Reviving Hollywood Glamor of Silent Movie Era, Experts Piece Together Century-old Pipe Organ

A crate containing some of the hundreds of pipes that are part of the Barton Opus 234 theater organ that is undergoing restoration are shown at Carlton Smith Pipe Organ Restorations in Indianapolis, Tuesday, July 2, 2024. (AP Photo/Michael Conroy)
A crate containing some of the hundreds of pipes that are part of the Barton Opus 234 theater organ that is undergoing restoration are shown at Carlton Smith Pipe Organ Restorations in Indianapolis, Tuesday, July 2, 2024. (AP Photo/Michael Conroy)
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Reviving Hollywood Glamor of Silent Movie Era, Experts Piece Together Century-old Pipe Organ

A crate containing some of the hundreds of pipes that are part of the Barton Opus 234 theater organ that is undergoing restoration are shown at Carlton Smith Pipe Organ Restorations in Indianapolis, Tuesday, July 2, 2024. (AP Photo/Michael Conroy)
A crate containing some of the hundreds of pipes that are part of the Barton Opus 234 theater organ that is undergoing restoration are shown at Carlton Smith Pipe Organ Restorations in Indianapolis, Tuesday, July 2, 2024. (AP Photo/Michael Conroy)

A massive pipe organ that underscored the drama and comedy of silent movies with live music in Detroit's ornate Hollywood Theatre nearly a century ago was dismantled into thousands of pieces and stashed away.
The Barton Opus, built in 1927, spent four decades stored in a garage, attic and basement in suburban Detroit. But the towering musical curiosity is being lovingly restored in Indianapolis and eventually will be trucked, piece by piece, to the Rochester Institute of Technology in western New York, to be reassembled and rehoused in a theater specifically designed to accommodate it.
In its heyday, the Barton Opus was able to recreate the sounds of many instruments, including strings, flutes and tubas, says Carlton Smith, who has been restoring the organ since 2020. It also contained real percussion instruments such as a piano, xylophone, glockenspiel, cymbals and drums and could produce sound effects including steamboat and bird whistles, Smith says.
For many moviegoers, the organs — and the organists — were the stars, The Associated Press reported.
“One guy could do it all,” Smith says. “In the big cities, they were literally filling the theaters’ thousands of seats multiple times during the day. They were showing live shows along with the films. It was a big production.”
The Barton Opus enjoyed good acoustics at the Hollywood Theatre, according to the Detroit Theatre Organ Society. The theaters in Detroit at that time, the golden age of the city's auto industry, were as glamorous as any in New York, Chicago, Los Angeles and San Francisco, according to John Lauter, an organist and organ technician.
“We were such a rich market for moviegoers that the theater owners built these palatial places,” Lauter says. “There were no plain Jane movie houses back then.”
Lauter, who also is the director of the Detroit Theatre Organ Society and president of the Motor City Theatre Organ Society, says the Hollywood Theatre organ was one of the largest made by the Bartola Musical Instrument Co. of Oshkosh, Wisconsin. Only three were sold, while the other two were installed in the Highland Theatre in Chicago and the Rialto Square Theatre in Joliet, Illinois.
Of the three, this is “the last one left that hasn’t been altered," Smith says.
In the decades that followed, televisions began to appear in living rooms across the nation and silent movie houses fell out of favor. The Hollywood Theatre closed in the 1950s, its fixtures were sold and its famed Barton Opus was on the verge of being lost to history.
But in the early 1960s, Lauter’s friend, Henry Przybylski, bought it at auction for about $3,500. Przybylski scrambled to remove the massive instrument, parts of which stood two stories tall, before the theater was demolished.
“He pulled together all of his friends in the winter of 1963,” Lauter says. “The building had no electricity and no heat. They came in with Coleman lanterns and block and tackle.”
They took the organ apart and Przybylski — an engineer and organ buff — transported the thousands of pieces back to his Dearborn Heights home where it would remain, unassembled, for about 40 years.
“He never heard or played that instrument ever,” Lauter says. “He lived a majority of his life owning that thing. He’d roll up the garage door and there would be that console in there. He made it known it was the very best there was.”
Przybylski died in 2000, but that did not spell the end of the Barton Opus' odyssey.
Steven Ball, a professional organist who taught at the University of Michigan's Organ Department, asked Przbylski's widow in 2003 if the pipe organ was for sale.
“I came up with every last bit of cash I could,” Ball says.
But he also put the pipe organ straight into storage.
“This whole project was to see this organ through to safety, until I could find an institution to restore it to what it was," Ball says, adding that he had always hoped the Barton Opus would end up in a theater mirroring its original home.
In 2019, Rochester Institute of Technology President David C. Munson reached out to Ball, whom he had known since Munson served as the dean of engineering at the University of Michigan years earlier.
“I contacted Steven and asked where we could acquire the best theater organ,” Munson says. "Steven said, ‘Well that would be mine.’”
Ball will donate his Barton Opus to the school, where it will be the centerpiece of the new performing arts center. The theater that will house the organ is expected to open by January 2026. Restoration work on the organ is a little over two-thirds complete, according to Smith.
“The theater is designed to accommodate exactly this organ,” Munson says, adding that the architect, Michael Maltzan, "designed the pipe chambers to have the same dimension as in the Hollywood Theatre. We have all the original plans for that organ and how the pipes were laid out.”
The exact cost of the work hasn’t yet been determined, Munson says, adding, “It’s an investment we’re making, but I think the results are going to be remarkable.”



The Humor and Heartache of Gena Rowlands

The Oscar-nominated performer brought her deep range of emotion and expression to a number of original and moving films. Patrick HERTZOG / AFP
The Oscar-nominated performer brought her deep range of emotion and expression to a number of original and moving films. Patrick HERTZOG / AFP
TT

The Humor and Heartache of Gena Rowlands

The Oscar-nominated performer brought her deep range of emotion and expression to a number of original and moving films. Patrick HERTZOG / AFP
The Oscar-nominated performer brought her deep range of emotion and expression to a number of original and moving films. Patrick HERTZOG / AFP

US actress Gena Rowlands, whose six-decade career garnered Oscar nominations and other acclaim, died Wednesday at age 94.
No official cause of death was immediately given, but her son Nick Cassavetes said earlier this year she had been battling Alzheimer's disease for five years.
The Oscar-nominated performer brought her deep range of emotion and expression to a number of original and moving films that are considered classics of US independent cinema, most shot by her late husband, John Cassavetes.
For three decades starting in the 1960s, the couple formed an enchanting and explosive on-screen partnership that explored themes of passion and self-destruction against a backdrop of alcohol and infidelity.
In what many consider her finest role, Rowlands captured to devastating effect a descent into mental illness in 1974's "A Woman Under the Influence," bringing her the first of two Oscar nominations.
"Incapable of an unreal moment," said Woody Allen of the actress, whom he cast in his 1988 film "Another Woman."
"Whatever I say about Gena isn't enough because she's so incredible," said Winona Ryder, quoted in the LA Times in 1992 when the two co-starred in Jim Jarmusch's "Night on Earth."
"There's a nobility, strength and class to her work that nobody else holds a candle to, and she's so beautiful -- you just kind of marvel at the way she moves."
Making it true
From her earliest work there were shades of Marilyn Monroe in Rowlands -- the blonde hair in a wavy bob, the arresting on-screen beauty, and the undertone of sadness and vulnerability in her performances.
But she always challenged the idea of women as objects of desire in her performances and came of age as Monroe went through her own struggles, finally ending with her suicide in 1962.
"She can just play. Give her anything and she'll always be creative. She doesn't try to make it different –- she just is," said Cassavetes in a 2001 interview collection.
"Gena is very dedicated and pure. She doesn't care if it's cinematic, doesn't care where the camera is, doesn't care if she looks good -– doesn't care about anything except that you believe her."
A woman falling
Rowlands was born on June 19, 1930, in Cambria, Wisconsin, into a cultured middle-class family. Her father was a state senator and her mother was a painter and occasional actress.
She enrolled in New York's American Academy of Drama and in 1953 met Cassavetes, a fast-talking and exuberant Greek-American. A year later they were married.
It was their collaboration that generated her stand-out performances, the highlight arguably being "A Woman Under the Influence," which also brought an Oscar nomination for Cassavetes as director.
Rowlands was captivating as housewife Mabel, who descends into madness after years of quiet, complicated dominance by her hardworking and silent husband, played by Peter Falk.
In a rare moment of defiance, and one of Rowlands's most memorable scenes, Mabel fights back, rising at the table after a meal of spaghetti with friends and family, pleading to everyone to stand up for her -- just this one time.
The room is silent, and soon Mabel is institutionalized. When she emerges she is a shadow of her former, vivacious self.
The impact of the film and Rowlands's performance "has resonated throughout the American cinema ever since," said The New Yorker in 2013, citing Martin Scorsese and Spike Lee as two Hollywood figures under her influence.
Glorious 'Gloria'
One of her last films with Cassavetes was the more irreverent "Gloria," a 1980 gangster comedy about a woman on the run from the mob, in high heels, wielding a revolver and with a small child in tow.
Taking on the role with evident glee, in turns self-mocking and entirely convincing, Rowlands earned a second Oscar nomination and the film was awarded the top prize at the Venice Film Festival.
In 1989, Cassavetes died from liver failure after years of alcoholism. Rowlands continued to make films and also worked in television, winning four Emmys.
She and Cassavetes had three children, all of whom have gone on to have careers in film and television. Her son Nick directed her in "The Notebook" alongside Ryan Gosling and Rachel McAdams in 2004.
In 2012, she married her second husband, retired businessman Robert Forrest, and in 2015 was awarded an honorary Academy Award, the same year she retired from acting.