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“Marina City is more than a structure. It is a strong influence on the architecture of tomorrow and a realistic approach to urban planning.” |
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The Portland Cement Association of Skokie, Illinois, produced this film in 1965. “Portland” is a type of cement. PCA, according to its website, “represents cement companies in the United States and Canada. It conducts market development, engineering, research, education, and public affairs programs.”
Written, directed, and photographed by Arthur P. Mandler (1928-2002), the 19-minute film describes how Marina City was planned, constructed, and utilized. It is narrated by former WGN Chicago radio announcer Walt Newton.
(Right) 1960s photo of Arthur Mandler.
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Images from the film...
(Left) View from the State Street Bridge, looking northwest. The building in center frame with Dutch-influenced architecture is the current location of Harry Caray’s Italian Steakhouse.
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(Left) A man climbs a television mast that added 437 feet to the height of the west tower. |
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This view from the east tower, looking east, shows Wrigley Building (left) and 401 North Michigan Avenue (center), which is still under construction. |
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Entrance to National Design Center, a tenant of the office building at Marina City. Hotel Chicago currently occupies the commercial space shown here. |
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Elevator lobby of residential tower. This is most likely in the west tower. The doors in the foreground have since been replaced with automatic sliding doors. |
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Skating rink and current location of Smith & Wollensky restaurant. |
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Restaurant located below the skating rink. Current location of Wollensky’s Grill. |
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Grocery store at Marina City. |
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Part of a sculpture garden that surrounded the sunken skating rink. |
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Gift shop in the lobby of the commercial block on Marina City’s concourse level. |
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Exhibit area at National Design Center. |
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Three views of the west side of Marina City from Dearborn Street – in 1962 (above left), 1964 (above right), and 2009 (left).
In November 2010, the film was re-digitized by Peter Bernotas and International Historic Films, Inc. According to Bernotas, it is 16mm IB Technicolor film, “about as good as it gets.” Just the film stock alone cost PCA $350 in 1965, which would be $2,600 in 2015. Bernotas estimates the print that he re-digitized had been shown on a projector only about 20 times.
According to Mark Mandler, the director’s son, the film was shot with a wind-up Bolex H-16 camera (like the one below at left) that had three Switar prime lenses on a rotating turret.
Arthur Mandler was born in Chicago and moved to Florida in 1971. He died in 2002, leaving a wife, Phyllis, two sons, a daughter, and seven grandchildren. Phyllis Mandler appears in this film. She is, as she describes, “the smiling blond looking up at the towers.”
Arthur himself makes three appearances, walking out onto a balcony 15:40 into the film and again at 16:22, and also walking through the National Design Center.
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