ANNOUNCER: The following program is a production of Ozarks Public Television.

[music playing] Well there is just something to be said about seeing films, seeing movie opening nights with other people.

It's a group, it's a collective experience.

I go to the kind of movies that leave an impression on you that, several days later, you think about it.

And that you're not quite sure, that you have to talk to other people about it who had that same experience.

I mean, we just go back to some of those roots of good times together.

And it's like, if you went to a movie theater and saw it, then you can always talk to your peers about what that was like.

And having that kind of conversation about a movie is a great connection to other people.

So the movies make a connection to us.

But we in turn make connection to others through the movies or because of the movies.

NARRATOR: The memories and presence of community movie theaters remains for many people a favorite and formative experience.

Movies would revolutionize America, new industries and cultures would emerge, and people and the country would come of age within moviegoing experiences.

Movies were a pretty steady source of entertainment.

I actually worked in a movie theater when I was in high school.

That was an incredibly fun job.

It was probably the most fun job I've actually ever had, including being a professor.

It was just a great job.

I mean, I became a film major, so I think those movies probably had a huge impact on my life and really made me want to study film.

It's kind of an interesting form of entertainment.

It's a good two hours just to get away from the problems of the world and give yourself a nice break and just kind of get lost in a good story.

NARRATOR: Vaudeville shows or programs began appearing during the 1880s.

During its heyday and up through the 1920s, vaudeville became a favorite form of American entertainment, in time becoming known and celebrated as the heart of American show business and employing more than 25,000 entertainers, traveling on professional circuits, showcasing the wide range of their live performing skills.

These variety shows consisted of multiple acts or turns that featured music, vocalists, dancing, comedy, magic, and demonstrations including juggling and acrobatic skills.

As such, they were often crowd pleasers.

Buildings constructed as stage or live performance theaters weren't unusual in larger communities.

Prior to the advent and popularity of motion pictures and typical of other communities of comparable size, there were multiple live theater locations in Springfield of varying size and success.

These early theaters, their styles of production, and their performers would become the foundation for future movie theaters and the evolution of movie exhibition.

You know, one of the interesting things about movies and vaudeville and say plays in general, if you want to go and watch a vaudeville play or a vaudeville show, the performer has to do that show every single time.

But with a movie, you only have to do it that one time.

NARRATOR: Early theaters might at times be noticeably modest in their appearance.

Some would be impressive designs and grand community gathering places.

One of Springfield's better remembered and well known early performance theaters was the majestic Baldwin that was located on Park Central East off of Jefferson Avenue just inside the southeast corner of the city square and behind the opulent and historic Colonial Hotel.

The Baldwin was constructed for $109,000, a then significant investment, and opened December 26, 1891, with the production of Robin Hood.

During this era, the Baldwin became a notable rival with the Perkins Grand Opera House, or Grand as it was known, that had opened a few years earlier in 1887 and located at Center and Boonville.

The next significant performance venue to open was the Diemer on Commercial Street in 1905.

Following the tragic fires and destruction of the Grand on March 6, 1896, and the Baldwin on January 6, 1909, the Diemer would emerge as Springfield's remaining notable theater.

A unique early theater would include the Airdome-- as the name hints, an outdoor venue-- opening on Walnut Street in 1906 and presenting stock shows and vaudeville acts during warm months.

The Airdome operated until 1914, and during cold months would move its shows to a nearby indoor theater.

But it was only a matter of time before movies, a new entertainment form, and movie theaters, began being experienced.

Well-known inventor Thomas Edison and his British assistant William Dickson are often acknowledged for their groundbreaking contributions to motion picture development by introducing the Kinetograph motion picture camera in 1890 and the Kinetoscope projector in 1892.

By 1894, public screenings became available in arcade-like Kinetograph parlors, including the Baldwin theater locally as early as 1898.

Movies unquestionably and irrevocably revolutionized America's entertainment culture and habits.

And the rest, as they say, is history.

Yeah, I think the cultural impact is always that we're interested in technologies, we are interested in storytelling, and when we put those two things together, eventually the newness of just watching a reel of people walk around, that wore off pretty quickly.

And so then we started making short stories, and then longer stories, and then longer stories, until we had feature films that were very engrossing, and new editing techniques.

And all of those things became a very cultural thing.

NARRATOR: The public's fascination with movies would also naturally impact American pocketbooks and our national economy.

Admission prices have increased over time, but so have paychecks, resulting in an almost surprise.

I tell people, on average, basically it's about what it was.

The CPI numbers are higher, but in terms of what actually costs in terms of say maybe your average wage to go see a movie theater, it's gotten cheaper.

NARRATOR: Naturally, it would only be a matter of time before movie stars were born.

Two significant and early film stars were William Garwood and Pearl White, both with connections to Springfield, and both rising to professional success and acclaim.

People don't realize that we've had, in Springfield, a significant number of movie stars.

I mean, from the very, very beginnings, one of the first movie stars to be a movie star was named William Garwood, who graduated from Drury and went to New Jersey in the early teens, because that's where all the movies were being made, was in New Jersey in that area just outside New York.

And became a star, appeared in over 100 movies, and then became a director and producer, and then retired in like 1916 or '17.

And retired to his onion ranch, they said, in northern New York State and lived there for the rest of his life, very well to do.

And then coming right after him, just on the heels of his stardom was Pearl White.

NARRATOR: Pearl white was born in Green Ridge, Missouri, in 1889.

Her parents moved to Springfield when she was very young, and she was performing on stage by the age of six.

Later, she appeared at Springfield's Diemer Theater in 1905, soon after its opening, and then the Baldwin Theater in 1906.

She transitioned to movie roles in 1910 and would become known for her skills in slapstick comedies.

By 1914, Pearl White was an international star as a result of her popularity in several crowd pleasing chapter stories, most notably as the spunky heroine of The Perils of Pauline serials.

The very first cliffhanger type movies, the serials that you showed a reel or two of it every week in a theater for five weeks or seven weeks or whatever until the big ending of it.

NARRATOR: Pearl white was noted for performing many of her own stunts in these films and was called the queen of the serials.

She starred in more than 100 varied productions, but her career ended early due to many injuries she experienced during these physically demanding serials.

And then of course, when sound came in, it just changed everything.

Because then you didn't have just sight, you had sound.

And so it became even more of a sensory experience.

NARRATOR: The movie sound barrier was broken and history made in 1927 with The Jazz Singer, the first feature length American movie with synchronized dialogue.

And that included Al Jolson's prophetic and immortal words-- Wait a minute, wait a minute.

You ain't heard nothing yet.

NARRATOR: As movie production, exhibition, and stars evolved, vaudeville would remain a relevant and impacting entertainment form up through the early 1930s.

From this background, local natives Leon and Frank Weaver and June Petrie, professionally known internationally as the Weaver Brothers and Elviry, would also become early film stars beginning in 1938 with Swing Your Lady and its world premiere at the Gillioz and concluding 12 films later with 1943's Mountain Rhythm.

With the birth of a new and widely engaging narrative form and following advent of synchronized dialogue to accompany it, there was little question of the future impact and popularity of motion pictures and growing opportunities to see them.

People relate to a story, whether it's a comedian story of Harold Lloyd or Charlie Chaplin, it's always kind of the underdog story, it's always kind of the hero's journey, whatever it is.

And we all just relate to those stories.

It might not be our experience, but we always root for those people who were besieged by some problem and have to make it through to the end, to accomplish the goal or overcome the problem.

And that's just who we are.

NARRATOR: A 1927 edition of the local Springfield Leader newspaper indicates motion pictures began arriving in the city in 1906, presented by a pair of traveling entrepreneurs operating a hand-cranked projector.

They set up a 150 seat theater in a vacant space adjacent to the Baldwin theater and charged $0.10 for admission to see their short one or two reel features.

While America would ultimately have a long running love affair with the movies, this wasn't the reaction in Springfield during this early experience.

Picture quality was poor, and the public was disappointed, failing to return after their initial curiosity was satisfied.

After a few months, these early and unknown movie exhibitors moved on.

But more entertainment changes, and with them curious audiences, would soon be seen.

A new interest, popularity, and presence of theaters occurred nationally as well as locally in the early 20th century, an era that included the introduction and brief popularity of the novelty Nickelodeon machines.

These were popular between 1905 and 1915, their name coined as a reference to the nickel admission price, and odeon, the Greek word meaning theater.

Nickelodeons were the first credible and recognized attempt to promote films as their own unique entertainment, though these short films would often share billing with small vaudeville acts.

Adapted storefronts would typically operate as locations.

But I mean, think about it.

In terms of a nickel, back in say, the 1890s, when people's daily wage might be $0.30, $0.40 maybe.

I mean, people were paying a significant amount of money for just a few moments of entertainment.

NARRATOR: Significantly, the early 1900s would continue being a time of new theater growth and openings.

Larger and modern theaters began appearing more commonplace.

They frequently would have exotic names and originally were often not yet exclusively movie theaters.

They were often located in adapted existing buildings rather than new ones.

1909 became a significant year in Springfield movie theater history, with a May 17 opening of the Gem Theater at 307 College Street, appearing to be the city's first designated movie theater.

And the Aladdin Theater, formerly the Majestic, opening on September 7.

Together, they became celebrated as Springfield's earliest and successful movie houses.

Regrettably, both theaters would be closed by 1917.

Google Maps indicate that the Gem was located just off the city square on the site later occupied in more modern times by the Regal Theaters College Station complex.

The Aladdin was just off the square as well on South Street, the location of Finnegans Wake Restaurant and Pub in recent times.

1909 was also the grand opening of Springfield's showcase and historic Landers Theater, an enduring community jewel and classic example of Springfield theater history.

Local businessman John Landers had begun construction on a new state of the art showplace that would bear his name at 311 East Walnut Street.

The theater opened on September 18, 1909, to a soaring public reception and glowing description in the local newspaper.

Opening night included a production of The Golden Girl.

The theater would become part of the Orpheum vaudeville circuit, and by 1915, was also showing movies.

As often happened to early theaters, a tragic and massive fire occurred on December 17, 1920.

Fortunately, the effective response of firefighting crews, along with an asbestos curtain and additional fireproofing installations, prevented the theater from being completely destroyed, and the facility was rebuilt in 1922.

The Landers would also enjoy the distinction of being the 35th theater in America equipped to show the new talkies, including a 1927 presentation of the history making film The Jazz Singer.

Throughout the 1940s and following decades, the Landers would operate as a first run movie theater.

During these years and into the 1950s, segregation laws were in effect, and the Landers was a rare local movie theater that African-Americans could attend, but they were seated separately in an upper balcony and were required to enter the building through an exterior stairway.

So there was no interplay or connection between the two Blacks and whites.

They would have to buy their ticket and go around to the side door and take this flight of-- narrow, steep flight of stairs up to the second balcony.

And they were only open certain days.

It was like three or four days of the week were the only days that they would allow them even in at all.

And then for a short period of time in the late '20s, there was an African-American movie house on Booneville Street.

It was only open for a few months.

It didn't succeed.

The Black theater was called the Ritz, and then it closed and reopened as the Royal, and it didn't do well either, and it closed very shortly.

But it was on Boonville Street, north of the square.

NARRATOR: The early 1900s continued to be a time of growth for movie theater openings and highlights, but these times would often be transitional.

It wouldn't be unusual for the names or types of presentation at many locations to occasionally change as the result of new ownership or audience trends.

As movie theaters progressed, they often began providing live music as an important and enjoyed part of the moviegoing and entertainment experience.

Many theaters installed expensive and name recognized Wurlitzer organs, played by accomplished and talented musicians before the films began and during reel and film changes.

They would be joined at times by small orchestras for the patrons' enhanced experience and would be present for grand opening celebrations, the movie theaters themselves becoming unique destinations and environments.

So those were all what we would call movie palaces to where they were beautiful, had one big screen, and lots of people.

NARRATOR: Nationally, theater facades, interiors, and auditoriums became increasingly opulent and ornate between about 1910 and into the 1940s.

They were often called film cathedrals to describe their splendor and uniqueness that architects and interior designers strived to invoke, all for the heightened comfort and sensory experience of patrons.

Locally, the Landers, the Electric-- better known or remembered in later years as the Fox-- and the Gallioz would reflect this level of grandeur, each being comparatively large, featuring multi-story seating and the finest audience performance and projection amenities of the time, combining for a then unprecedented and unforgettable audience experience.

The idea of going to the movies back then was supported by the architecture, by the performance.

You had pipe organs playing like a calliope before and after the movie.

You had a newsreel so you could catch up on the news of the day.

You had children's entertainment with cartoons.

You were completely taken to a different place.

That was, I can imagine, almost otherworldly for early moviegoers.

NARRATOR: An early and storied Springfield movie theater opened October 8, 1916-- the Electric Theater at 157 Park Central Square.

Newspaper accounts announced the occasion as being the most notable event ever recorded in Springfield amusement circles.

An estimated 12,000 people attended the opening of the 1,800 seat theater and showing of Her Double Life.

The well known Will Keates orchestra provided music, and in 1926, a $25,000 Wurlitzer organ was installed.

Over time, the site would be operated by multiple owners and known by various names, including the Public's Electric Theater in February 1930, next becoming part of the Paramount Studios chain in September 1930, known as the Electric again between 1934 to 1947, and finally, the Fox, and a member of that studio chain on June 23, 1949.

The decorative showplace was remodeled during changing ownerships and was tragically ravaged by a 1947 fire that required two years of renovation.

Through these years and physical changes, the theater's interior becoming visually simpler as owners spent less money each time on new construction.

The historic theater operated until 1985.

It's interesting to note some of these contrasting architectural changes that occurred through the years and that remain visible today.

Over the course of time, like in 1930, when Paramount bought it, they reduced the size of the lobby.

And then in '47, when they redid it again, they changed the configuration of the lobby again.

And those pieces that they carved off are still visible.

So you can go in the very far corner of the lobby through a door and back into a storage area and see the ceiling and the decorative work from 1916.

And then if you step forward two steps and turn and look the other way, you see the way the lobby looked in 1930 when Paramount redid it.

And then you walk through the door and on out into the current lobby, which is the way it's been since 1948.

NARRATOR: A strikingly unusual and memorable architectural element of the Fox Theater are the large paintings by George Kiefer depicting local history that were added to the theater following the 1947 fire and that remain along the hallway entering the auditorium.

Kiefer was an acclaimed, self-taught artist from near Pierce City, Missouri, his striking murals becoming widely recognized and popular throughout the region.

The Gillioz, located at 325 Park Central East and part of the city's Park Central Square, is another remarkable and noteworthy local movie palace.

The theater opened on October 11, 1926, the same year as the beginning of the National Route 66 highway that ran outside the theater's entrance.

M. E. Gillioz, a contractor and bridge builder, purposefully constructed his theater alongside the fabled highway, And using materials and processes familiar to him, constructed it rock solid with steel and concrete, similar to his bridges, and using limited wood for doors, framework, and other finishing details.

The exterior, interior, and furnishings were among the most decorative and highest quality of the time.

Included was a beautiful Wurlitzer organ that popularly provided entertainment for patrons.

Along with the organist and early musicians, ten ushers and doormen were present to complement the experience.

The theater was presenting the new talkie movies in 1928, and Technicolor films by 1936.

Additionally, the first feature length 3D movie, Bwana Devil, arrived in Springfield in 1953 and was projected at the Gillioz Theater.

An unusual aspect of the Gillioz lore occurred in 1956, when rising star Elvis Presley slipped away for a break while in town performing at the nearby Shrine Mosque, and unknown to anyone, quietly enjoyed a movie.

The once grand theater closed its doors in 1980, following a live performance of La Traviata by the Springfield Regional Opera.

Just as early movies and theaters were a novelty, so were later moviegoing staples such as popcorn and concession stands.

It may seem surprising to note that concession stands, a standard architectural element in today's theaters, were not originally part of early theater designs.

As Nickelodeons appeared in 1905, so did nearby snack bars or candy shops.

A new moviegoing concept evolving.

In other instances, independent entrepreneurs would often and easily sell popcorn and peanuts to patrons entering the theaters.

Creatively, moviegoers would also sometimes bring and sell popcorn to other audience members, popcorn already being popular to attendees at large events such as fairs since the 1840s.

Theater owners originally resistant to food or drink being in their ornate and expensive interiors began installing and operating concession stands during the 1930s and Great Depression in an effort to increase revenue potential.

Candy became limited during World War II due to sugar rationing, and popcorn easily grew in popularity, resultingly becoming the moviegoing standard and large profit item it is today.

Not surprisingly, movie theater revenue is more largely derived from concession sales rather than ticket profits, some estimates indicating concession sales accounting for approximately 80% of theater revenue.

And it's expensive, but once again, we got people in there for three to four hours.

You know, the people are going to get hungry, they're going to eat popcorn, they're going to have drinks, they're going to want to have a hot dog, they want some candy.

And that's where the money is.

The money is the margins in the concessions, just like it was in the '30s and '40s and just like it is today.

It's still all about the popcorn.

NARRATOR: Historically, the Great Depression would also have a seemingly surprising impact on movie attendance.

And during recessions and depressions and things like that, movie attendance and revenue actually increases.

That tells you that people are going to movies to kind of get away.

They want a two hour break from the world.

And that's really why the '30s glitzy, glamorous Hollywood movies were so attractive to people.

They saw that life and thought "that would be great.

You know, I'm just going to escape there for a while."

If you think about the fact that in the '30s, that's one of the reasons we have the Hollywood look that we have is because people didn't have a lot of money, but if you could pay a few nickels or whatever to get into the movie palace and you could stay there all evening where it was cool, see two movies and a newsreel, and maybe a cartoon, you were golden.

NARRATOR: And following the Great Depression and into the 1940s and America's entry into World War II, movie attendance remained.

In the '40s, you had two thirds of the population going to see a movie every single week.

It was an experience, a whole experience.

And that the buildings were designed in a way to elevate that experience.

NARRATOR: Still, in their later and final film showing years, the once glorious Landers, Fox and Gillioz theaters declined and ultimately struggled for attendance, even as sometimes bargain houses, their once opulent exteriors and interiors clearly showing age and wear.

But at each instance, strong creative and visionary community members stepped forward to ensure extraordinary restoration and preservation successes.

What I found is the community is responding really positively to this notion that our community is worth investing in to make it a better place, a more memorable place, a more livable place.

NARRATOR: An early significant and enduring preservation effort was the historic Landers Theater, the oldest of Springfield's remaining classic theaters.

Following its early history as a vaudeville stage and then its many years as a movie auditorium up through the '60s, the storied Landers Theater was purchased and returned to its original grandeur and purpose as a stage venue by the Springfield Little Theater Organization.

These civic-minded individuals and art supporters realized an impressive dream for a permanent home for an already legendary community theater by purchasing the property in 1970.

Audience members not only experienced vibrant, well-produced entertainment, they also had the rare and immersive experience of enjoying a remarkable architectural and historic experience.

An extraordinary and expensive restoration effort of the Gillioz theater began in 1990.

The slightly long story is the theater lobby had been-- it looked like it was going to be used for a bar.

So three preservationists got together in the lobby of the theater-- Sam Freeman, Laura Derek, and myself.

And we said, "we can't let this happen.

This is a wonderful space."

We kind of looked around and said, hmm, "there's nobody here but us, so let's see what we can do to start it."

And that was the very, very beginning.

NARRATOR: The once dynamic showplace had closed in 1980, and sadly set abandoned except for homeless individuals who would seek shelter in the building.

The Theater was in horrid shape.

There were vagrants that came in through a door out in the alley.

There were needles all over.

The cushions off the chairs had been used for sleeping purposes.

It was disgusting.

So that's where we started, and $10 million and 17 years later, we have what we have, and it's pretty wonderful.

NARRATOR: Preservation of the declining, one time beautiful and historic theater began earlier with support from local businessman Jim D. Morris, who offered the property at an affordable price.

He is a person who owned the auditorium and the theater, which was the first time in the history of the theater that the auditorium and the lobby area had been owned by the same entity.

NARRATOR: Initially, M.E.

Gillioz, builder of the theater, had to arrange a long term lease of an existing storefront that enabled his theater and its entry the prestige of being located on the new Route 66.

Evolving opportunities exceeded expectations and allowed a more enhanced facility, but at the same time, altering time frames.

Because when the three of us got involved initially, we had just the lobby and the auditorium.

And so all of our focus was on the lobby and the auditorium.

We were able to have a contribution to the east in the back end so you could have parking and we could have emergency stairs out of the auditorium out of the second floor of the auditorium.

So we banked on that for architectural purposes.

We had a financial plan laid out.

And then lo and behold, we were able to purchase the old Netter's building, the three story building next to it, which threw all of those plans into a completely different arena and scope of operation and time and money.

So that was a gift that we had not anticipated but we were very happy to have.

NARRATOR: Community members supportively stepped forward, often prompted by their own individual memories of the theater.

The first major contributors, a woman and her husband who were successful business operators.

She was the first woman to work in the Gillioz.

She worked the popcorn stand.

We asked for an astronomical-- to me, an astronomical amount, and she wrote us a check for half of that amount.

And it was one of those, oh my, this is really amazing.

But it was wonderful to see the faith that so many people put in that theater because of their individual memories.

NARRATOR: As work progressed, so did creative fundraising.

And we had a fundraising event called sign the ceiling, and people could come in-- it was a donation expected-- and climb, climb up the scaffolding, and be up to the point that you could reach up and touch the ceiling.

And you had the ability.

Everybody got a magic marker.

So there's a lot of people whose autograph is on the ceiling of the Gillioz still.

NARRATOR: The lovingly and beautifully restored Gillioz Theater is again a celebrated community destination, its 2006 reopening documented with a recreation of a photo from its original October 12, 1926, opening night.

Fate moves in mysterious and often inspiring ways.

In a perhaps unusual way, a creative salvation came to the closed and physically declining Fox Theater in 1985 as Abundant Life Church located their ministry there until 2013, when a new church was built in the southwest part of the city.

And while the dedicated members of the Abundant Life Church helped save and care for the Fox, it was resurrected in 2014 as part of Springfield's History Museum on the Square Complex, an impressive collection an immersive display, advancement, and preservation of local history.

A strong and enjoyed aspect of this educational complex being the inclusion and utilization of the historic Fox Theater.

The History Museum on the Square features modern technologies and eight interactive galleries comprised of unique and vast artifacts, photographs, oral histories, and changing exhibits that enable visitors to experience an informed and moving understanding of the region.

[music playing] A new movie theater culture would appear in America, beginning in 1933 in Camden, New Jersey.

Drive-ins, outdoor auto theaters, became an emerging and growing national trend.

An innovation of Richard M. Hollingshead Jr.

These theaters under the stars, ozoners, were situated on large open landscapes, providing an opportunity to enjoy movies on a tall screen from the comfort and privacy of your car and with personal speakers that could be attached to your car door or window.

The height of drive in popularity would be in the '50s and '60s.

Movies would frequently rotate and include newer releases, family fare, as well as campy, horror, and sci-fi films and popular beach movies.

There would often be double and triple features and sometimes dusk to dawn marathons.

This casual setting and varied lineup had an almost immediate and unique appeal for families with young children and young people on dates.

It was fun.

It really was.

It was like an adventure, and a lot of times, you'd go in your pajamas, and Mom and Dad would take you, and you'd watch the movie until you finally fall asleep, or you'd watch the whole movie and not be ready to sleep.

NARRATOR: Marketing and promotion went to new levels as drive-in owners creatively put together special attractions to bring audiences into their cars and under the night sky.

One of these was specially constructed concession buildings, where in addition to popcorn, candy, and drinks, other favorite food items such as hamburgers, hot dogs, barbecue, pizza, and ice cream were also available.

In an all-in-one experience, families could enjoy a complete night out, dinner and a movie, in the comfort of their car.

People out walking around, outside their cars, inside the cars.

You know, you had to walk to the concession stand in front of other people's cars and so on.

It was-- people would meet and gather and sit and bring their lawn chairs and sit in front of their cars and stuff.

So it was just a different atmosphere than a normal movie house.

NARRATOR: Local movie theaters took to the road with the opening of the Springfield drive-in on August 19, 1947.

Located near the intersection and northeast corner of present day Sunshine Street and Glenstone Avenue, it was on 20 acres and featured space for 500 vehicles.

Previews of coming attractions along with intermission reminders and ever memorable countdowns before the next feature began would become drive-in traditions.

The Springfield Drive-in Theater closed on October 7, 1978.

The site would later be developed into and remain a large office complex.

There would be a total of five drive-ins in Springfield as the outdoor theaters co-existed with indoor ones between 1947 and until the last remaining drive-in screen went dark in 1996.

The second drive-in to open was the Commonwealth Theater's own Sunset on the west side of town at 4205 West Chestnut Expressway, a part of historic Route 66.

It opened July 22, 1950, and operated until September 4, 1983.

The property became the Sunset Estate's trailer park.

Next was the Commonwealth owned High M, located on the southwest edge of town on M Highway, 901 West Republic Road.

It opened as the city's third drive-in location on July 15, 1961, and with room for 621 cars.

The theater closed on August 30, 1984, and a housing subdivision has occupied the site.

Springfield's Holiday Drive-in's history is in some ways unique.

Opening on August 13, 1970, the Commonwealth Theater's property was located on a city stretch of Route 66 at 2829 East Kearney at a capacity of 529 cars and operated until 1981.

The theater remained vacant until interestingly being reopened by new owners in June 1994 and operating for a couple of additional years.

The screen and concession stand were removed in 2005, but for many years afterward, the former marquee was visible from the road, and though brush has grown up around it, parts of the decaying wood sign can still be seen.

The former site remains a vacant field.

Hauntingly and nostalgically, the outline and former topography of the theater has remained visible from the air in recent years.

The fifth and final drive-in constructed in town was the twin screen Queen City, also owned by Commonwealth Theaters.

At 3630 East Sunshine Street, it was conveniently accessible from US Highway 65 and Sunshine Street.

The 800 car state of the art drive-in opened on March 29, 1974, with a gala and activity-filled event and the twin screens each offering double features.

In part due to rising property values, the Queen City closed in 1985.

A Sam's Club is today on the former site.

Springfield drive-in theaters are now gone but not forgotten.

Less than two weeks following the opening of the Springfield drive-in, a new indoor theater opened on August 31, 1947, the Park-In Theater.

Described as Springfield's most modern deluxe neighborhood theater, was located in the Plaza Shopping Center, almost around the corner from the newly constructed Springfield drive-in.

Special audience amenities included a well-lit parking lot, an assisted hearing system, and a cry room with bottle warmers.

A year later, August 1948, the theater name was changed from the Park-In to the Tower, eliminating any confusion with the nearby drive-in theater.

The Tower marquee was a long time and iconic entertainment beacon, glowing tall and bright in the night sky.

Sadly, the theater ceased operation in January 1997.

A multi station radio group moved into the location the following summer.

Throughout the 1950s, movie popularity would continue to rise, and world premieres would be an important and glamorous part of the moviegoing and promotion experience.

In June 1952, Springfield was host for the premiere of Warner Bros Studios' The Winning Team with Ronald Reagan.

Mr. Reagan being accompanied by his newlywed wife, Nancy.

But significantly, the weekend festivities also showcased a visit from President and Missouri native Harry S. Truman, who was in town for a reunion for members of the Army's 35th Infantry Division that the president commanded during World War I, a large parade celebrating the occasion.

And so, president was here, he marched in the big parade.

Ronald Reagan and his wife were here and rode in a car in the parade.

So we had a current president and a future president both here at the same time.

NARRATOR: Newspaper headlines proclaimed it as Springfield's biggest week ever.

The city's population at the time was 66,000, but 225,000 were estimated to be in attendance.

In the evening, Mr. Truman and the Reagans attended the premiere together.

Because of large crowds and public interest in the event, the film was simultaneously screened at the Gillioz and the nearby Fox Theater.

The Gillioz was also host to another world premiere later in 1952-- She's Working Her Way Through College, it too starring future President Ronald Reagan.

Also premiering in the mid-1950s-- January 22, 1955, until September 24, 1960-- was the Ozark Jubilee, a national television broadcast originating live each week from the downtown Jewell Theater, a vacant movie house on Jefferson Street and across from the landmark Colonial Hotel.

The series was seen on ABC television and made broadcast history as the first national country music television series and also the first network series originating from outside New York, Los Angeles, or Chicago television centers.

After production ended, the Jewell Theater was razed in February 1961.

A small city park commemorates this location today.

Another local theater, the Landers on nearby Walnut Street, would be the setting for the weekly Five Star Jubilee, a national broadcast continuing the Ozark Jubilee legacy and seen on NBC between March and September of 1961.

By May of 1961, the series became history making as the first network color program not originating from New York or Los Angeles.

A small adult theater, The Studio, opened on March 8, 1969.

A reflection of the times and a then-growing adult film subculture, the tiny, no-frills theater existed quietly on Campbell Avenue in a storefront of the Park Press Village shopping center, almost surprising giving the city's conservative values.

It showed X-rated features throughout the '70s and into the '80s until VHS and cable displaced most adult screens.

The theater closed on February 1, 1986, and the location was converted to other commercial use.

The 1970s were a time of growth in Springfield and in local movie theaters.

Much of the new theater development and presence was led by the familiar Mann, Dubinsky Brothers, Wehrenberg, and Dickinson chains.

Also present in the beginning was National General Theaters and General Cinema Corporation.

Entering the '70s, Springfield theater locations could be said to be underbuilt, with only the Gillioz, Fox, Tower, and briefly the Landers being the only indoor theaters operating.

Joining these on June 4, 1970, was the Century 21, located on the corner of Glenstone and Battlefield and an early tenant of the brand new Battlefield Mall.

The theater was originally a National General Corporation location that featured a spacious 793 person auditorium and plush seats.

Patrons did not access the theater through the mall.

Instead, a modern well designed lobby provided an exclusive and convenient exterior entrance along with an expansive concession counter and a roomy waiting area that was decorated with natural walnut ceiling beams and two brass and crystal chandeliers.

The theater would later be owned by the Mann and Dickinson theater chains and offering the city's only 70 millimeter film projection capabilities before ending operation in 1997.

During part of that time, the Century 21 would be one of two theater locations at the Battlefield Mall.

After closing, the facility would turn into retail and dining space.

While the Century 21 was the newest and most modern local theater, it would also be unique with its single screen construction.

Multiplexes and soon megaplexes were becoming the newest and biggest trend as large established film chains began local construction that would result in a group of multiscreen theaters at the mall and nearby Battlefield Street within almost walking distance of each other.

Springfield's first multiplex or multi-screen theater was the charmingly named Petite 3, located on Battlefield between Fremont and National Avenues.

The theater was originally owned by Petite Amusement Corporation and opened on April 19, 1973, and included three auditoriums that would each seat 300 guests.

Later, the Dubinski brothers and then Dickinson Theaters would operate the theater.

The Petite Three remained open until 1992, becoming a discount theater in its later years.

The theater was razed and a national tire and auto service center built on the site.

Almost literally across the street, Mann Theaters would open three additional screens on December 21, 1977, bringing a total of ten indoor screens to the city.

Dickinson Theaters bought the theater in 1980, operating it until 1999.

The Fremont 3, like its former neighbor the Petite 3, became a discount theater prior to closing after its parent chain opened the new and larger Springfield 8 a short distance away.

After closing, the former theater was converted into retail space and part of the encompassing Fremont shopping center.

New theater construction would ambitiously continue as the Dubinski Brothers opened the North Town Cinema on June 22, 1979, as an addition to the city's new North Town Mall located at the intersection of Glenstone Avenue and East Kearney street that opened two years earlier.

Originally a triplex, the building was enlarged to include a fourth auditorium in June of 1983.

In December, Dickinson Theaters took over operation until the theater closed in 1998.

Before closing, the North Town Cinemas operated as a discount second run theater and finally as dollar movie house.

The former theater and mall property became a Walmart Supercenter.

Following the opening of the North Town Cinemas and entering into the '80s, there were a total of 18 theater screens in Springfield spanning eight indoor locations and four drive-ins.

Collectively, these were operated with one locally owned exception by the Dickinson, Dubinski Brothers, and Commonwealth theater chains.

Building booms continued, and the size of local sites and auditoriums literally grew as General Cinema Corporation opened the Battlefield Mall Cinema, an impressive multi-screen complex in the food court area of the recently expanded Battlefield Mall.

The 1,700 seat, six screen complex opened in December 1982, and with one of its auditoriums including the popular Dolby Stereo sound system and another equipped to show 3D films.

At the same time, a Sunday blue law was in effect, and most businesses were not open on Sundays.

As a result, the mall and its tenants were closed.

The Battlefield Mall 6, like other movie theaters, was exempt from blue law restrictions.

Wehrenberg Theaters purchased the business in 1989 and operated the facility until its closing on January 7, 2001.

The location was remodeled and has remained retail space in the mall.

More new theaters opened with the Town and Country on December 16, 1983.

The six screen multiplex was operated by Goodrich Quality Theaters and was constructed as part of a new shopping center located on Kansas Expressway near the intersection of Interstate 44.

The facility closed in December 2002 and was remodeled into retail space.

Bigger is better, as Dickinson theaters opened at showcase and company flagship under the Dickinson 8 on November 11, 1991.

A 34,000 square foot complex capable of seating 2,000 customers in its eight screen carpeted auditoriums that featured state of the art sound systems, including the popular Dolby sound technology.

The luxurious auditoriums were outfitted with high back padded armrest rocker chairs, and by 2008, two of the auditoriums would be outfitted with 70 millimeter projection capabilities, one of these being a projector transferred from the Dickinson-owned Century 21 Theater and making the new theaters the only ones in town with 70 millimeter capability.

Dickinson Theaters proudly proclaimed their new facility located on Montclair Street near the new Fox Great retail development on Battlefield Road "as modern as you can make a theater these days."

The exterior architecture of the new building included a modernistic spire or tower, a tribute and bridge to Dickinson's oldest Springfield theater, The Tower, and its well known marquee.

When the new complex opened, Dickinson Theaters own seven of Springfield's eight movie theaters, 26 of the local 32 screens, the Battlefield Mall cinemas owned by Wehrenberg being the remaining local competition.

Operation models would change the following week as Dickinson converted their nearby Fremont 3, Petite 3, and Tower theaters into second run dollar houses.

But Dickinson 8 would experience multiple ownership and name changes.

Along with these would be significant and accompanying physical changes.

In 1999, Goodrich quality theaters purchased the operation, changing the name to the Springfield 8.

Dickinson theaters resumed ownership in 2008, and Showplex Cinemas took over the property in 2010, the company adding an impressive IMAX theater auditorium for that truly big screen experience.

The new IMAX theater opened in November 2011, could seat up to 300 individuals, and was capable of projecting 3D films.

Two standard auditoriums were added, and the 2,400 seat complex became the Springfield 11, Springfield's first megaplex.

Starplex cinemas became the new owners in 2014, and AMC Theaters bought the property in 2015, making upgrades and the name changing to the AMC 11.

Complementing 1990s growth that began with the Dickinson 8, Springfield theaters would enjoy a continuing and impressive growth spurt and 24 new screens with the coming addition of new 8 and 16 screen complexes.

First to open was the flashy and neon appointed Palace Theater on December 8, 1995, located in the creative residential and retail center Chesterfield Village.

It included an eye catching vintage style neon marquee, boldly listing current showings.

The eight screen theater built to accommodate 2,000 patrons featured second run movies, low ticket prices, and discount concessions.

Auditoriums featured high resolution screens and reclining seats, and two of the auditoriums included THX digital sound.

In an ever changing and competitive landscape, the theater changed its name slightly to Premiere Palace in August 2016 as it began offering first run films but still at a discount price.

The theater closed on June 8, 2017, and the building was purchased by Life 360 church and operated as one of its campuses.

A few months following the December 1995 opening of the palace theater, Wehrenberg Theaters, operators of the Battlefield Mall 6, grandly opened Springfield's largest and next theater complex on May 10, 1996-- their expansive and audience appealing Campbell 16 Cine.

The new megaplex was across from the Campbell Avenue Park West shopping center, but with entry being from South Avenue due to terrain considerations and traffic flow.

The showcase 2,600 seat facility included a colorful, sprawling, and eye catching lobby with neon trim and chandeliers and a large concession area and game arcade.

Some auditoriums featured the new stadium style seating, and there were Dolby speakers in each theater, some auditoriums also including THX sound systems.

It feels great to be back home.

NARRATOR: Wehrenberg Theaters in the Campbell 16 historically and memorably hosted the world premiere of hometown son and rising movie star Brad Pitt's much anticipated film Meet Joe Black.

November 12, 1998, was a night to remember as an estimated 1,300 attendees welcomed the star and enjoyed his presence.

The glamor-filled charity event included a traditional red carpet entrance and the film being shown in four auditoriums.

More than $66,000 was raised for the local Children's Miracle Network, the Boys and Girls Club of Springfield, and Big Brothers Big Sisters of the Ozarks organization.

Wehrenberg Theaters and the Campbell 16 made additional local movie history by leading the 2008 transition to digital projection in Springfield theaters, the newest and groundbreaking advancement in picture clarity, sharpness, and color.

Work began in August of that year, and soon other local theaters would also begin making this audience-impacting change.

It's also interesting to note that in 2008, the Campbell 16 building also took on a landmark quality with the addition of a sprawling painting Wild Horses by world renowned equine artist Susan Sommer on its rear exterior.

Still enjoyed today, this original, engaging, and artistic identity is as striking and memorable as the historic mural paintings by George Kiefer in the downtown Fox Theater.

The Campbell 16 operated until July 31, 2016, the property remaining vacant until being reopened the following June by another large theater chain and their innovative operating model.

Trend bucking and noticeably different in size, The Moxie was the next theater to open following the Campbell 16, its niche being welcomed as a small art house, successfully specializing in independent and foreign films, Springfield's only theater operation of its kind, and that resonates popularly with cinema fans who enjoy the cultural and educational value of non-mainstream films.

The Moxie opened as a modest and intimate single screen on September 21, 2005, located at 408 West Walnut Street.

The theater relocated to the Wilhoit Plaza at Jefferson and Pershing in 2008, adding a second screen and enhanced customer facilities while remaining faithful to the audience-enjoyed fare of the original.

In 2014, the theater moved to its current South Campbell site that includes adjacent and convenient parking in a city garage and direct and enclosed lobby access.

Following the 2005 downtown opening of The Moxie, a new downtown state-of-the-art 14 screen megaplex opened on November 7, 2008, at College Street and Campbell Avenue-- Hollywood Theaters College Station Stadium 14.

The new facility included stadium style seating for 2,000 people.

Four auditoriums were equipped with the newest digital projection technology, with two of these additionally equipped for 3D films.

Ownership changed to Regal Cinemas in 2013.

The theater ceased operation on January 5, 2023.

In 2017, a new theater chain arrived in Springfield as the Alamo Drafthouse began operation on June 19 after renovating the previous Wehrenberg Campbell 16 location following the property's closure nearly a year earlier.

Uniquely, the Alamo Drafthouse company creatively and successfully blends both restaurant and movie exhibition businesses.

The former Campbell 16 interior was dramatically remodeled from 16 auditoriums to 14 and to include dine in restaurant space and food preparation areas and staff to serve patrons watching movies and seated in individual auditoriums.

The Springfield location is the company's largest.

Notably, the Alamo Drafthouse was also the first theater in Springfield to offer reserved seating and often themed events and screenings.

Not unusually, the number and names of movie theaters would often be changing in the community.

Ownerships would change or new screens opened and others closed.

Through the years, Springfield was no exception.

For comparison in modern memory, the presence of city theaters and screens reached a historic but short pinnacle in 1996 following the May opening of the Campbell 16 complex and lasting until February 1997 when many locations began closing.

During that brief and transitional nine month time, Springfield hosted eight locations featuring a total of 50 screens.

The Alamo, along with The Moxie and AMC 11, represents Springfield's current movie theater facilities.

Three physical locations and 27 screens.

It's worth it to go out to the movies.

Even in an era where a lot of first run movies, you can just now click and get it on a streaming service.

Theaters have a major role in sustaining culture, sustaining commerce, and sustaining a community.

NARRATOR: Movies continue to be an ever popular entertainment and art form and reflection of our audience tastes, perceptions, and collective culture.

And movie theaters in ways maintain an allure and sense of destination and experience.

What has changed is the increasingly versatile and almost limitless ways that they are exhibited and available to audiences.

One thing about the future of movie theaters is certain.

They will change.

How remains to be seen.

As we enjoy these kinds of memories, let's also think about and remember something else fun before we go.

A story of theaters is incomplete without mention of the long time and perpetual patrons still present in many old time or early theaters-- ghosts.

But my goodness, we've got more ghost stories about theaters.

There's two or three in the Fox, there's four or five in the Landers, there's at least three in the Gillioz.

Funny story, I do a ghost tour in the fall, and I've had-- I had on two different occasions in two different years I had women come up to me and say, I was a usher in the Gillioz, and I was in after a matinee getting ready to clean up, and I saw a person sitting down front all slouched over, looked like they'd fallen asleep, and I started down toward them, and they slowly disappeared.

Now these two women didn't know each other, didn't know me, just told me this ghost story.

But the two women were from two different eras.

One was quite elderly and was with her daughter on the bus.

And she had been an usher in the late '40s.

And the other one was not as old and had been an usher in the '60s, but they had almost the same experience.

And that's the kind of things that really get me thinking about, well, maybe some of those ghost stories are real.

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