Comment by Rebus:
Regarding whether parts of these Biograph stories have been fabricated from whole cloth or generously embellished, there's this: Several times I've heard Rea tell people that he's learned the best way to be credible, when recounting some stories set in the '70s, is to tone them down. And, naturally, some stories are best left on the cutting room floor.
Maybe cartoonist Robert Ripley said it best: "Believe it or not!"
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Intro: In 1955 RKO, which had just changed hands, became the first major Hollywood studio to sell the exhibition rights of its library of feature films to television interests. Consequently, many in the baby boomer generation grew up watching that studio's well-crafted black and white movies on TV.
Twenty years later, the familiar old RKO logo played a cameo role in “The Rocky Horror Picture Show” (1975), which is a campy send-up of old science fiction and monster flicks. That movie eventually became the most significant midnight show attraction of all-time. As such, it merits its own chapter in this collection of Biograph stories. Read on...
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This photo of Larry Rohr riding up the aisle during a
midnight screening of the "The Rocky Horror
Picture Show" was shot on Mar. 1, 1980.
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At Midnight Only: Time Warping, Again
by F.T. Rea
"The Rocky Horror Picture Show" was adapted from the British kitsch-celebrating, gender-bending stage musical, “The Rocky Horror Show.” The film version was released by 20th Century Fox in September of 1975.
The play was written in the early-1970s; it opened in London in 1973. Its thin plot cashed in on the time's freedom to pursue pleasure, expressed plainly by the hippies' liberating trope – “if it feels good, do it.”
Yet, to Fox's distribution department in 1975, the movie was weird in a way that made it difficult to pigeonhole, marketing-wise. Which couldn't have helped in the promotion for its early first-run engagements, which were disappointing at the box office. That eventually prompted Fox to simply give up and take it out of release.
While “Rocky Horror,” the film, became popular during what might now be seen as the punk era, it wasn't really connected to the aesthetic of punk's defiant nonchalance. Style-wise, its music, written by the play's author, Richard O'Brien, was sort of a bubble-gum knockoff of early rock 'n' roll, updated with a measure of glam rock.
Overall, as pop music goes, the songs probably didn't expand any boundaries. Nonetheless, in the context of the movie the music had it own charm.
As a movie musical, "Rocky Horror" was surely no worse than a good deal of the Hollywood musicals of the 1950s and '60s. Anyway, it didn't please critics all that much, either. So when Fox put it on the shelf, no one could have anticipated the one-of-a-kind cult following it would eventually gather as a midnight show.
Note: “The Rocky Horror Picture Show”: 100 minutes. Color. Directed by Jim Sharman (who had also directed the play). Cast: Tim Curry (as Dr. Frank-N-Furter), Susan Sarandon (as Janet), Barry Bostwick (as Brad), Richard O'Brien (as Riff Raff), Patricia Quinn (as Magenta), Nell Campbell (as Columbia), Meat Loaf (as Eddie), Peter Hinwood (as Rocky).
About a year after its original release, the second life for “Rocky Horror” is said to have begun at the legendary Waverly Theater (now the IFC Center) in Greenwich Village. At midnight screenings, it seems a few audience members began calling out sarcastic comeback lines to the film's action and dialogue. The funniest remarks were appreciated, imitated, then eventually topped by an attendee at a subsequent screening.
Thus, it wasn't originally some adman's brainchild. It just happened.
It should also be noted that as an institution, midnight shows had been popular in New York City since the late-'60s. As well, they had been running at cinemas in other cities and some college towns for a good five years or more. Basically, if a midnight screening went well, it would be held over to the next weekend, which was a departure from calendar house programming. Thus, the midnight show format had already been developed and was well established when “Rocky Horror” came along. In the Richmond Biograph's first couple of years of operation midnight show screenings frequently did much to help pay the electric bill.
During 1977 at the Waverly, the role the audience played in the midnight shows enlarged to make the screenings into events with costumes and choreography, as the traditional wall between the screen and the viewers continued dissolving. When that unprecedented interaction phenomenon jumped from Manhattan to other markets where “Rocky Horror” was playing as a midnight show, such as Austin and Los Angeles, it became even more puzzling.
By the winter of 1977/78 “Rocky Horror” was playing to enthusiastic crowds in several cities. Yet, curiously, it had not caught on at others. What would eventually become a popular culture marvel was still flying below the radar for most of America.
As the spring of '78 approached, Alan Rubin asked Fox once again about booking it for Richmond's Biograph. It was already playing at the Key Theatre in Georgetown, because Rubin's ex-partner, David Levy, had beaten him to the punch. But Alan was told there still weren't any prints available.
Then, during a trip to Los Angles in May, I heard about what were the elaborate goings-on at the Tiffany Theatre, to do with “Rocky Horror.” Upon my return to Richmond I told Alan and his partner, Lenny Poryles, what I'd learned about its growing popularity in LA. Subsequently, during a conference call with one of the guys at Fox, Alan, Lenny and I were told there was just no enthusiasm at his end for the picture’s prospects in Richmond.
To be fair, in those days Richmond was generally seen by most movie distributors as a weak market – not a place to waste resources. Besides, no one at Fox seemed to understand why the audience participation following for the picture had blossomed in the first place, or more importantly – what was making the movie's cult following catch on in some cities, but not at all in others. So they were holding off on ordering any new prints.
Which meant there was no telling how long we might have to wait. It does seem funny now to recall how unconvinced the Fox folks were that they actually had something that was new in the cinema world. Old strategies just didn't necessarily apply to "Rocky Horror."
After the distributor's representative got off the line, Alan, Lenny and I continued our telephone conversation. That led us to agreeing to a plan: We would offer to front the cost of a new 35mm print, some $5,000, as I remember it, which would stand as an advance against standard film rental fees. There were two provisos to the deal: 1. The Biograph would continue hold the exclusive rights to exhibit “Rocky Horror” in the Richmond market as long as we held onto that print. 2. That I would promote it as I saw fit, creating my own materials, rather than relying on Fox's standard press kit stuff. That was something I was accustomed to doing when situations called for it.
When we called the Fox distributor's office back, it went smoothly. With nothing to lose, they went for the deal. After all, if anything, the Biograph had earned a reputation for being a good venue for midnight shows.
Next, for research, I questioned a couple of publicity people at Fox a little more about how it had been promoted in various situations. Curiously, there was no consensus about what had prompted the successes or failures.
However, Fox had encouraged a few exhibitors to call for attendees who would recite certain lines and dance in the aisles at set times, etc. But when they tried to prime the pump in that way, it generally hadn't worked.
After viewing the film, I decided it would probably be better not to over-promote it. That way there would be less risk of drawing the sort of general audience which might include too many unsatisfied customers – folks who might leave the theater bad-mouthing it. Instead, my strategy called for getting the attention of the kids who had already been seeing “Rocky Horror” screenings at the Waverly or the Key. I also wanted to alert a few of the most determined of local taste-makers -- the sort who must see anything edgy first, so they can opine about it.
Accordingly, at WGOE's studio I produced a radio commercial using about 20 seconds of the film's signature song, “Time Warp.” The only ad copy came at the very end with a tag line. The listener heard my voice say, “Get in the act … midnight at the Biograph.” There was no explanation of what the music was, or what the 30-second spot was even about.
At that time, the soundtrack for “Rocky Horror” still hadn't become all that well known. The hook was that the spot didn't offer listeners as much information as they expected, which hopefully added somewhat to its underground allure. The same less-is-more approach was used in the handbill.
The Floor Show
“The Rocky Horror Picture Show” opened in Richmond on June 30, 1978. It drew a decent crowd, but it wasn't a sell-out. Some of those who attended did occasionally call out wisecrack lines. Most did not. As I recall, a handful of people dressed up in costumes. As hoped, over the next few weeks a following for “Rocky Horror” steadily grew, as did the audience participation.
At the center of that following was a troupe that became the regulars who turned midnight screenings into performance-art adventures. John Porter, a VCU theater major, emerged as the leader of that group; they called themselves the Floor Show. Outfitted in his Frank-N-Furter get-up, Porter missed few, if any, midnight screenings for the next couple of years.
Plenty of crazy things happened in dealing with the “Rocky Horror” audience twice a week. There was the Saturday night an entire full house was thrown out, because some bare-chested roughnecks ran amuck. They were hosing down the crowd, using our fire extinguishers. Fights were underway. So after a stern warning from me to the crowd, to stop-or-else did no good, I pulled the plug. One by one, they all got their money back.
Interestingly, after that night we never had much trouble with violence to do with “Rocky Horror” again. From then on the Floor Show kids helped to monitor the situation, to make it uncool to go too far. Porter’s leadership was a key to keeping it loose and fun, but not out of control. For his part, John was given a lifetime pass to the Biograph.
There was no stranger episode than the night a man breathed his last, as he sat in the small auditorium (Theatre No. 2) watching “F.I.S.T” (1978). Yes, that lame Sylvester Stallone vehicle was hard to watch, but who knew it could be lethal?
Sitting upright in an aisle seat the dead man’s expressionless face offered no clues to his final thoughts. His eyes were open. He was about 30, which was my age at that time.
The rescue squad guys jerked him out of his seat and threw him onto the floor. As jolts of electricity shot through the dead man’s body, down in Theater No. 1 “Rocky Horror” was on the Biograph’s larger screen delighting the audience. Walking back and forth between the two auditoriums, absorbing the bizarre juxtaposition of those two scenes in the same building, was a strange trip, to say the least.
A brief item about the death appeared in the newspaper. It said he had been in bad health. Don't remember his name.
Looking on the bright side, after six-and-a-half years of showing screwball comedies, French New Wave films, rock 'n' roll movies, film noirs, and so forth, the Biograph had earned the chance to have what any theater needs to become fully-fledged – a ghost.
Chasing Dignity
On one of those busy nights early in the run of “Rocky Horror a battle broke out in the middle of West Grace Street in front of the theater. Rocks, bottles and whatnot were flying back and forth between two factions of young men. Both squads consisted of four or five active participants.
As I later discovered, the fight was between members of a VCU fraternity and an Oregon Hill crew. To me, the most alarming angle of the incident was that it was unfolding a perilous 30 yards from the Cinemascopic, all-glass front of the Biograph.
The box office had just closed and the cashier was in the midst of count-up duties. At the same time a small group of friends was in the lobby. Some of them were my Biograph softball teammates. A few of us were playing a pinball machine. As the manager of the theater, I felt obliged to fend off the threat.
Accordingly, I asked the cashier to call the police and I opened one of the twin exit doors, to step onto the sidewalk and yell at the kids -- in so many words I told them to scram. As an incentive I said the cops were already on the way.
That was good enough for the frat-boy team. They scampered off.
Meanwhile, rather than pursue their enemies, the Oregon Hill gang simply switched over to aiming their missiles at me. A rock hit the curb. A tumbling bottle shattered on the sidewalk. That prompted me to duck back inside. A second or two later an incoming piece of red brick crashed through the door's lowest glass panel.
It struck my right shin. That particular moment of this story stands out sharply in my memory.
My friends and I took off after the guys attacking the theater. There were seven, maybe eight men in the posse that went after the scattering hooligans. However, my focus was totally on the guy who had plunked me. I chased him as he headed west.
Suddenly hemmed in by three of us in a public parking lot at the intersection of Shafer and Grace, he faked one way, then cut to the other. When his traction gave way in the gravel paving he stumbled to regain his balance. That was when I tackled him by the legs. The others in his group got away.
With some help from my friends – two of them held his arms – we marched the brick-thrower back toward the theater. During that trek I suppose there was some conversation. Don't recall any of what was said, but something the captured culprit said as we passed Grace Place (an excellent vegetarian restaurant) provoked one guy in our group to punch him in the jaw without warning.
One of the officers in the assembling group of cops in front of the theater sarcastically complimented the puncher for his prisoner-escorting “technique.” Shortly thereafter the punchee was hauled off in the paddy wagon. Back in the lobby I told the puncher he had overreached in hitting the kid unnecessarily, especially while he was helpless.
Caught off-guard by my reaction, my softball teammate laughed. He disagreed, saying essentially that his summary punishment would likely be the only price the guy would ever pay for his assault. Another in the group quickly agreed with him. Others saw it my way, or said nothing.
Then we probably resumed the ongoing pinball game. And, it's quite likely I went across the lobby to the theater's refrigerator in a closet and pulled out enough cans of cold beer to say, “thank you” to each member of the posse. They had helped protect the Biograph from a menace. And, yes, it was satisfying to have at least caught the one who had just bloodied my shin.
It wasn’t long after that night I found myself poring over a 1931 essay by F. Scott Fitzgerald, “Echoes of the Jazz Age.” Here is the last paragraph of that evocative piece:
“…Now once more the belt is tight and we summon the proper expression of horror as we look back at our wasted youth. Sometimes, though, there is a ghostly rumble among the drums, an asthmatic whisper in the trombones that swings me back into the early twenties when we drank wood alcohol and every day in every way grew better and better, and there was a first abortive shortening of the skirts, and girls all looked alike in sweater dresses, and people you didn’t want to know said ‘Yes, we have no bananas,’ and it seemed only a question of a few years before the older people would step aside and let the world be run by those who saw things as they were — and it all seems rosy and romantic to us who were young then, because we will never feel quite so intensely about our surroundings any more.”
During that reading, seated at my desk in the theater's office, it hit me that the shattering of the Biograph's glass door had been the sound to accompany the hippie era ending. Its trends, causes and distinctive styles had arrived in the late-'60s. Soon it all would be seen as nostalgia. In some ways the hippie decade had been similar to the Roaring ’20s.
Moreover, the peace-loving, pot-smoking, anti-establishment elements of my generation hadn't changed the world all that much, at least not in enduring ways. Ending the Vietnam War and getting rid of Nixon just hadn't solved as many problems as our slogans had promised.
In the summer of '78, it was also time for me to admit to myself the neighborhood surrounding the Biograph was getting meaner. Which made little sense, even at the time, since it was adjacent to VCU's burgeoning academic campus. Still, for whatever reason the university didn't appear to be worried about that.
A month later, in the General District Court I agreed to a proposal to drop the assault charge, provided the brick-thrower was convicted of a misdemeanor for breaking the glass, and that he would reimburse us for the cost of the repairs. A payment schedule was set up.
As we spoke several times after that day in court I came to see the 19-year-old “hooligan” wasn’t really such a bad guy. His payments were made on a timely basis. With his last payment he asked for the name of the man who’d punched him.
While withholding the name, I agreed with him that regardless of my friend's intentions his adrenaline-fueled punch had mostly been a cheap shot. With the money aspect of the debt paid, we shook hands.
Debt and Irony
About a year later, during a Wednesday matinee, the Biograph cashier, Gussie Armeniox, was counting a stack of one dollar bills when an opportunistic thief snatched them from her hands. Although I was only a few feet away, behind the candy counter in the lobby, my back was turned. When I looked around, it was alarming to see the robber bolting out the front door. Gussie's wide-eyed, frightened look was unforgettable.
It surely boosted the intensity of the sense of violation. As I got to the sidewalk the thief was already a half-a-block away. Nevertheless, in spite of his foot speed it turned out he wasn't so good at avoiding capture. Instead of just running to the west -- to put plenty of distance between us -- he ducked between the buildings, trying to hide. He did it a couple of times, then, when I would find him and get close, he'd take off again.
During the chasing and searching I received some unexpected help from a total stranger. A young man slammed on his brakes and jumped out of his pickup truck. After that reinforcement it took less than five minutes to corner the thief in the men's room of a fast food restaurant. By then a policeman in a cruiser had showed up.
Fortunately, that meant I didn't have to go into that men's room to drag the perpetrator out. The cops did it for me.
Of course, I thanked the volunteer and asked him why he’d stopped to help out. He told me he already knew I was the Biograph’s manager, because a buddy of his had pointed me out to him. His friend?
It was the same Oregon Hill street-fighter I had tackled a year before. My assistant thief-chaser said his friend told him the story about the broken glass door and the assault charge being dropped. Then he said I'd dealt fairly with him. Consequently, a favor was owed to me.
Before he got back in his truck, my collaborator said that in his neighborhood the guys tend to stick together. Thus, he had supported me in my time of need, because of his friend’s debt. I was grateful and flabbergasted.
It now seems to me the sort of obligation he felt and acted upon has been evaporating out of the culture for some time, maybe since the time of this chase scene. The thief turned out to be a repeat offender, so the judge gave him six months for stealing 37 dollar bills.
Remembering the worthy connection between those two chase scenes has become increasingly more satisfying over the years. No doubt, that’s partly because in my dealings with bad luck and other ordinary tests of character, too many times I’ve done nothing to brag about – even the wrong thing.
Maybe in this two-part adventure I came close to getting it right. In essence, I think both chases had something to do with pursuing justice and preserving something. Dignity perhaps.
The Exploding Motorcycle
On Friday, March 1, 1980, with its 88th consecutive week, “Rocky Horror” established a new record for longevity in Richmond. It broke the record of 87 weeks, established by “The Sound of Music” (1965), during its first-run engagement at the Willow Lawn Theater.
To celebrate Porter and I dressed in tuxedos to stand before the full house. He held up a “Sound of Music” soundtrack album and I smashed it with a hammer. It went over quite well.
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| The record-breaking ceremony prior to the screening. |
In a nice touch to underline the special night‘s theme, a couple of the regulars came dressed as Julie Andrews. The late Carole Kass, the Richmond Times-Dispatch’s sweetheart of a entertainment writer/movie critic, wrote up a nice feature on what was basically hokum.
That same night, Larry Rohr rode his motorcycle through the auditorium’s aisles at the point in the movie when Meat Loaf’s character in the film, Eddie, rides his motorcycle. Rohr’s careful but noisy rides happened only on a few special occasions, such as the record-breaking night. Fortunately, nothing bad ever happened.
A few weeks later, I had a dream that the motorcycle exploded. The nightmare scared me so much the motorcycle rides were discontinued. Anyway, that's what I told people about why we stopped.
Yes, now it seems crazy as hell that I ever facilitated such risky shenanigans. Maybe I was somewhat carried away by the aforementioned wide-open permission that went along with the '70s. With no more motorcycle rides, various Floor Show members sometimes rode a tricycle up and down the aisles. The way members of that group adapted playfully to whatever was said or done in previous weeks was an integral aspect of the fun. They were like players in a story that had new chapters being written for it, on the fly, each weekend.
However, while “Rocky Horror” had an underground cachet in the first year, even the second, eventually its cool status began to go sour. That was especially so in the eyes of the staff and Biograph regulars who hung out there. The rice, toast and all sorts of other stuff that got tossed around had to be cleaned up each and every time by the grumbling janitors, who naturally grew to detest the movie. To keep the peace they got “Rocky Horror” bonuses — a few extra bucks for their weekend shifts.
Once into the winter of 1980/81 the turnout for the screenings of “Rocky Horror” began a gradual withering. By then many of the originals had stopped coming every weekend. Much of the audience seemed to be made up of sightseers from the suburbs. The fast crowd in the artsy, black leather jacket scene was ignoring it, although the movie was still doing enough business to justify holding onto that original print.
In the summer of 1982 “Rocky Horror” celebrated its fourth anniversary at the Biograph. That same summer, for Program No. 60, I booked a six-week festival offering 12 RKO double features.
The Biograph's record-setting midnight show run of “The Rocky Horror Picture Show” ended on June 25, 1983. Although it had helped pay the rent, no one was happier to see that well-used 35mm print shipped out than those of us who had lived warped by the “Rocky Horror” experience for five whole years.
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Note: In the Biograph lobby I always got a kick out of listening to enthusiastic new film buffs tell me why the old movie he or she had just watched was still a favorite.
Of course, in agreeing with them I was just doing my job. Anywhere, any time, stimulating a greater appreciation of good films, made in previous times, was an integral aspect of the manager's duties, and I've never gotten over it.
Speaking of time warps, here are the titles for that 1982 RKO fest, listed in the order in which they played:
“Top Hat” (1935) and “Damsel in Distress” (1936); “The Hunchback of Notre Dame” (1939) and “The Informer” (1935); “King Kong” (1933) and “Mighty Joe Young” (1949); “Suspicion” (1941) and “They Live By Night” (1948); “Sylvia Scarlett” (1936) and “Mister Blandings Builds His Dream House” (1948); “Murder My Sweet” (1945) and “Macao” (1952); “The Mexican Spitfire” (1939) and “Room Service” (1938); “Journey Into Fear” (1942) and “This Land Is Mine” (1943); “The Thing” (1951) and “Cat People” (1942); “The Boy With Green Hair” (1948) and “Woman on the Beach” (1947); “Citizen Kane” (1941) and “Fort Apache” (1948); “The Curse of the Cat People” (1944) and “The Body Snatcher” (1945).
-- All rights reserved by the writer, F.T. Rea. Photos by Ernie Brooks
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