|"Irresponsibility is part of the pleasure
of all art; it is the part the schools cannot recognize." - Pauline Kael,
from the seminal 1969 essay "Trash, Art and the Movies" in her book,
This page is mostly about the the Subversive Film Festival
at TU in the 1970s and the 1980s Williams Cinema Society.
But first, links to other movie-related content on this
|The third TU Subversive Film Festival was held at TU March 6-9 in 1979.
As you might surmise from the showing of "Misty Beethoven" (a hardcore blue
film), the Moral Majority hadn't yet enumerated itself in Tulsa.
The gross graphic on the program is a visual allusion to the surrealistic
Salvador Dali/Luis Buñuel collaboration,
"Un chien andalou"
(IMDB, 1929). Buñuel was represented at this edition of the
(IMDb, 1961), a typically sacriligious comedy, and winner of the Palme
d'Or at Cannes in that year.
directors were Wolfgang Petersen, Rainer Werner Fassbinder, Russ Meyer, Andy
Warhol (more about one of his films farther down this page), John Waters,
and others not so well-known today.
of the Film Festival;
Film descriptions: Page 1 &
I was in attendance for the first two festivals, but, alas, have no printed
matter from them.
I must admit to some nostalgia for this seemingly less-fettered (though
internet-free) era of Tulsa history.
(9/3/2005: I saw "The
Aristocrats" at the Circle Cinema last night; it's worthy
of any subversive film fest.)
My name is spelled "Ransom"; the card issuer was
Kliewer, who later managed the Williams Cinema. David
Kimball learned from him...
|Former Cinema manager David Kimball, via email to the webmaster, 9/28/2004:
I began working at The Cinema when I was 16 in 1980. Eventually I worked
my way up to House Manager and had the distinct pleasure of booking the theatre
for many years until I moved to Dallas in 1990.
It was an amazing experience. The threat of closure always loomed above us
but we managed to have some very eventful and rewarding years before I left
for a career with the Landmark Theatre chain.
Some favorite memories are:
An Evening with John Waters; (see below)
The Last Picture Show complete with a Texas-style BBQ and guest speaker Clu
The Sunday Night Special series; (see
A screening of "The Times of Harvey Milk" during Gay Pride Week and observing
an audience of 300 folks openly weeping;
Setting a new house record with "The Whales of August" which wouldn't have
been so successful without a beautiful Tulsa World interview with Bette Davis
by Pat Upton;
The constant support of Dennis King at the World and Ron Wolfe at the Tribune;
Playing the sound to capacity during "Stop Making Sense;"
The world premiere of "The Outsiders;"
Hosting the Greenwood Black Film Festival and the patient programmer who
had to describe to me in detail who
Step'n Fetchit was;
Playing "Gone With the Wind" at Christmastime;
Showing an evening of independent film featuring short films, my trailer
show, and Todd Haynes' controversial "Superstar: The Karen Carpenter Story;"
Working with some extraordinary people through the years.
I still have dreams about returning someday and running the theatre again
knowing now what I wish I had known then, but alas, it's gone forever. It
was without a doubt one of the best experiences of my life. Thanks for letting
David Kimball, Denver, CO
DavidK at landmarktheatres dot com
(Webmaster, 9/10/2005: The world premiere of a new "The Outsiders" DVD
took place at the Tulsa AMC Southroads 20 on 9/8, with author S.E. Hinton
and stars C. Thomas Howell and Ralph Macchio in attendance. The new opening
is set at Tulsa's Circle Theater! See a still from it on this site's
"The Outsiders" section.)
|Webmaster: The main thing I remember about "An Evening with John Waters"
at the Williams Cinema is the director's entrance. Cinema manager David Kimball
had detailed Waters' filmography, then introduced the guest of honor. Waters
strode swiftly down the center aisle from the back of the theater with his
chin down looking straight ahead as if barely able to contain his pride.
At that time, his most recent film was "Hairspray" (1988), the delightful
non-X-rated picture that broke him through to mainstream audiences. Waters
is a highly entertaining and witty speaker, as the audio version of his book
Shock Value (1989) shows. I believe some of his talk was drawn from this
material. I got the impression that he couldn't believe his good fortune
in being able to present his "vision" and get paid for it, too.
I recall seeing posters for midnight showings of "Pink Flamingos" (1972) at
my alma mater, OU, around 1973-4. I wasn't sure I could stomach the infamous
dog doody scene, so I passed on it. A friend of mine who attended OU at that
time said that at the showing he attended, the administration rang down the
curtain before the movie started.
I caught up with the Waters oeurve later in the 70s at TU's Subversive
Film Festival, where I saw his "masterpieces", "Desperate Living" (1977)
, "Female Trouble" (1974), "Pink Flamingos" (finally) and "Multiple
Maniacs" (1970). To say that these films are in poor taste doesn't quite
convey their over-the-top sleaze and cheapness (or the sick humor). Parents,
don't allow your au pair to program a Waters retropective for your
kids on the strength of "Hairspray".
Here is a sample of the Sunday Night Special
films at the Williams Cinema...a few personal notes follow the flyer:
|(At right is the Williams Cinema's mural -- click on it
to see a horizontal positive version. Butch Cassidy and the Sundance Kid
were to the right of Serpico.)
Gailard Sartain had a small role in "Choose
Me" (1984) as a dotty card-playing German. I asked him about this at the
Tulsa TV Icons event a few weeks ago. He said that director Alan Rudolph
had him try a few accents, then settled on the German for a quick day's
I saw "Manhattan" (1979) first at the Southside Cinema, formerly in the strip
center near Riverlanes Bowling Center at 87th and Lewis.
We watched David Lynch's "The Straight Story" on DVD in our home theater
(a great movie). The brief, but telling presence of Harry Dean Stanton
reminded me of "Paris, Texas" (1984), in which he played a similar, but much
I missed "Liquid Sky" (1982) when it played the Cinema, but recently watched
it on DVD borrowed from the library. Dunno if it's an all-time great, but
it definitely is a time capsule of the early 80s.
Here is my Cinema Society card for 1986:
Thanks to Carl "Uncle Zeb" Bartholomew, here is a
one minute scene set at the Williams Cinema from his movie, "Cole Justice"
|Hear the ambience of the Williams Forum skating rink, see the entire
length of the marquee and the mural, visit the concession stand and watch
as Professor Coleman Justice salutes this great theatre one last time.
(View RealVideo stream on DSL/cable, or download the 1.9 meg clip by
right-clicking here and selecting Save Target
As. If needed, download the free RealPlayer software.)
My wife and I had the pleasure of having Carl over to our home theatre for
an in-person director's (and producer's and star's) commentary on "Cole Justice"
a few months ago. I hope to share Carl's comments on his film here soon.
1986 article from the Tulsa World,
"Williams Cinema: Dealing with the ups and
downs" by Pat Upton (courtesy of Scott Nelson, Web Editor)
|Former Cinema projectionist Kristan Chew, via email to the webmaster,
Back in the day, the downtown Cinema was a wonderful place to work. It still
remains, by far, one of the best jobs Ive had. I learned a great deal:
about film, photography, popcorn condiments and I learned how to ice skate.
I even have a documentary grand tour of the entire space, that
a friend of mine and I taped just for kicks.
The sound system and the screen were the greatest elements of that particular
theatre. It was the real deal for viewing and experiencing a movie. I dont
think there was another wide screen like it in town, nor was there a better
theatre for surround sound. Id worked in other theatres before, which
mostly involved selling tickets and making popcorn. At the Cinema, I learned
how to operate a projector: Reel to reel, on giant platters and I mastered
the talent for splicing film together with trailers. I could put a film back
together in case of viewing breakage. That happened once -- during the showing
of "Woodstock". The audience didnt seem to mind (the copy we had was
Fondly, I recall when the Cinema premiered the
Chet Baker film, "Lets Get Lost".
I think the Cinemas copy of the film arrived either too late or damaged
for the first showing. Another copy was sent and I do believe that copy belonged
to Bruce Weber himself. (David Kimball will have to back me up on that one.)
Anyways, that copy of "Lets Get Lost" was treated as though it were
made of gold. What a beautiful movie. It was honor to premiere that film
here in Tulsa, Oklahoma.
The Cinema hosted a world of wonderful films that are tough to come by nowadays
in a regular movie theatre. More importantly, the location was
crucial, yet rendered the space dispensable. Sadly, the Cinemas quality
and elegance could not be matched in any theatre in Tulsa. During the downtown
Cinema glory days, the patrons were loyal, the popcorn was yummy and the
beer was always cold. And for your viewing pleasure, the vast auditorium
was simply unbeatable.
Webmaster: My weak stomach
for grue and grossout was sorely tested in 1974.
The Southroads Cinema was playing Andy Warhol's X-rated "Frankenstein" in
3D (IMDb). I was enthusiastic
about the 3D, not having yet seen a 3D movie, but had no idea of the movie's
content beyond my hope that the "X" was conferred for prurient reasons.
A high school classmate, Richard Kern, and I
went to an afternoon showing (we were college students at the time).
I'll never forget a scene involving an old lady, a grate, and, well, I won't
go into it any further except to say that it was a pretty gutsy and in-your-face
scene. The 3D was, unfortunately for me, very high quality.
The biggest laugh I've ever heard at the movies was at this show. The titular
doctor had just performed a particularly nauseating "operation" on a corpse.
I was writhing in discomfort and it was very quiet in the theater. When the
doctor wound up the sequence by enunciating a crude and dopey epigram to
his assistant, the roof blew off with laughter. The audience seized this
weak comic relief valve with a frenzy and cranked it wide open.
Afterwards, Richard and I repaired to The Library Restaurant near TU on 11th
Street, where I tossed a couple of beers into me to get my color back (having
just hit the legal beer and liquor-buying age
of 21). Richard, rubbing his hands together, planned to recommend the film
to all his friends.
|Richard Kern, via email to the webmaster, 9/10/2004:
I vividly recall the rather different impact that the movie had on the two
of us. In retrospect, your more sensitive reaction to the "in your face,"
adolescent black humor was a far more rational response. But...as you indicated,
the film did have its moments.
The scene with the grate may have been ahead of Stephen King's discussion
of the difficult task of gothic novel writers to convey, at the very pinnacle
of the craft, terror, and of avoiding or capitulating to the subsequent lesser
art of horror, and then to the merely gross. Interestingly, in that interview,
when he described the merely gross, he resorted to humor in his description
(King admits in his non-fiction book,
Macabre, that if he can't achieve terror or horror, he's not too
proud to go for the grossout...webmaster)
The scene you describe as having brought down the house set the stage for
the farcical Shakespearian climax of the movie in which Dr. Frankenstein
is run through with a very long pike staff causing him to fall to his knees
supported in a three point stance by the butt of the pike as he utters an
inane soliloquy that seemed to go on forever.
I can't remember a single idea from the speech due to the presence on the
business end of the pike, of a quivering small 3-D Technicolor organ, formerly
ensconced within the good Doctor's abdomen, that very much reminded me of
the "gall bladder" for which the knowledge of life itself must necessarily
be intimately experienced in death (a circumlocutious and thus more tasteful
restatement of the above-mentioned "dopey epigram"...webmaster).
The circularity of the absurdity of it all remains with me to this day, but
then again, I always was accused in those days of over-intellectualizing.
Other Tulsa movie links:
Circle Cinema in
the Kendall-Whittier area is being restored to state-of-the-art status. The
new Circle 2 is a great new venue for independent films. Two new, larger
screens should be in operation in 2009.
Movies - Tulsa - Find out what's currently playing at Tulsa theaters
and when; buy advance tickets over the internet for most Tulsa
of just about every Tulsa movie theatre ever in existence.
lawsuit lays out the business history of some of Tulsa's earliest movie
theaters, including the Ritz, Rialto, Majestic, Orpheum...
Tulsa Drive-In Theatres
Channel Changer 2
Tulsa TV Memories main page