As a promoter, I wanted the Biograph to have an underdog personality that was likeable beyond whatever movie might be playing that particular day. I suppose an adman today would call all that stuff “branding.”

Still, I learned the hard way that when I made a mistake there would be a price to pay. When the wrong movie was booked, or if I didn’t promote a festival or midnight show properly, it led to losing money. If I hired the wrong person, we all had to live with the negative effect it had on the staff’s morale. As with any team effort, morale was one of the keys to whatever success we hoped to enjoy.

Too many bad decisions and I could lose the manager’s keys to the funhouse. Learning just how far to push the envelope in Richmond, how to be ahead of the local curve without being too scary to the wrong people, was another one of the keys.

In the 1970s, during what was the Golden Age of Repertory Cinema, the midnight show was close to the heart of many such specialized movie houses. Although theaters still show films at the midnight hour, clearly, the cultural significance of their screenings has been in steady decline since the end of the ’70s.

As with most pop fads, there are plenty of reasons why.

Richmond’s long-lost Biograph Theatre might be remembered for many things, some of them good. Most people, who remember it at all, probably flash back onto scenes from favorite films they saw there during its nearly 16 years of operation (1972-87).

Perhaps the hodgepodge of double features that was central to the format of a repertory cinema had something to do with a sense of postmodern license, I don’t know. What I can say is that the Biograph presented over 200 different films, not counting shorts, in its first year of existence.

Although most of what we did at the Biograph was standard practice in that era for art houses/repertory cinemas, we were somewhat of a trend-setter with regard to the development of midnight shows. While most of the basic style for what sort of product to exhibit within a repertory format had been set in the ‘60s, at 814 W. Grace St. we managed to get in on the midnight show phenomenon early enough to have played a small role in shaping America’s love affair with midnight shows in the ’70s.

Of course, late screenings were nothing new when the Biograph opened in February of 1972, and the term “midnight show” had been around forever. Still, the midnight show formula for how to do it consistently had not been established. Something as simple as playing the same program on both Friday and Saturday nights, only at midnight, was still not set in stone.

About two months after we opened, an underground twin bill of “Chafed Elbows” (1966) and “Scorpio Rising” (1964) was the first special late show we presented; I think it started at 11:30 p.m. Moving such presentations to midnight soon proved better, and over our initial year of operation we came to understand the sort of pictures that would work best in that limited role and how to promote them.

Although “The Godfather” (1972) was a critical success and a popular film the year the Biograph opened, it was not the sort of movie that would draw a late crowd. “Fritz the Cat” (1972), released the same year — but barely remembered today — was a good draw as a midnight show.

When we premiered “El Topo” (1970) during regular hours in the spring of 1973 it flopped. Later as a midnight show it did well.

A bootleg print of “Animal Crackers” (1930), a Marx Brothers romp that had been out of release for decades, played well at midnight. Some rock ’n’ roll movies worked, others didn’t. Same with thrillers and monster flicks. The most successful midnight shows needed a cachet of something slightly forbidden, perhaps underground.

So, playing a Marx Brothers title that couldn’t be seen on television, or in a standard movie theater, gave it an extra luster. We rented it from a private collector who had a beautiful 16mm print. We promoted it with radio spots on the top hippie station, WGOE-AM, and with handbills posted on utility poles and in shop windows. We relied on little or no newspaper advertising for midnight shows in the early days. We didn’t list them in our regular printed programs, which displayed the titles and some film notes for the movies we exhibited during regular hours.

By showing “Animal Crackers,” we were probably breaking some sort of copyright laws. But the Fan District wasn’t Manhattan or Malibu, so no one who had any interest in the obscure battle over the rights to an old Marx Brothers feature film was likely to notice.

In our first three years of operation we occasionally rented short subjects, old TV shows and feature films from private collectors who acted as underground distributors. Some titles were in the public domain, which meant no one actually had the “exclusive rights” to the rent out prints of the movie. “Reefer Madness” (1936) was such a title. Others were like “Animal Crackers,” which, due to a legal dispute, wasn’t in general release.

My bosses at the Biograph in Georgetown and I talked about the propriety of showing bootleg prints of films with murky rights issues several times. I came to agree with them that we weren’t denying the artists or the original production company any money. We weren’t denying the rightful distributor a nickel, either. Instead, we were liberating those films for people to see.

Anyway, we didn’t get caught.

A few years later the issues that had kept “Animal Crackers” out of release were resolved. So we booked a nice 35 mm print from the proper distributor. It didn’t perform at the box office nearly as well as it had before, when it was forbidden.

When the Biograph started running midnight shows in 1972 the bars in Richmond closed at midnight, so there was a lot less to do at 12:01 a.m. than when the official cutoff time was extended to 2 a.m. in 1976.

Another reason midnight shows caught on was that drive-in theaters, which had done well in the ’50s and 60s, were going out of style fast. Some of the low-budget product they had been exhibiting found a new home as late-night entertainment in hardtop theaters like the Biograph. “Mondo Cane” (1962), “Blood Feast” (1963) and “2,000 Maniacs” (1964) all played as Biograph midnight shows. In the ’80s that sort of movie began to routinely skip a theatrical run and go straight to cable television.

By the time we booked “The Rocky Horror Picture Show” to play, in June of 1978, going to a midnight show was no longer seen as an exotic thing to do in Richmond. Multiplexes in the suburbs ran them all the time. Which made the timing perfect for a kitschy spoof of/tribute to trashy rock ‘n’ roll and monster movies to become the all-time greatest midnight show draw.

The midnight show craze of the ‘70s could only have flourished then, when baby boomers were in their teens and 20s. It came before cable television was widely available and video rental stores popped up in every neighborhood.

Sometimes, a successful midnight show run came along in the nick of time to pay the rent for the Biograph Theatre.

Drake the Flake’s Departure

In the first months of operation at 814 W. Grace St. there was the series of annoyances that led up to Linwood “Woody” Drake being literally thrown out of the Biograph Theatre. Owing to his talent for nuisance, the staff had already dubbed him “Drake the Flake” before he landed face-first on Grace Street.

Although Drake resembled many of the hippie-style hustlers of the times, it was his ineptness at putting over the scam that set him apart. Every time he darkened our door there was trouble. If he didn’t try to beat us out of the price of admission or a cup of popcorn, there would be a problem of some sort in the auditorium … and so forth.

His ruse was usually rather transparent. Then, when confronted, he’d go into a fit of denial that implied a threat. Eventually, that led to the incident in Shafer Court, on VCU’s campus, when Drake choked a female student, Susan Kuney.

Susan was also a cashier at the Biograph.

That evening Drake showed up at the theater to see the movie, just like nothing had happened. Shoving his way past those already in line, he demanded to be admitted next. An argument ensued that became the last straw. Drake the Flake was physically removed from the building and banned from the Biograph for life.

The next afternoon as we were about to open for business Drake made what would be his final appearance at the theater. He burst through the lobby’s pair of exit doors and ran around the lobby for a few seconds, testifying. He screeched that I had humiliated him. Then he stopped suddenly and issued a finger-pointing death threat directly at me.

Although I tried to act unruffled by the incident, it made me more than a little uncomfortable. In spite of the anger of his words, there was an emptiness in Drake’s eyes. For a moment he had pulled me into his world. It was scary and memorable; he left the building promptly, this time without any persuasion from me.

When stories about Drake beating up women made their way to my ears, I knew for sure I was right to have banned him from the theater.

On Nov. 8, 1992, 20 years later, a revenge-driven crime spree in California ended as the man I remembered as Drake the Flake blew out his brains with a .32 caliber revolver.

Shortly before Drake ended his tortured existence, he woke up a 60-year-old woman who was his former landlord by smacking her in the head with a blackjack. She scrambled to hide under her bed and miraculously lived to tell the story. In the 11 hours before taking his own life Drake, who had grown up in Richmond, had shot and killed six people.

Drake wore theatrical grease paint on his face when he committed his murders. The lurid news reports said that Drake, who had always fancied himself an actor, had made a list for himself of people he intended to pay back, going all the way back to Virginia. As the cops were closing in on him, Drake the Flake punched his own ticket to hell.

Although most of the art shows that hung in the gallery area of the lobby displayed the work of local/VCU-connected artists that was not always the case. In the first three years, or so, when the gallery regularly featured shows that changed every couple of months, occasionally art by renown artists was on display.

Among them were Ernest Trova, Robert Indiana and sculptor George Segal.

In the summer of 1978 we had a show up that was memorable for an odd reason. It was a group of silkscreen prints and paintings by Barry Fitzgerald, a VCU-trained artist, who played in a popular band that got some MTV exposure — Single Bullet Theory.

Fitzgerald’s work had a pop art, reaction-to-advertising look. His droll sense of humor showed in a series of a half-dozen similar paintings. Each had a large line drawing in black against a flat field of a single color; the colors varied. The renderings were done in the sparse style one might have seen in a 1950s government pamphlet’s illustrations. Each had the same girl, Lois, coughing as she faced the viewer. Each had a caption written across the bottom of the colored panel which explained that Lois was choking on something.

Let’s say the first one was blue. It might have said, “Lois chokes on a gumdrop.” I think one of them did say that. The next one could have been yellow, it would have said something like, “Lois chokes on a pocket watch,” and so forth. The only other caption I remember had Lois choking on an Egg McMuffin.

Barry was asking about $100 apiece for them.

One day a man claiming to be an attorney called me on the telephone to say I had to take the Egg McMuffin piece down, pronto. He told me he was a local guy, who’d been talking that day with an attorney for the McDonald’s fast food empire. He asserted that if I didn’t take it down McDonald’s was going to lay some legal action on the artist, the Biograph and me.

For my part, I said something like, “What!”

The caller explained that it wasn’t a matter of Fitzgerald saying anything against McDonald’s signature breakfast sandwich, which was fairly new then. No. The problem was that McDonald’s wanted to protect the use of the words “Egg McMuffin.” They didn’t want it to become a generic term for a sandwich made by anyone using the same ingredients, etc. They wanted total control over how the term was used.

Then I must have said something like, “What!”

Anyway, the conversation ended with how I better do what the caller said, because all the law was on McDonald’s side.

Well, I telephoned a lawyer friend, Jack Colan, to ask him what he thought. He said I ought to buy the painting. Then I told Fitzgerald what had happened. He loved it. We decided to leave it up to see what how it would play out.

Never heard from the wannabe McDonald’s lawyer again. For a long time I’ve wished I had bought the painting.

Probably the best snowball shot I ever made was in the early-’80s on West Grace Street. Rebby Sharp and I were across the street from the Biograph, ducked down behind some parked cars. It was after dark but I can’t say how late it was. There was a snowfall underway and it was sticking. Rebby and I were battling some friends, who were in front of Don’s Hot Nuts, one door west of the Biograph.

At one time Rebby and her band, the Orthotonics, practiced in the theater’s large auditorium during off hours. Some of Rebby’s fans might not have known it, but she wasn’t a bad athlete in her day.

When some snowballs thumped off of Donald Cooper’s peculiar bright green confectionary’s storefront, he came out on his porch to tell the snowball fighters to scram. As everyone associated with the Biograph knew, Cooper to be an utter pest and the worst neighbor in the world.

There was no need for a plan. Rebby threw first. My throw followed a second later. Her throw had more arc so it, so when Cooper extended his hand to block the incoming snowball, it shattered to shower him. Just then my throw hit him square in the forehead … ba-da-bing!

Cooper quickly retired for the night.

Special Projects: The Handbill Art Show

Starting with the second anniversary, the Biograph Theatre’s birthdays always meant a party. Some of the celebrations were promoted and open to the public, others were small affairs for the staff and friends. Former staff members were always encouraged to attend, so the parties served as reunions, too.

On Friday, February 12, 1982, the Biograph celebrated its 10th anniversary with a party that surrounded the Richmond premiere of “My Dinner With Andre.” It was especially fitting, because the artsy film had been shot for the most part in Richmond.

To prepare for the occasion we did some touch-up work on the big collage in the hallway to Theatre No. 1 and the entire lobby got a new paint job. To make the party more fun we brought in the caterer who had prepared the dinner for the characters featured in the film, Chris Gibbs (a friend), to serve our $25-per-head guests exactly the same dish. The whole shebang was a benefit for VCU’s Anderson Gallery.

Each day of the shooting of the Louis Malle movie in the old Jefferson Hotel — it was closed at the time, soon to be renovated — Gibbs had shown up with a platter full of Cornish game hens and bowls of wild rice, etc. That’s what the actors, Wally Shawn and Andre Gregory, had for dinner in the movie’s imaginary restaurant, supposedly in New York City.

About a year-and-a-half before the Biograph’s movie premiere party had been imagined, I had gone with Gibbs to the set, to see how it all looked. For each scene, the production crew had to pick apart the fresh sets of meals to make them look eaten/aged to the point that they fit the timing in the story.

Later that same year another special project appeared, to become my raison d’être for months. Although it was a big distraction from my duty to find solutions for the cinema’s endemic problems, winning the “handbill case” still stands as my favorite singular achievement as manager of the Biograph.

In my thinking, first it was about free speech. I had long admired freedom-of-speech heroes and people who fought censorship, so I was eager to do my bit. In a more practical sense, it was also about defending a promotional tool I had relied upon for 10 years. So, it was about keeping the theater open. From experience I knew eye-catching handbills posted on certain utility poles and in particular shop windows were vital to promoting our smorgasbord of attractions, especially midnight shows.

In the larger picture, culturally, it was Rock ‘n’ Rollers vs. Yuppies. The Fan District Association was dead set against handbills promoting nightlife. Prompted by that civic association’s pressure, the City of Richmond officially proclaimed the matter to be strictly about trash.

So, early in 1982, City Council tweaked the statutes about posting notices in the public way. Then the police department began cracking down directly on those who posted handbills. Not so much the notices posted about yard sales or lost dogs. No, the focus was strictly on flyers promoting entertainment.

After noting the arrests of fellow handbillers, musicians who played in popular bands, David Stover (Prevaricators) and Charles Williams (Good Guys), I decided to confront the situation. While some other promoters in the Fan District chose to let the crackdown stop them, I simply went about my routine handbilling rounds, as I had since 1972.

Which led to an 8½-by-11-inch paper poster for “The Atomic Café,” which opened on June 24, 1982, becoming evidence. When a cop brought the flyer to the Biograph, to issue us a warning, I freely admitted to having posted it on a utility pole. So, he handed me a summons to appear in General District Court.

Subsequently, I told my bosses it would cost the Biograph nothing in legal fees, but that I wanted to fight the City of Richmond on freedom of speech grounds. I assured them a couple of my friends who were lawyers would handle the defense.

The study of laws and decisions about free speech and using the public way for the common good became my obsession. Scheming about how to present the argument filled my head for the next four months. First, I wanted the court to see an important context — our society tolerates all sorts of signage on utility poles, because the messages are considered useful.

Then, I wanted to convince a judge that once you considered all the handbills in the neighborhood around VCU, as a whole, it could be seen as an information system. It was a system that some people were relying on for information, just as others might rely on newspapers obtained from a box sitting on public sidewalk.

One person might read the entertainment section in a local periodical, another person might glance at the utility poles in their neighborhood, to read the posters touting live music shows or poetry readings.

To gather plenty of good examples to use as evidence, we had a handbill art show at the Biograph. On October 5, some 450 flyers, posted on black foam core panels, hung in the theater’s lobby. In all, there were probably three dozen, or so, different artists represented. A group of impromptu art experts acted as judges to select the best five of the show. Naturally, there was a keg of beer on hand to grease the wheels of progress.

One of Phil Trumbo’s Orthotones (later Orthotonics) handbills was named Best in Show. Most people who knew much about the handbill artists in the Fan would have said Trumbo was top dog, so it was a popular decision by the judges. Trumbo would later testify at the trial as a “handbill expert.”

Two of the handbill art show judges from that night also served as expert witnesses at the trial. They were: Gerald Donato and David Manning White. Donato was an art professor at VCU; White was the retired head of the mass communications department at VCU. The best 100 of the handbills from the show went to court as evidence.

After all was said and done, we won. On Saturday, November 6, the Frank Green-penned story about winning the handbill case was draped stylishly across the top of the Richmond Times-Dispatch’s front page.

In dismissing the case, the judge (Jose R. Davila) appears to have opened the question of the enforceability of the city law used by police to combat the proliferation of advertising and other signs on utility poles and other “fixtures” in “public ways.”

The case concerned the seemingly simple issue of the allegedly illegal posting of a handbill. But before it was over, the proceedings touched on topics that included free speech, soup cans, and nuclear energy, and invoked names of such diverse personalities as Andy Warhol and the city’s public safety director.

Rea’s attorneys, John G. Colan and Stuart R. Kaplan, argued the city ordinance was unconstitutional because it violated Rea’s right of freedom of speech.

Assistant Commonwealth’s Attorney William Bray argued that Rea had means of expressing himself and of advertising the movies other than the posting of handbills on public property.

Davila did not rule the city ordinance unconstitutional, but he dismissed the charge despite the defense’s concession that Rea had the handbills posted.

Without elaborating, Davila said he was concerned about the use of the term “public way” in the ordinance.

“The city, the GRTC, VCU, churches, the Boys Club and all the candidates use the public’s utility poles to post their signs. They know as well as the general public that there is nothing pretty about a naked pole. Handbills pose no danger to anyone. Is free speech only for some?” Rea asked in a handbill he had printed up before yesterday’s trial.

So I walked. We probably had a little party, but I don‘t remember.

A month or so later, I began planning the Biograph’s 11th anniversary program, which would feature Abel Gance’s restored masterpiece, “Napoleon” (1927). That would prove to be the last special project, the last anniversary party that I planned for the Biograph … while it was still open.

Stay tuned…

Radio played a large role in the early days at the Biograph. For a couple of years we had a sweet deal with WGOE-AM, the most popular station for the under-35 set in the Fan
District. For 30-second spots we were paying a dollar or two for each airing.

In the fall of 1973, David Levy, then the most significant managing partner of the Biograph Theatres in Georgetown and Richmond, asked me to look at a film to evaluate its potential. From time to time, he did that for various reasons. In this case he had a new 35mm print of “The Harder They Come” (1972) shipped to me.

In those days at the Biograph, we used to have after-hours screenings of films we obtained in one way or another. Usually on short notice, the word would go out via the staff and our friends that we would be watching a movie at a certain time. These gatherings were essentially movie parties.

A couple of times it was 16mm boxing films from a private collection. Sometimes films that were in town to play at a film society, or a VCU class, would mysteriously appear in our booth. In those cases the borrowed movies were always returned the next day, before they were missed … so I was told.

Although I don’t remember any moments, in particular, from that first screening of “The Harder They Come” at the Biograph, I do remember the gist of my conversation with Levy the next day. After I told him how much I liked the Jamaican movie, he asked me how I would promote it.

Well, I was ready for that question, because I’d done some brainstorming with friends after the screening. So, I told him I’d have an open-to-the-public, sneak preview free showing of the movie. I said I’d use radio only to promote it. He loved the idea.

So, on a Friday morning in November the deejays at WGOE began reading announcements of a free showing of “The Harder They Come” at the Biograph that afternoon at 3 p.m. Then, each time, they would play a song by Jimmy Cliff, the film’s star, or perhaps one by Toots and the Maytals. This pattern was continued maybe three times an hour, for four or five hours, leading up to the screening.

As I recall, some 300 people showed up and they loved the movie. It must be noted that at this time Reggae music hadn’t hit its stride in Richmond, yet. Although it was building a following in America, it was still a year, or so, away from becoming huge, nationally. Of course, Reggae was being heard in Richmond before that screening, but it was clearly still on the periphery of popular culture.

After the audience at the Biograph reacted so well, Levy wanted to book it to run as a regular feature, rather than as a midnight show. In most previous runs in other markets, it had been treated more or less as an underground movie. As it was shot in 16mm and blown up to 35mm for its American distribution, it had a grainy, documentary look to it. Given our confidence in our reading of the test-screening’s effect on the audience, the Biograph’s brain trust decided to try playing it at regular hours.

It all worked like a charm. While, it didn’t set any records for attendance, “The Harder They Come” returned to play subsequent dates at the Biograph in Georgetown, as well as the one in the Fan.

Levy became a sub-distributor for “The Harder They Come” and when he rented it to theaters in other cities within his region, he urged them to use the same radio-promoted-free-screening tactic.

Over the next few years Reggae music became ubiquitous. It crossed over from niche to mainstream. For me, in this case, it was fun being in a position to see — from the inside, out, to some extent — how popular culture was developing, flying by the seat of its pants.

In a Richmond, Virginia courtroom on November 5, 1982, I witnessed an entertaining scene in which an age-old question — what is art? — was hashed out in front of a patient judge. The judge seemed to thoroughly enjoy the parade of exhibits and witnesses the defense attorneys put before him. The room was packed with observers, which included plenty of gypsy musicians, film buffs and art students wearing paint-speckled dungarees.

When I got charged with a misdemeanor for posting a handbill for “The Atomic Cafe,” it was a bust I had provoked. At that time, I was determined to knock out the statute prohibiting the posting of flyers on utility poles.

My defense attorneys attacked the wording of the statute I was charged with violating as “overreaching.” They asserted on my behalf that it was my right to post the handbill, plus the public had a right to see it. The prosecution called the handbill “litter.”

The judge was reminded that history-wise, handbills predate newspapers. Furthermore, we asserted that some of the cheaply printed posters, a natural byproduct of having a university with a burgeoning art school in the neighborhood, were worthwhile art.

At a crucial moment, witness Jerry Donato was being grilled by the prosecutor over just where to draw the line between what should be, and what should not be, considered to be genuine art. The Assistant Commonwealth’s Attorney, William B. Bray, asked the art professor if the humble piece of paper in his hand, the offending handbill, could actually be “art.”

“Probably,” shrugged Donato. “Why not?”

The stubborn prosecutor grumbled, reasserting that it was no better than trash in the gutter.

Eventually, having grown weary of the artsy, high-brow vernacular being slung around by the witnesses, the prosecutor tried one last time to make Donato look foolish.

As Warhol’s soup cans had just been mentioned by the art expert, the prosecutor asked something like, “If you were in an alley and happened upon a pile of debris spilled out from a tipped-over trashcan, could that be art, too?”

“Well,” said the artist, pausing momentarily, Jack Benny-like for effect, “that would depend on who tipped the can over.”

Donato’s punch line was perfectly delivered. The courtroom erupted into laughter. Even the judge had to fight off a smile.

The crestfallen prosecutor gave up. The City lost the case. Although I got a kick out of the crack, too, I’ve always thought The City’s mouthpiece missed an opportunity to hit the ball back across the net.

“Sir, let me get this right,” he might have said, “are you saying the difference between art and randomly-strewn garbage is simply a matter of whose hand touched it; that the actual appearance of the objects, taken as a whole, is not the true test? Would you have us believe that without credentials, such as yours, one is ill-equipped to determine the difference ordinary trash and fine art?”

A smarter lawyer could well have exploited that angle.

Still, the prosecutor’s premise/strategy that an expert witness could be compelled to rise up to brand a handbill for a movie, a green piece of paper with black ink on it, as “un-art” was absurd. So, Donato, who was a wily artist if there ever was one, probably would have one-upped the buttoned-down lawyer, no matter what.

Perhaps the question shouldn’t have been — how can you tell fake art from real art? After all, any town is full of bad art, mediocre art and good art. Name your poison.

The better question to ask is whether the art is pleasing to the eye, thought-provoking or useful. Then you become the expert witness. However, when it comes to great art, it still depends on who tips the can over.

It should come as no surprise to most film buffs that sometimes there was a dark side to the business of doing business after dark. While some saw the Biograph as a beacon in the night, for others it was a place to hide out from a sad reality. Like any business, sometimes things just went wrong.

A man died watching “F.I.S.T.” (1978). The guy was in his early-30s; he breathed his last sitting in a seat in the small auditorium. The movie was bad, but not that bad. His face was expressionless, he just expired.

As the rescue squad guys were shooting jolts of electricity into his heart, and his body was flopping around like a fish out of water on Theater No. 2’s floor, down in Theater No. 1 “The Rocky Horror Picture Show” was on the screen delighting its usual crowd of costumed screwballs.

There was a night someone fired five shots of high-powered ammo through one of the back exits into Theatre No. 1. Five bullets came through a back door’s two quarter-inch steel plates to splinter seats. Amazingly, no one was hit. It happened just as the crowd was exiting the auditorium, about 11:30 p.m., and it seemed no one even caught on to what was happening.

Later the police were baffled, leaving us to speculate as to why it happened.

While it’s fun to brag about successful promotions, on the other hand, sometimes I bit off more than I could chew.

On October 22, 1982, “The Honeymoon Killers” (1969) opened as a midnight show. I had seen it somewhere and become convinced it would appeal to the same crowd that loved absurd comedies by Luis Buñuel and Robert Altman, and those trash culture aficionados who had adored previously popular midnight shows, such as “Eraserhead” (1977), or “Harold and Maude” (1971).

A droll murder spree movie in black and white, it turned out “The Honeymoon Killers” mostly appealed to me … when I was in a goofy mood. I saw it as a comedy. In its two-week-run, it nearly set the all-time record for worst attendance for a Biograph midnight show. That little fiasco’s story is best left for another time.

Sometimes, with unpredictable situations, I just made the wrong call. Perhaps the worst of them was about another death in the Biograph.

Apparently some rat poisons make the victims crave water. Sometime in the mid-’70s, a popcorn-addicted rat we called Willard must have finally nibbled on some the exterminator’s poison; it died in the Coca-Cola machine’s drain and totally clogged it up.

The situation called for a manager’s quick decision to be made in the field. However, not knowing about the hidden rat corpse, and thinking I knew what to do, I poured a powerful drain clearing liquid — we called it Tampax Dynamite — into the problem. My experience told me that stuff could eat its way though any clog in a pipe.

Although the TD had previously done wonders in the theater’s rest rooms, well, this wasn’t one of my better decisions.

Before long before a foul-smelling brown liquid started bubbling in the drain and then backing up and into the lobby’s carpet around the candy counter. There was no stopping its spread, as Willard’s revenge worked its way.

The wretched mess that ensued ran everybody out of there on a busy Saturday night — the stench was unbearable. We had to close.

Oops!

My forgiving bosses in Georgetown had a new carpet installed in the lobby right away; it was much nicer than the original had been.

An excellent photographer, Jack Leigh (1948-2004), was part of the Biograph Theatre’s staff in late-1973/early-1974. While he worked at the Biograph as an usher, Leigh taught me to play Half-Rubber, a game he said originated in his home town, Savannah. Half-Rubber is a three-man baseball-like game that is played with a broom handle and half of a red rubber ball.

Jack’s best known picture was snapped in 1993, when he was commissioned to shoot the photograph in a Savannah cemetery that would appear on the cover of what became a bestselling book — “Midnight in the Garden of Good and Evil” by John Berendt. Later the same photo was used to promote the movie with the same title.

When I knew him, Jack was earnest and quick-witted. He liked to play chess and talk about movies, and of course — photography. In his Biograph days he was already a very good photographer.

Once, when we went out shooting pictures together, he snapped his shutter maybe twice. In the same amount of time, a couple of hours, I went through two rolls of Tri-X. The quiet style Jack would use throughout his career was already evident. He eventually authored six books of photographs, including “Oystering,” which featured a foreword by James Dickey.

So, to kill time one warm afternoon, I cut a ball in half, ruined a broom and crossed the street with Jack and the theater’s assistant manager, Bernie Hall, to play a new three-man game. At the time there were several vacant lots on Grace Street, across from the Biograph.

It turned out the key to pitching was to throw the half-ball with a side-arm delivery, with the flat part down. That made it curve wildly and soar, somewhat like a Frisbee. Hitting or catching the damn thing was quite another matter. Oh, and hitting the ball on a bounce was OK, too. In fact, it was better to do so, from a strategic standpoint.

The pitcher threw the half-sphere in the general direction of the batter. If the batter swung and missed, and he usually did miss, the catcher did his best to catch it, which wasn’t easy, either. When the catcher did catch it, providing the batter had swung, the batter was out. Then the pitcher moved to the catching position, and the catcher became the batter, and so forth. Runs were scored in a similar fashion to other home run derby-like games.

But the best reason to play, other than the laughs stemming from how foolish we looked dealing with the crazy ball, was the kick that came from hitting it. When we connected with that little red devil it left the bat like a rocket. It felt better than crushing a golf ball. Smashing it over the theater and halfway to Broad Street was a gas.

Now, 40 years later, my hope is for these excerpts of the Biograph’s history will pass along some sense of what we who worked there meant, when we referred to the “Spirit of the Biograph.” In short, that spirit could be found in the voice of the theater’s better angels.

Although this telling of the Biograph’s story has been through my eyes, the contributions of its staff were always a considerable part of why that cinema — with the worst seats in town — had such a loyal following. The guys who had my back, the dutiful and underpaid assistant managers — Chuck Wrenn, Bernie Hall, Trent Nicholas and Mike Jones — kept that theater on the road more than a few times, when I was asleep at the wheel.

By the time the Biograph’s pair of screens went dark, many art houses and revival cinemas not unlike it had already closed all over the country. Behind on the rent, Richmond’s Biograph was seized by its landlord and closed forever in December, 1987. That was two months shy of its 16th anniversary.

Over the first year of operation we screened over 200 different features for our patrons. In all, I don’t know how many films were thrown onto the Biograph’s screens in its 190 months of existence as a repertory cinema. What I do know is that the advice of those better angels, just mentioned, made a pleasant difference in Richmond, Virginia … in Biograph Times.