The Return of the Midnight MoviesMay 25, 2017 02:20PM ● By Matt Wynn
But they’re not going to attempt to recreate the showings that took place there every weekend from 2000 till 2013, when the theater “closed for renovations” (but everyone sort of understood that was that).
It’s probably for the best.
Because part of what made those midnight shows great, let’s admit, was that they took place in that time between cars and bars: when a generation of millennials learned the world was their oyster, when they were amenable to going anywhere, but piddling few places would let them in.
Even now, most theaters’ “late” showings start before 11 p.m., the same time it becomes illegal to step foot in city parks. Come 11:30 p.m., unless there’s a concert somewhere, your options are a lone donut shop and a slew of diner chains, convenience stores, and Wal-Marts. It’s a bleak affair. There are even reports of teenagers gathering in parking lots, like those Polish wood ants that made a go of it in an abandoned nuclear bunker.
With that backdrop, knowing the basics of supply and demand, it’s little wonder that midnight movies were such a success. Midnight movies had long been off-again/on-again during the life of the Dundee Theater. But their most recent incarnation began in 2000, when two employees approached owner Denny Moran with the idea.
“An old theater like the Dundee just sort of screams MIDNIGHT MOVIES,” says former manager Matt Brown.
Moran agreed, but only as an experiment, only for a couple months.
The crowd shifted depending on the film. Fight Club brought the meatballs, Nightmare Before Christmas turned out the Hot Topic set. Sometimes parents would come with their kids. Then, there were the loner old guys clutching dog-eared sci-fi paperbacks.
To a kid, the city felt cold and conservative and corporate, says Jon Tvrdik, an Omaha filmmaker. Midnight movies were a blinking neon XXX sign in a town of church marquees. Tvrdik and his friends basked in the oppositionality.
“It was a nod from the establishment—which was any business that didn’t sell records—almost as if to say, ‘We see you out there, weirdos of all stripes, and we have a home for you and your cinema obsessions at night,’” Tvrdik says.
After two months, the good outweighed the bad. Midnight movies stuck.
Slowly, they evolved into more than just movies shown at a time when most people are hitting the hay.
One night Brown was showing a new employee, Jon Sours, the theater’s collection of trailers. Inexplicably, there were several for Changing Lanes, that overwrought 2002 movie that premised a whole plot out of Samuel Jackson getting into a fender bender with Ben Affleck. As the movie trailer's narrator describes it: “An ambitious attorney. A desperate father. They had no reason to meet—until today.”
Sours insisted that this was one of the better bad trailers, and made the case for playing it before each and every midnight movie. Brown upped the ante, suggesting they play it twice.
And things sort of snowballed from there. Before long, they were playing it three or four times, upside down, in the wrong aspect ratio, backward.
The audience ate it up. Soon, they were shouting out lines from the film by memory.
“I felt like a proud father,” Sours says.
“Film,” by the way, means film. As in 35 mm. The Dundee Theater never went digital. The adherence to analog made for all sorts of charming hijinks. During Goodfellas, for example, the projector went haywire, so every scene became a weird game of Where’s Waldo? (Except with dangling microphones instead of a bespectacled guy in stripes).
It also meant that every week brought new and exciting questions about just how badly things could go wrong.
Film reels arrived to the theater scratched, spliced, and re-spliced. They were missing frames and wrapped thick with tape. And that was when they came at all. The delivery company lost a print of Jaws the day it was supposed to show, and staff had to scramble when the last remaining copy of Say Anything was destroyed; but sometimes the best ideas are borne of necessity—that night, they dug up a copy of Changing Lanes.
“We needed something to show, and we had been playing that trailer in ridicule for months,” Brown recalls. “I think some of our regular clientele were jazzed to show up and see that we were actually playing the film and not just the trailer four times in a row.”
For the most part, though, things were uneventful in the projection room. The real action was in the calamitous crowd. It was a party. A movie-watching party with a few hundred friends you didn’t know you had.
Rocky Horror Picture Show drew the costumed freaks. Purple Rain became impromptu karaoke, with people running to the front of the theater to take the lead on their favorite song. The Princess Bride was an odd communal script reading. And every now and then, during any movie, someone would kick over a clandestine bottle of something, and you’d have to listen as it slow-slow-slowly rolled all the way down the theater floor before coming to its merciful stop.
Maybe the end of the Dundee Theater was merciful, too.
Film Streams was competition, technically. But the truth is it was never close, and they were running up the score.
The Dundee had standing water in the basement and a heater rusting through. Film Streams had a brand new facility and a membership that paid to keep it shiny. The Dundee had day-glo photocopies. Film Streams had a marketing budget.
The last midnight movie was The Room, widely considered one of the worst films ever made. It had been a regular in the repertoire.
Only about 150 people showed up that night—not at all capacity, and not even close to a record for a midnight showing.
But for Brown, who steered that ship for 13 years, it was the perfect payoff.
“They were so appreciative that we were taking some time to do a final screening of this weird little freak show movie that they all came to love, and they all came to party,” Brown says, fondly recalling the cult classic's spoon-throwing ritual. “So many plastic spoons. It felt very communal. It was great.”
Even today, people tell Brown how much those movies meant. Their whole idea of cinema, their platonic ideal of a moviegoing experience, is based on seeing, say, Clockwork Orange or Fight Club at midnight at an art deco, formerly vaudeville theater in midtown Omaha.
Since announcing the acquisition of the Dundee, people have peppered Film Streams founder Rachel Jacobsen with questions about a reboot.
The first meeting with the Dundee neighborhood association was expected to be a dry to-do to discuss traffic flows and parking and other crushingly adult things.
Instead, people showed up specifically to advocate for the return of midnight movies.
Film Streams wants to pay respects to its predecessor, Jacobsen says, and midnight movies were a big part of what made the Dundee the Dundee. But she wants them to be different; she wants to dress up the basic concept in new clothes that are a little better fit for the new ownership.
She talks about a movie that might be the perfect balance—a French film with feminist undertones and cannibalism.
She could also open it up to “Members Select,” to let those dues-paying members pick the films they’d like to see.
Midnight movies are a big part of the theater’s recent history, sure. But Jacobsen seems well aware that much of the passion she hears could be standard-issue nostalgia.
“There's not too many places that a teenager can go after midnight, someone under 21,” she says. “Maybe part of it is the age group that was going; they think of it as real glory days. We're not going to try to recreate it. We couldn't. But we'll try to do our own version that honors the history.”
That’s no surprise to Brown.
“I seriously doubt they [Film Streams] are going to be laying out the red carpets for a bunch of 17-year-olds dressed like Frank N. Furter and Riff Raff with packs of hot dogs and bags of rice shoved down their pants to toss around,” Brown says. “I think that ship has sailed.”
Maybe it is all schmaltz for being young and dumb and the places that let you get away with it.
Tony Bonacci, a local film director, compares the midnight movies to that dive bar in stumbling distance from your front stoop. You know every nook and cranny and stain on the floor. You could pick the exact tone of green in the carpet off the Pantone color wheel. You nod to “Metaphorical Ed” who comes in after work and grabs his place at the bar, which is empty, because everyone else knows it belongs to “Ed,” too.
You love this place.
Then it goes under and is sold. Cheap draws give way to microbrews and craft cocktails. The new place is clean. There’s a great jukebox. The carpet is pried up and original hardwood restored. “Ed” found a new place to hone his alcoholism, and the new crowd is well-dressed and mannered.
It’s a good bar. A great bar. You like it. Still, something nags.
“It’s just a totally different vibe,” Bonacci says. “It’s like, ‘Man, can’t we just have that back?’”
Tvrdik, though, thinks the updated version will be, well, a lot like the rest of us—older and wiser. Still out to have a good time, it’s just what constitutes a good time has changed: less like you’re staying up past your bedtime to watch something scandalous and more like your favorite professor is playing your favorite film.
“A more mature version of what it was,” Tvrdik says.
Visit filmstreams.org for more information.
This article appeared in the May/June 2017 edition of Omaha Magazine.