piece on theatre celebrity appearances, we have this unique memento from George Herman “Babe” Ruth’s 1924 promotional appearance at Grauman’s Million Dollar Theatre.

By 1924 Babe Ruth had moved beyond mere baseball superstar and in to the realm of pop culture icon. Drawing intense media coverage and large crowds wherever he went, Ruth’s celebrity had become a highly sought after marketing tool, even for those located some two thousand miles from his New York City base. Thus, in November of 1924 Mr. Ruth was contracted to make a week of appearances at Grauman’s Million Dollar Theatre, in Dowtown Los Angeles.

To promote the week of preshow stage appearances (oddly enough, he was booked with the Ben Turpin comedy short “Romeo & Juliet”), a “Babe Ruth’s Million Dollar Theatre Party” was held on November 10th. The highlight of this party coming with Babe hitting autographed baseballs in to a crowd gathered in front of the theatre (one can only imagine the chaos which ensued). Despite sounding very much like the sort of promotion Sid Grauman might have been behind, he likely wasn’t involved at all. While retaining his name, the downtown Grauman venues were sold to Famous Players-Lasky in late 1923, so that Sid could focus on his burgeoning Hollywood ventures.

Today, there is very little documentation of this significant promotion which remains. Aside from the, apparently, lone surviving autographed ball (which pops up semi annually at auctions) and a couple of passing mentions in biographical pieces, I have been unable to find so much as a picture of Mr. Ruth at the Million Dollar Theatre. It would seem this particular celebrity “In Person” theatre promotion, by the biggest of stars, has faded in to an obscure footnote.

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New theatre openings have become somewhat scarce in recent years, with exhibitors tending to favor remodeling existing venues and acquiring competition, as a means for expanding their presence. In Turn, these facility upgrades and transfers in ownership rarely garner more than a “blink and you’ll miss it” public notice of the change. However, back when new builds were the norm, there was usually a great deal of celebration and promotion centered around each opening. And, for those exhibitors who wanted something extra special for their new theatre’s big night, celebrity appearances were the go to marketing ploy.

If the new theatre happened to be a large market flagship, there might be an “A-list” star studded premiere tied to the opening. However, most celebrity openings featured slightly less grand appearances by local media figures and waning stars. In some cases, the celebrity might have a personal interest in the venue; as was the case for Jerry Lewis’ frequent attendance at openings for his ill fated namesake theatre chain. For the vast majority of such openings the star in attendance came from a stock group of actors who were looking to supplement their income; Debbie Reynolds and Glenn Ford being the most frequent celebrities for hire in the 1970’s.

In the case of Mann Theatres, the celebrities were once known as official “ambassadors” of the chain (whether they were actually contracted employees or merely assigned the moniker as a one off is unknown). Actress/singer Rhonda Flemming, wife of Mann Theatres’ owner, Ted Mann, was the de facto ambassador. Yet, for a period in the mid 1970’s, prolific character actor Chill Wills served as Mann’s official ambassador. Mr. Wills posed for pictures, signed autographs, and handed out commemorative pins at several Mann openings of the time; according to one account, he was also so drunk at the Torrence Old Town 4 opening that he could barely stand.

“B-list” and social faux pas aside, these celebrity appearances once played a role in the glamour and magic of moviegoing. Those in attendance had an “in person” brush with fame that they would likely never forget and the theatre opened with a sense of being a special place.

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