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Heroics and Heartbreak

Disney will never make a movie about the 1984-85 Memphis State Tigers. A basketball team that went 31-4 under coach Dana Kirk reached the Final Four, only the second team in the program’s history to do so. A team headlined by power forward Keith Lee — a first-team All-America and still the program’s all-time leading scorer — beat archrival Louisville three times on its way to the national semifinals where it played the foil in the Cinderella story of eventual national champion Villanova. Thirty years later, though, that fabled team’s legacy remains an unlikely cocktail of pride and regret.

Keith Lee

Lee’s supporting cast was a quintet of locally produced players that made the team as distinctly Memphis as any before or since. Mitchell High School alum Andre Turner (then and now, the “Little General”) played point guard and was on his way to setting a Tiger record for assists (763) that stands to this day. Fellow junior Baskerville Holmes was a high jump champion at Westwood High School and is a fixture on history’s All-Name team. Sophomore William Bedford (Melrose) combined with Lee for a twin-tower presence down low. Freshmen Vincent Askew (Frayser) and Dwight Boyd (Kirby) received steady minutes from Kirk, filling voids left by the departed Bobby Parks and Phillip “Doom” Haynes. The Tigers were established national contenders, having reached the NCAA tournament’s Sweet 16 each of the previous three seasons.

The Tigers won 17 of their first 18 games (losing only at South Carolina) and rose to no. 3 in the national rankings. They only lost two more regular-season games, one understandable (at 13th-ranked Kansas), the other mysterious to this day (at Detroit; look it up). They won the Metro Conference tournament at Louisville, beating their archrivals in the semifinals before edging Florida State in overtime for the title. As the second seed in the NCAA tournament’s Midwest region in Houston, Memphis State beat Penn and UAB (then coached by Gene Bartow, who coached the Tigers to the 1973 Final Four). They then beat Boston College (with Michael Adams) and Wayman Tisdale’s Oklahoma Sooners in Dallas to reach the Final Four.

The team’s run ended in Lexington, Kentucky, on March 30, 1985, when Rollie Massimino’s Villanova Wildcats — an eight seed — managed to throttle Lee (10 points), Bedford (8) and friends in a 52-45 upset. Not for 21 years would another Memphis basketball team win 30 games in a season.

“College was the most fun part of my life so far,” says Askew. “The friends I made, the basketball. Dwight Boyd won a championship his senior year [in high school], and man, I heard about that our entire freshman year. We had better talent [at Frayser], but they won a championship! It’s not always about talent.”

While Askew was a starter by the team’s third game of the season, his roommate Boyd found the adjustment to college ball more rigorous. “I had some deficiencies,” he says. “When [opponents] watched film, they saw this guy who couldn’t go right as strongly. But going against Andre Turner in practice every day, going against Vincent Askew, Baskerville Holmes, and Keith Lee . . . my confidence started to grow. Middle of the year, I came off the bench at Louisville and scored 16 points, had a monster dunk. From there, it was smooth sailing.”

Being essentially an all-star team of homegrown talent, the ’85 Tigers congealed quickly and put aside any lingering rivalries from high school. “There was a lot of pressure on us to succeed,” says Boyd. “We were recruited all across the country, then we went home to the community where we grew up. At that time, I represented East Memphis. That builds character. You didn’t have to tell me to go to the gym to work on my jump shot. Let’s show these cats around the country what Memphis is about. We didn’t need to be from New York or Chicago. It was one common goal.”

“We were so close,” adds Askew. “Even if certain guys didn’t hang together off the court, we had a bond. We used to go to each other’s houses and eat. We’d get back to the dorm and talk about what we’d seen at those houses. We knew each other’s moms. It was all in fun.”

Larry Kuzniewski

Andre Turner

Courtesy U of M

Andre Turner

“More than anything,” says Turner, “it was togetherness. We’d finish practice, shower, and eat. Then we’d be at the complex, playing ping-pong, competing. It was all in love, every last bit of it. Nobody took offense to anything. You’d laugh off [the barbs], try and keep things together.”

Turner and Holmes roomed together for four years after battling each other fiercely in high school. “Big time rivals,” says Turner. “We went at it. But then we had an opportunity to play together. How much fun is this? We embraced it. Bat was my guy. [Holmes’ nickname was “Batman.”] People knew if they got into it with Bat, they were about to get into it with Andre. If you came into 305 — our room number — you came in with respect.”

The team’s familial bond took on special meaning for Turner when his father died that February after a long battle with liver cancer. Turner missed but one game — the loss at Kansas — before returning to the floor. “My game elevated after that,” says Turner. “My dad was a huge inspiration, and I dedicated the rest of my career to him. It was tough. He never got to watch me play professionally. That’s where the leadership came from, though. I saw him get up every morning at 5:30 and head to the workhouse.”

His position may have been power forward, but Keith Lee was the center of the Tiger universe. To this day, Turner is acknowledged as the team’s vocal and emotional leader. (“Andre never lost a sprint in practice,” says Askew.) But this was Keith Lee’s team.

Already married and living in family housing, Lee played the role of big brother for his teammates, particularly the younger ones. “I had played with Keith in the [1984] Bluff City Classic,” says Askew, “so the intimidation factor was over. But he was the most intimidating person I ever met, including in the NBA. I used to be scared to talk to him. Later on, I dated his wife’s sister.”

Lee never reached All-Star status as a pro, but question his talents at the risk of some blowback. “I played with Tim Hardaway, Chris Mullin, and Gary Payton,” says Askew. “Some Hall of Famers. Keith Lee is the best player I ever played with. He could do everything. He could rebound, pass, shoot. He was smart. He used to dominate practice.” Askew likes to tell the story of the freshmen getting Lee to join them for one scrimmage against the first-teamers, a challenge Askew offered Turner. Lee and the youngsters won big.

“Keith likes to keep to himself,” says Turner, “but with us, you talk about cracking jokes and laughing … especially on the road and at practice. He was a great teammate, and great friend. I got two tickets on the front row to watch Memphis State and Louisville Keith’s freshman year. He had 30 [points] and 13 [rebounds]. I wanted to play with a special player.”

Lee possessed the most prized intangible in basketball: He made his teammates better. “His hands were so soft,” says Turner. “I threw so many bad passes that Keith caught. Incredible hands. He’d get double-teamed, find a teammate, layup. Great court vision. His free-throw percentage was better than the guards’ [percentages].”

“We knew who to get the ball to,” adds Boyd. “We didn’t have to guess. Keith Lee was by far the best big man I played with. He made it a lot easier for me. He took the freshmen by the hand, calmed us down.” Lee averaged a career-high 19.7 points as a senior, though his team-leading rebounding averaged dipped to under 10 (9.2) for the first time, in part due to Bedford’s own rebounding skill. He left the program with 2,408 career points and 1,336 career rebounds, records that stand to this day.

[Lee did not respond to interview requests for this story and did not appear with his teammates when they were honored last Saturday at FedExForum.]

The players stand by their since-disgraced coach, claiming they saw no indication of any misdeeds on the part of Kirk (more on those later). Just a loyal, passionate, and skilled basketball tactician.

“He was probably the best three-minute coach — at the end of a game — that I’ve ever been around,” says Boyd. “He put everybody in position to succeed. He provided me with an opportunity to get a scholarship; changed my life forever. All the things he had going on outside … I didn’t have a clue. We spend so much time trying to judge individuals for their downfall, and we forget about some of the good they provided. I judge Coach Kirk only for the experience he provided me.”

Turner connected easily with Kirk, as the two saw the game the same way, thus the Little General tag for a freshman point guard. “I took pride in outworking everybody,” says Turner. “I was the smallest guy; I had to be the fastest. If I hit the court and I felt someone wasn’t giving all they could give, I didn’t hesitate about saying something. Go sit on the sideline. You’re hurting us.”

Kirk had command of the huddle, according to Turner. “Coach Kirk knew basketball,” he says. “And he knew us, how to get the most out of us, as individuals and as a team. He made sure we got what we needed when it came to preparation. And he was blessed to have assistants like Larry Finch and Lee Fowler. They knew the game as well.” Boyd remembers Finch as the “bad cop” on the bench, letting players know — with volume — when their play slackened. When Finch finished the scolding, Kirk — the “good cop” — would signal for the player to re-enter the game.

Larry Kuzniewski

Vincent Askew

Courtesy U of M

Askew was on the verge of signing a letter of intent to play at Tennessee, at the time coached by Don DeVoe, when he got a life-changing phone call at home, directly from Kirk. “I verbally committed to Tennessee the night before I signed with Memphis State,” says Askew. “One of my uncles was gonna kill me. But Coach Kirk called and said, ‘Hey bud. You ready to sign?’

“I hear so many people talk bad about his coaching,” says Askew. “Maybe it’s the trouble he had off the court. I played for Larry Brown, George Karl, Don Nelson. Coach Kirk was right up there with them.” Askew mentions a late-game defensive switch in the Tigers’ second-round NCAA tournament game against UAB in which Kirk had Askew take over the assignment of guarding Blazer star Steve Mitchell. The switch initially angered Turner (who had been guarding Mitchell), but the Tigers won in overtime. On a shot by Turner.

Villanova was better than the Tigers … for 40 minutes on a single Saturday at the 1985 Final Four. When asked if his team would have won a five-game series with the Wildcats, Turner smiles and somewhat dodges the question: “Let me ask you this: Would Georgetown have won a five-game series with them? That was destiny.”

As disappointing as the loss to Villanova seemed at the time, it was mere prelude to the sorrow associated with this team. The NCAA found Kirk guilty of several infractions — among them cash payments to Lee — and in 1986 stripped the Tigers of the Final Four appearance. Dismissed after the 1985-86 season, the coach later served prison time for tax evasion. (He died in 2010.) As for Kirk’s players, the years after 1985 brought as much darkness as light.

The Chicago Bulls chose Lee with the 11th pick in the 1985 NBA draft, but knee injuries ended his career just four years later. Bedford earned third-team All-America honors as a junior and was chosen by the Phoenix Suns with the sixth pick in the ’86 draft. Substance abuse, though, led to a year-long suspension and Bedford was out of the NBA before his 30th birthday (though with a championship ring from his 1989-90 season with Detroit). He served eight years in prison (2003-11) for drug possession. Turner bounced among seven NBA teams over six seasons before crossing the Atlantic to play in Spain. Askew had the best pro career among his ’85 teammates, playing in 467 NBA games over 11 years, most with the Seattle Sonics. But then in 2008, at age 42, he was arrested in Florida and accused of having sex with a minor (he was given three years probation). Reserve forward Aaron Price — a classmate of Lee’s — was shot and killed outside his home in West Memphis in 1998, a crime that remains unsolved.

Saddest of all, perhaps, is the story of Holmes. Drafted by the Milwaukee Bucks, he never took the floor in the NBA. After a short playing career in Europe, Holmes returned to Memphis, finding work as a truck driver. On March 18, 1997, he shot and killed his girlfriend after an argument, then turned the gun on himself.

“Bat had a huge heart,” says Askew. “He was a big-time leader, led by example. His heart was as big as the Mississippi River.”

“Bat was so easy to get along with,” adds Boyd. “He was always smiling. But when he hit the floor, he was all serious. Great individual to be around. You know individuals, but you don’t really know them.”

“The Baskerville situation cut a little deeper,” says Turner, who was preparing for his Spanish league’s playoffs when he got the news. “I didn’t practice. I needed time to myself. My family was there, so that helped me a great deal. It was a shock. We would always get together when I got back home. I hadn’t seen any signs that depression had set in with him. He always had your back. You could count on him.”

Askew is just as mystified by Price’s violent death. “I hadn’t seen Aaron since college,” he says. “That was a shocker. In college, Aaron never drank, never smoked.”

Askew blames no one but himself for the trouble he found seven years ago. “It was embarrassing,” he says. “I had to sit down and explain to my kids. But it got me closer to God. I was raised in the church, but I got outside, trusting people. It was my fault. That’s why I do what I do now. I bring it up when I speak to groups. You never know what kind of decisions kids have to make. Sometimes the tough way is the only way. Say no to friends who don’t mean you any good. Have your own mind.”

He founded the Vincent Askew Skills Academy last month, promoting the operation with a distinctive acronym: EPIC (European Preparation Intensity Coordination). “It focuses on teaching kids how to set goals in life,” he says, with basketball as the foundation. “When I went to Europe as a player — Italy and Greece — they really taught the game, the fundamentals, the little stuff. Instead of just rolling the ball out like it’s a P.E. class, they really teach them. When I leave this earth, I want to leave something solid, something to give people hope.” Askew’s clinics are held at Raleigh Assembly of God.

The enduring link among the stars of that Final Four team: their hometown, Memphis. The reclusive Lee — a native of West Memphis, all the way across the river — completed his degree studies (in 2008) and is now the head basketball coach at Raleigh-Egypt High School. After playing professionally in Spain for 15 years, Turner is an operations specialist for Shelby County Schools and an assistant coach at Mitchell. (Turner married his high-school sweetheart, the former Desma Hunt, who also played basketball at Memphis State. The couple has five daughters, but Turner finds himself cheering soccer players.) Upon being released from prison in 2011, Bedford returned to Memphis. He got married in 2014, now works for a car dealership, and has volunteered as a mentor with Shelby County Juvenile Court. After 22 years with Pepsi, Boyd is now director of the M Club, his alma mater’s athletic alumni association.

Sports history is measured in the fabled record book. And you’ll find record books that ignore the 1984-85 Memphis State Tigers. After all the team has been through over the past three decades, such an omission seems more and more careless to history.

“We played in the Final Four,” Boyd emphasizes. “As far as it being vacated, I hate that. But I still have my Final Four ring. You can’t edit history.”

Larry Kuzniewski

Dwight Boyd

Courtesy U of M

Dwight Boyd

“When it happened, it hurt momentarily,” says Turner. “But it doesn’t hurt to this day. I know what we accomplished. The blood, sweat, and tears. I know what went into it. You can’t take away all the hard work, all the fun we had, what we built together. It was a great time. The biggest thing: we were all from [Memphis]. It’s like we had been waiting for each other. And we grew together.”

“That should be the poster team for real life,” says Askew. “Good decisions, bad decisions. Successful people, and people still trying to find their way. But at the end of the day, we’re all family.”

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Only in the Movies and Memphis

Friday nights are a movie theater’s bread and butter, but on Friday, January 9, 2015, the Malco Ridgeway Cinema Grill theater was closed to the public. The lobby was still bustling, but on this night it was with a crowd of dressed-up VIPs sipping champagne, munching on movie-themed hors d’oeuvres, and talking about the old days. Malco Theatres has been welcoming Friday-night moviegoers for 100 years, and it was time for celebration.

Naturally, Malco treated its extended family to a movie. There were four to choose from, tracing the century-long evolution of films that had brightened Malco’s screens and drawn patrons through the doors of dozens of theaters: from Hollywood’s miracle year, 1939, The Wizard of Oz; from the post-studio system 1960s, The Sound of Music; from the auteurist 1970s, The Godfather; and from the dawn of computer-generated imagery, 1994’s Forrest Gump. (For the record, The Godfather was the most popular choice among the partygoers.)

“We as a species are biologically driven to go to the movies,” says Jeff Kaufman, Malco’s senior vice president of film and marketing. “We spent 25,000 years living in caves, being told stories by firelight. That’s how our species evolved. You can see cave drawings all over the world that are thousands of years old. That communal experience that our forefathers had translates into what we do today in the movie theater.”

Experiments with moving pictures date back to the mid-19th century, soon after the invention of photography. In the 1880s, watching a movie was a personal affair. You put a coin in a Kinetoscope machine and peered into the eyepiece to see short films of vaudeville acts or scantily clad women dancing. The first public exhibition of a projected film in America was in New York City in 1898. The 1903 film The Great Train Robbery caused a sensation with a startling innovation: a plot. “The first theater in Memphis was opened in 1905 by Charles Dinstuhl, next to his candy store on the corner of Washington and Main. It was called the Theatorium Theatre,” says Vincent Astor, historian and author of the 2013 book Memphis Movie Theatres. “It was an actual nickelodeon with a large number of seats in front of a screen. It was a storefront, but it was the first storefront converted to show movies.”

Soon, theaters like the Optic and the Majestic dotted downtown. “Memphis has always been a big theater town,” says Astor. “There were a handful of [vaudeville] theaters in the 19th century. Several of them ended up being used for films when it was profitable to do that.”

Short subjects still ruled during the first decade of the 20th century, but films gradually became longer. The first to reach what we now consider feature length was the 1906 Australian crime epic The Story of the Kelly Gang. European cinema led the way until the outbreak of World War I in 1914, which coincided with a flowering of film production in a formerly sleepy California town called Hollywood.

M.A. Lightman Sr. holding Stephen Lightman with M.A. Jr.

In 1915, Nashville native and Vanderbilt University graduate M.A. Lightman rented a storefront in Sheffield, Alabama, and opened a movie theater called the Liberty Theater. By then, the modern movie theater business was taking shape. First, theater owners from the informal vaudeville circuits banded together into multi-state chains, then the movie studios themselves, like Warner Brothers and Paramount, got into the business in what’s called today a move toward vertical integration. But there was no shortage of independently owned movie theaters in America. “The theaters came and went. There were different circuits that owned different theaters, and they changed names a lot,” says Astor.

Entrepreneurs like Lightman leveraged their successes into opening more theaters. By 1919, his Sterling Amusement Company owned three theaters in Alabama. He soon sold those theaters and entered the Little Rock market. M.A. Lightman’s father, Joseph, was in construction, and in 1925, the two got together to build the Hillsboro Theatre in their native Nashville. That theater is still around today as the Bellcourt Theatre, an independent art house cinema. The family arrangement was not unusual. “There were a bunch of families, many of them Italian, who owned theaters everywhere,” says Astor.

Malco (M.A. Lightman Company) got its name in 1926. The Lightman family business spread across Arkansas, and then, in 1929, they crossed the river. “The Linden Circle was their first theater in Memphis,” says Astor.

At the same time, movies were undergoing the first of what would be many technological upheavals: the introduction of sound. “The Jazz Singer actually played at Ellis Auditorium,” says Astor. “One of the reasons for that was, at the end of the 1920s, when sound came in, it was just as profound a change as has been the change from film to digital. You had to do it. There were theaters like the Majestic where the owners closed the theater rather than spend the money to convert to sound. Several of the really early sound pictures were at the auditorium, because it was easier to truck in the equipment and put it on the big stage and show the film and then truck it out again, because it was designed for that, and the size didn’t matter. It was cheaper to do that instead of converting another theater.”

During the Depression, the movie theater business was one of the few industries that thrived. Tickets were cheap, and people needed escapist entertainment. In 1935, Malco opened the Memphian Theater on Cooper. It would become a Midtown neighborhood icon and a favorite of Elvis Presley, who famously rented the entire theater for late-night screenings with his friends in the ’60s. Later, it became the first Playhouse on the Square; today, it’s Circuit Playhouse, which still hosts films for the Indie Memphis film festival.

This was the age of the movie palaces, with ornate, 1,000-seat theaters like Lowe’s Palace, the Strand, and the Princess packing in people for first-run Hollywood fare. In 1940, Malco bought a former vaudeville theater at the corner of Main and Beale Street called the Orpheum and transformed it into the growing chain’s flagship property. Malco would have its corporate offices there for many years.

The Arrival of Television

But change was again brewing in the theater industry. The major Hollywood studios had been under investigation by the Federal Trade Commission for years regarding their vertically integrated system of movie distribution. The market power that came from owning a huge number of the theaters that showed their films often forced the hands of independent owners like Malco. In 1948, the Supreme Court ruled in United States vs. Paramount Pictures that studio ownership of theaters constituted an unlawful monopoly. The ruling weakened the power of the Hollywood studios and consequently led to fewer movies being produced.

In 1951, Malco opened the Crosstown, a state-of-the-art, 1,400-seat theater next to the Sears Building. The neon sign atop its marquee was 90-feet tall and employed more than a mile of neon tubing. It was the crown jewel of the 63-theater Malco empire that stretched from Kentucky to New Orleans. But it would be the last of the movie palaces built in Memphis. Hollywood, still reeling from the antitrust ruling, faced a challenger for the eyes and minds of America: television.

“Television scared them to death,” Stephen Lightman, grandson of M.A. Lightman and current president of Malco told what is now Inside Memphis Business (formerly Memphis Business Quarterly) last December. “They thought it was the end — people weren’t going to go out of the house; they were going to sit at home and be entertained.”

Hollywood responded by trying to create a film experience in the theater that was not possible in the living room. TVs were square, so widescreen became the standard for film. Stereophonic sound completely blew away the tinny din of the TV speaker, and early experiments in stereo vision led to the short-lived 3D fad, which produced a few classics like The Creature from the Black Lagoon. “The movie business has always been in flux,” says Astor. “Since the end of the second World War, they have always had to try and one-up something technological.”

The movies continued to be popular, but the margins in the theater business were shrinking. With their high overhead costs, the movie palaces went into slow decline. The late 1950s were the golden age of the drive-in, an innovation that had begun in the late 1930s but exploded in popularity with the newly mobile teenagers of the baby boom. With the drive-ins came a new wave of movies designed for cheap thrills that featured rock-and-roll, motorcycles, shabby monsters, and scantily clad babes. “That’s why movies became more exploitive — they had to figure out a way to get people out of the house,” says director Mike McCarthy, whose Time Warp Drive-In series has become a popular staple at Malco’s Summer Drive-In. “If there wasn’t enough sex and violence in the house, there was some at the drive-in.”

David Tashie, Stephen Lightman, Jimmy Tashie, Bob Levy

Integration and the Birth of the “Multiplex”

M.A. Lightman passed away in 1958, leaving the business to his two sons, M.A. Lightman Jr. and Richard Lightman. With the civil rights movement spreading across the South, the brothers would oversee the racial integration of their theaters. African-America patrons had historically been confined to separate balconies, but one day in 1962, without fanfare, and after consulting with the Memphis Bi-Racial Committee, the Malco on Beale sold orchestra-level seats to a single African-American couple. The next week, two couples were admitted, and within a month, the colored balcony had become a thing of the past.

Since before the antitrust ruling, films would be released first in prestigious movie palaces, where they’d play until returns started to diminish, then be shunted off to smaller, neighborhood theaters. But as the 1960s waned, the squeeze was on. “Theater attendance had been going down for years, and the neighborhood theaters were among the first to go,” says Astor. “They had become esoteric. They were not playing to a general audience. They were playing to a neighborhood, which was mostly staying home and watching television.”

The AMC theater chain pioneered the “multiplex” concept, opening a four-screen theater in Kansas City in 1966. Staggering movie start times across the screens allowed the same-sized crew to sell tickets and serve refreshments to four times as many patrons. The Highland Quartet, which opened in 1971, was the first Malco multiplex. It was the final nail in the coffin of the movie palaces. “It got to the point where the smaller theaters just weren’t making money,” says Astor. “In order to fill the big theaters, the Malco and Lowe’s Palace became black exploitation and kung fu theaters.”

The 1962 marquee for the Summer Twin Drive-In in Memphis

The early 1970s also saw the evolution of the contemporary blockbuster mentality. Studios were cutting more prints of their biggest movies and sending them out everywhere at once. With multiplex screens proliferating around the country, that meant that everyone who wanted to see a movie could see it pretty much immediately. Instead of being spread out over the course of months, the financial returns for films was more front-loaded, and opening weekend became more important.

In June 1977, one month after Star Wars hit theaters, the Malco Ridgeway Quartet opened in East Memphis. Downtown was hollowing out, and Malco sold its namesake theater and moved its offices to the multiplex. Astor, who had gotten a job at the Malco after falling in love with its crumbling granduer during a screening of True Grit, recalls, “When it was sold to the Memphis Development Foundation, I was retained, the only Malco employee to stay, because I knew where the fuses and the skeletons were. I had done a lot of research on the history of the theater, so they kept me.” The newly rechristened Orpheum returned to its live theater roots and remains a downtown landmark.

“Selling the Experience”

Over the years, Malco Theatres has survived multiple takeover attempts, but today, 100 years after M.A. Lightman’s Liberty Theater, it remains family owned, and is thriving. Every night, Malco opens the doors to 349 screens in 33 locations. “We’re sure happy we didn’t sell, because any investment we had made with the money would probably not have done as well as the movie business,” Stephen Lightman told Inside Memphis Business.

The movie business today is, as always, in a state of flux. “There aren’t too many businesses that have the responsibility to recapitalize themselves twice over the course of a business lifetime,” says Kaufman, Malco’s film and marketing SVP. “Theatrical exhibition went from slanted floors to stadium seating, so we had to recapitalize the insides of the auditoriums. Then it went from 35mm to digital, so we had to recapitalize the [projection] booth. It was a lot of money and a lot of effort.”

“Malco, as far as digital was concerned, went for it whole hog,” says Astor. “The most complicated digital installation you can do is at a drive-in, and Malco did it on four screens.”

But there’s another side to the digital revolution: High definition big screens and surround sound are not just found in theaters any more but in living rooms. And beginning with VCRs in the 1980s, DVDs in the 1990s, Blu-Ray in the 2000s, and now Netflix and digital streaming in the 2010s, audiences have access to an unprecedented variety of motion-picture content. These trends have some pundits preparing obituaries for the theater industry.

But Malco has heard that rhetoric before. Despite the doomsayers, total domestic box office in 2014 topped $10 billion. Industry-wide, the number of theatrical tickets sold has remained pretty constant over the past 25 years. The average American sees four movies in the theater per year. “The MPAA [Motion Picture Association of America] says that about 10 percent of the people buy about half of the tickets,” says Kaufman.

To keep those folks coming back and attract new patrons, the industry has deployed all of the tricks it has learned over its history. 3D technology made a quantum leap forward. New audio technologies, such as Dolby’s Atmos system, offer unprecedented sound quality. And the design of Malco’s multiplexes now echoes the movie palaces of old.

The Malco Paradiso theater in East Memphis

“Marcus Lowe, in the beginnings of his great success, said ‘We sell tickets to theaters, not movies.’ That’s really the case with Malco,” says Astor. “They’re selling the experience. All of their theaters might not be as beautiful as the Paradiso, but it’s still the whole experience. It’s the movies, the special effects, the food, everything. And the presentation has always been their strongest point.”

Kaufman says it’s Malco’s commitment to quality that has sustained them: “It’s not brain surgery, but it is attention to detail on a lot of different levels. Theaters these days are more akin to the kinds of theaters we grew up going to. They’re visually arresting, they’ve fun to go to. It’s not just a box with four screens like you saw in the 1960s and 1970s.”

Inside those theaters, the fare has become more varied. Digital projection has enabled live, high-definition streaming of events. Malco offers its theaters for use by film festivals such as Indie Memphis and has helped give Memphis’ independent film scene a home. And as an increasingly educated filmgoing public wants to experience the classics with a big audience, Malco has partnered with McCarthy and Black Lodge Video for the popular Time Warp Drive-In series.

Larry Etter, Malco’s senior vice president of food services, says, “I’ve lived in Memphis since 1970, and I think Memphians are spoiled. Until you get outside of Memphis and watch movies in other facilities, you don’t realize the quality of the product that the Malco family, the Lightmans, the Tashies, the Levys have put together for their communities. They really think the quality of presentation is paramount. If you’re paying for it, you deserve the very best.”