{"id":11225,"date":"2015-04-09T03:28:16","date_gmt":"2015-04-09T07:28:16","guid":{"rendered":"http:\/\/kqek.com\/mobile\/?p=11225"},"modified":"2015-04-09T03:30:24","modified_gmt":"2015-04-09T07:30:24","slug":"dvd-going-attractions-the-definitive-story-of-the-american-drive-in-movie-2013","status":"publish","type":"post","link":"https:\/\/kqek.com\/mobile\/?p=11225","title":{"rendered":"DVD: Going Attractions: The Definitive Story of the American Drive-In Movie (2013)"},"content":{"rendered":"

\u00a0<\/i><\/span><\/p>\n

\"GoingAttractions_s\"<\/a>Film<\/strong>: Very Good<\/p>\n

Transfer<\/strong>: \u00a0Very Good<\/p>\n

Extras<\/strong>: Very Good<\/p>\n

Label:\u00a0<\/strong>Passion River<\/a><\/p>\n

Region:<\/strong>\u00a00 (NTSC)<\/p>\n

Released:<\/strong>\u00a0\u00a0September 2, 2014<\/p>\n

Genre:<\/strong>\u00a0 Documentary \/ Drive-Ins Film History<\/p>\n

Synopsis:<\/strong>\u00a0Detailed chronicle of the history of the Drive-In theatre, from invention to boom, and its present status as a still iconic niche venue.<\/p>\n

Special Features:<\/strong>\u00a0 Audio Commentary with director April Wright \/ 5 Short Featurettes: “R.I.P. Drive-ins Lost” (1:18) + “The Beverly Drive-in” (1:28) + “The Original Admiral Twin” (2:36) + “Reopening Santa Barbara” (3:36) + Hollingshead Ceremony” (:49) \/ Original Trailer.<\/span><\/p>\n

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Review:<\/strong><\/p>\n

April Wright\u2019s feature-length documentary began around 2006 when the writer \/ director \/ producer became fascinated by large abandoned fields beholding huge screens or disintegrating neon signs which harkened back to the heyday of a uniquely American invention, the drive-in cinema.<\/p>\n

Over 7 years, Wright trekked across the United States, taking stills, video footage, interviewing current drive-in operators, and unearthing a pretty impressive trove of rare stills of long-gone cinemas designed for the mobile-minded, especially families searching for a chunk of hours to fill, during which the kids could play, enjoy some rides, chow down on comfort food, and catch a double-bill of movies before heading home for bedtime.<\/p>\n

After WWII, the drive-in became a phenomenon, and according to Wright\u2019s research, there were at one time more drive-ins than hardtop cinemas, but in the coming years TV would steal some of the thunder from outdoor and hardtop cinemas, with home video and urban sprawl ultimately reducing the once profitable outdoor business to a serious gamble.<\/p>\n

It\u2019s expected that Wright\u2019s doc provides a history lesson of the drive-in\u2019s debut and its iconic status in fifties pop culture, but some of the real surprises include examinations of the architecture, the murals, the elaborate neon signs, the concession counter adverts, and projection systems. There’s also the issue of urban sprawl, which boosted property taxes, packed residential homes right beside the giant multi-screen setups, and forced many drive-in owners to sell their businesses to developers. When the land is more valuable than the business, it\u2019s tough to hang onto a labour of love.<\/p>\n

The fact drive-ins still exist may seem amazing \u2013 the ideal environment remains outside of the glow from city and suburban streetlights \u2013 but it\u2019s also indicative of the business being very community oriented, and the fact many owners went back to the original offering of movies, food, amusements, and using the land for other community-based activities during the off-hours and seasonal down-time.<\/p>\n

Among the many interviews are vivid recollections, sociological assessments of the drive-in\u2019s success with families and teens, and the key attributes which make sitting in \/ near one\u2019s car under the spring-summer-fall stars so attractive to many.<\/p>\n

Going Attractions<\/strong> offers a great deal of info and imagery, but there\u2019s one big flaw that makes the film really frustrating: either due to a need to fit the narrative into a roughly 90 minute running time or a chosen fast-paced editing style, it\u2019s often tough to appreciate let alone absorb the visual information of stills due to fast edits.<\/p>\n

Perfect examples include a great montage of the towering concrete screens built to display both the films and on reverse sides, murals and neon signs which flip by too fast, or have text splayed across the details; and several before \/ after comparisons between stills and the Walmarts that now sit on the expansive land. Wright\u2019s research resulted in myriad ads, stills, and her own film footage of abandoned or long-gone drive-ins, but the rhythm of the editing is more typical of the DVD and promo featurettes honed by the film\u2019s editors rather than a doc needing a more measured pace. Wright\u2019s film is still a treat and worth snapping up, but one may need to hit the pause button now & then to absorb some of the fascinating stills.<\/p>\n

Going Attractions<\/strong> is available in the U.S. as a digital download in SD and HD formats, but the DVD may offer a better value and more archival details for drive-in fans. The bonus featurettes are mix of short pieces on past \/ present drive-ins and some deleted material, but the gem is Wright\u2019s steady commentary track (oddly, it\u2019s not stated on the DVD sleeve nor on the film\u2019s website<\/a>) which adds great additional info on the film\u2019s production, and many personal views on a niche business that\u2019s gone through tough times. Fans of home video and video rental shops will find stark parallels with the drive-in\u2019s history \u2013 cheaper movie alternatives (Netflix), the struggle to compete and update technology \u2013 as well as the devotion of the owners who\u2019ve chosen to stick with or in some cases start new drive-ins.<\/p>\n

The sad statistic is the restoration and emergence of new drive-ins hasn\u2019t boosted the existing venues in the U.S. \u2013 many continue to close \u2013 but the owners of those that remain seem to have shored up their business models with savvy ideas, and learned from past industry pitfalls.<\/p>\n

The depth of Wright\u2019s research is really a joy when it comes to the architecture (which she rightly finds unique and striking in scope and design) and some fascinating aerial stills where the remains of old drive-ins now resemble the faint imprint left by overgrown Roman amphitheatres. (The fact one can spot the pie-cut with rippled grade for parked cars is amazing.)<\/p>\n

Also of note is a section on the Autoscope<\/a>, where a movie was beamed to separate mini-screens using mirrors – a system that kind of resembles those LCD screens on the backs of airplane seats. Not exactly qualitative moviegoing experiences, but certainly a more private way to watch a flick.<\/p>\n

The DVD transfer is fine, but the 1.77:1 fits the 16:10 ratio, and some of the interview footage seems to come from different cameras, hence the occasional change in standard and widescreen ratios. The rather heavy use of music is presented in a gentle stereo mix, which works for a doc about films that were originally heard by patrons from tinny window-mounted speakers before short-range stereo broadcasts.<\/p>\n

Wright\u2019s coverage includes myriad interviews (Roger Corman\u2019s probably the biggest name among the cast), and the film\u2019s Facebook page<\/a> offers updates on assorted drive-in info, restorations, and gorgeous marquee signage, proving the outdoor cinema is far from dead.<\/p>\n

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\u00a0<\/span><\/p>\n

\u00a9 2015 Mark R. Hasan<\/p>\n

\u00a0<\/span><\/p>\n

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External References:<\/strong>
\nEditor’s Blog<\/a> — IMDB<\/a>
\n\u00a0<\/span>
\nVendor Search Links:<\/strong>
\nAmazon.ca<\/a>\"\" \"\" —\u00a0<\/span> Amazon.com<\/a>\"\" \"\" —\u00a0<\/span> Amazon.co.uk<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"

April Wright\u2019s feature-length documentary began around 2006 when the writer \/ director \/ producer became fascinated by large abandoned fields beholding huge screens or disintegrating neon signs which harkened back to the heyday of a uniquely American invention, the drive-in cinema…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"spay_email":"","jetpack_publicize_message":"","jetpack_is_tweetstorm":false},"categories":[18],"tags":[3601,3599,392],"jetpack_featured_media_url":"","jetpack_publicize_connections":[],"jetpack_sharing_enabled":true,"jetpack_shortlink":"https:\/\/wp.me\/p8nuyW-2V3","_links":{"self":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11225"}],"collection":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=11225"}],"version-history":[{"count":3,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11225\/revisions"}],"predecessor-version":[{"id":11234,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=\/wp\/v2\/posts\/11225\/revisions\/11234"}],"wp:attachment":[{"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=11225"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=11225"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/kqek.com\/mobile\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=11225"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}