LOL. I think is acceptable to get misty eyed when you revisit the assassination of Bobby Kennedy but it’s downright embarassing when a CGI penguin is tap dancing and you incomprehensibly start weeping.
It happened to a friend of mine and I am sticking to that story.
Good point, Ken. I have found no other mention of the second Roxie(or Roxy?) and I wonder if it was a city center “colored” house.
I recently went by Coconut Grove and was pleasantly surprised to find the ACE is still there. The Ace is on 37th & Grand Avenue and, although briefly re-opened in the 70s as a blaxploitation house, it may have a history going back to the thirties with the Grove’s Afro-Caribbean audience. It ran live acts in the 70s as well so it probably has a stage. Like the Miami Roxie, it is never mentioned in South Florida history books.
“The old lift is still there but has apparently been decommissioned by the Westminster CC Health and Safety team in the late 80’s or early 90’s…
We still have the Soda Fountain restaurant in the basement but this area has been turned into a storeroom when Virgin Group refurbished the Haymarket to accommodate a new Cafe Bar between the Projection Booth 2 and 3."
District Managers and upper management were certainly better paid than the competition but hourly staff was minumum wage and theatres managers were poorly paid and often disrespected. The union options were outrageously corrupt offers and rightfully rejected by everyone as pensions were being blatantly stolen by the union chiefs. (some were eventually arrested, then reinstated)
The projection union was a series of no shows and the stagehand unions were dead overhead as most employees were too old to find the stage, much less change a light bulb.
The concessions workers unions disappeared after collecting dues and never represented anyone.
Even in the leaner years, Cineplex bonuses were paid only to upper level executives (those mainly responsible for the losses) and lower level employees got screwed out of all raises and bonuses. The rotten apples were mostly Americans based in Toronto.
Longislandmovies, you were not there during the butter topping media scandals. There is a book in that alone about how a company can abuse their customers and employees and get away with it in NY.
Cineplex Odeon was a nightmare employer and a price gauging enterprise that made customers pay for bad leases, corrupt unions, and poor employee relations.
Cineplex was indeed odious, but not for Cinema Treasures purposes.
CINEPLEX ODEON WAS A BEACON OF CINEMA PRESERVATION WHO KEPT CINEMAS GOING LONG PAST THEIR DUE DATES AND AGAINST ALL ODDS. LET’S GIVE CREDIT WHERE IT IS EARNED.
The Alpine, Kingsway and Kings Plaza were among their most profitable theatres. The Fortway and Kenmore barely broke even and the Metropolitan produced huge losses.
Much of the Kenmore income came from the dubious tenants along Church Street, not the box office. I say dubious because the jeweler barely had any jewels and the bridal shop never paid the rent. The fish store in the corner often had as many cats as fish on the premises.
The Kenmore would have closed in 1988 if Drabinky had not insisted on taking it over and prolonging it’s life. Say what you wish about the man and his business sense, he kept theatres going way after they were profitable busineses and the Kenmore rarely broke even.
It often cost more to heat and cool this place than the total box office takings could pay for.
RKO was selling everything. United Artists was not taking over any old houses and Loews and City Cinemas wanted nothing to do with Brooklyn.
Cineplex Odeon was a bad employer, landlord, and an overly agressive operator in many ways, but it was a friend of preservation.
The Kenmore lasted as long as it did thanks to gory violent movies and Drabinky’s obsession with market share. Remember, it was Loews who shut it down.
ROXY
STARS AND STRIPES FOREVER (4 weeks)
GENTLEMEN PREFER BLONDES (6 weeks)
THE ROBE(13 weeks)
THERE’S NO BUSINESS LIKE SHOW BUSINESS (7 weeks)
PEYTON PLACE (6 weeks)
This theatre is mentioned in Rogelio Agrasanchez, Jr.’s excellent book MEXICAN MOVIES IN THE UNITED STATES.
As a Spanish language house, the Belmont hosted the NY premier of the Mexican classic AY JALISCO, NO TE RAJES! in 1943 to packed houses. The owner, who also ran Spanish films at the WORLD 49th Street, took a gamble on a Spanish language Broadway house and won big time. He moved several Mexican titles into the World 49 during the second world war most likely to compensate for the diminished European product.
This theatre is mentioned in Rogelio Agrasanchez, Jr.’s excellent book MEXICAN MOVIES I N THE UNITED STATES.
It was turned into a Spanish language house by exhibitor Jeane Ansell in 1944.
A Manhattan Theatre on west 109th Street and Manhattan Avenue (213 Manhattan Avenue) was already running movies by 1918. Were there two different buildings on this location?
This theatre is mentioned in Rogelio Agrasanchez, Jr.’s excellent book MEXICAN MOVIES IN THE UNITED STATES.
In 1948, Cuban rhumba dancer Mexican film star Maria Antonieta Pons made a live appearance that filled the South Bronx PUERTO RICO’s 2200 seats and left another 500 with standing room only at each show.
For the run of her 1949 film, her film performance in LA HIJA DEL PENAL was challenged on stage by a live performance from rival rhumba dancer AMALIA AGUILAR in what sounds like a pre- ROCKY HORROR combination of film and stage histronics that drove the audiences wild.
The Cinema Circuit PROSPECT was opened nearby due to the overwhelming suceess of the PUERTO RICO.
There is a photo as the FORUM in the book.
Ed, if you get stuck in here again I promise to send Lost Memory in before New Year with some supplies.
This theatre is mentioned in Rogelio Agrasanchez, Jr.’s excellent book MEXICAN MOVIES I N THE UNITED STATES.
The Azteca was an East Harlem house managed by Jeane Ansell, a 1940’s exhibitor with a chain of over ten local theatres who was financially destroyed by a tax scandal in the fifties.
This theatre is mentioned in Rogelio Agrasanchez, Jr.’s excellent book MEXICAN MOVIES I N THE UNITED STATES.
The GOTHAM as the DEL MAR filled the 2500 seat house with Spanish Language films. It hosted the World Premiere of superstar Cantinflas’ PUERTA JOVEN.
This theatre is mentioned in Rogelio Agrasanchez, Jr.’s excellent book MEXICAN MOVIES I N THE UNITED STATES.
The Audubon as the SAN JUAN ran Spanish Language films when the going got tough in the late forties often playing day and date with the flasgship PUERTO RICO in the South Bronx.
San Juan should be added as an alternate name here.
This theatre is mentioned in Rogelio Agrasanchez, Jr.’s excellent book MEXICAN MOVIES IN THE UNITED STATES.
It was inaugurated as the Campoamor on August 10, 1934 by Argentinian tango singer Carlos Gardel (currently known as the composer of the song VOLVER) plus a variety show and the film CUESTA ABAJO. The film was a New York production starring Gardel himself. The theatre thrived with a string of Spanish language melodramas designed to make the audience cry. The Jorge Negrete feature UNA CARTA DE AMOR was granted standing ovations.
It was the CERVANTES by 1936 and then the HISPANO and was briefly known as the RADIO TEATRO HISPANO from 1940.
A photo as the TEATRO HISPANO is available in the book mentioned above.
LOL. I think is acceptable to get misty eyed when you revisit the assassination of Bobby Kennedy but it’s downright embarassing when a CGI penguin is tap dancing and you incomprehensibly start weeping.
It happened to a friend of mine and I am sticking to that story.
Good point, Ken. I have found no other mention of the second Roxie(or Roxy?) and I wonder if it was a city center “colored” house.
I recently went by Coconut Grove and was pleasantly surprised to find the ACE is still there. The Ace is on 37th & Grand Avenue and, although briefly re-opened in the 70s as a blaxploitation house, it may have a history going back to the thirties with the Grove’s Afro-Caribbean audience. It ran live acts in the 70s as well so it probably has a stage. Like the Miami Roxie, it is never mentioned in South Florida history books.
Gents, below is a quote from the current manager:
“The old lift is still there but has apparently been decommissioned by the Westminster CC Health and Safety team in the late 80’s or early 90’s…
We still have the Soda Fountain restaurant in the basement but this area has been turned into a storeroom when Virgin Group refurbished the Haymarket to accommodate a new Cafe Bar between the Projection Booth 2 and 3."
Too beautiful for words. Check out the link while it lasts and look for the Capitol lobby postcard.
View link
District Managers and upper management were certainly better paid than the competition but hourly staff was minumum wage and theatres managers were poorly paid and often disrespected. The union options were outrageously corrupt offers and rightfully rejected by everyone as pensions were being blatantly stolen by the union chiefs. (some were eventually arrested, then reinstated)
The projection union was a series of no shows and the stagehand unions were dead overhead as most employees were too old to find the stage, much less change a light bulb.
The concessions workers unions disappeared after collecting dues and never represented anyone.
Even in the leaner years, Cineplex bonuses were paid only to upper level executives (those mainly responsible for the losses) and lower level employees got screwed out of all raises and bonuses. The rotten apples were mostly Americans based in Toronto.
Longislandmovies, you were not there during the butter topping media scandals. There is a book in that alone about how a company can abuse their customers and employees and get away with it in NY.
Cineplex Odeon was a nightmare employer and a price gauging enterprise that made customers pay for bad leases, corrupt unions, and poor employee relations.
Cineplex was indeed odious, but not for Cinema Treasures purposes.
CINEPLEX ODEON WAS A BEACON OF CINEMA PRESERVATION WHO KEPT CINEMAS GOING LONG PAST THEIR DUE DATES AND AGAINST ALL ODDS. LET’S GIVE CREDIT WHERE IT IS EARNED.
The Alpine, Kingsway and Kings Plaza were among their most profitable theatres. The Fortway and Kenmore barely broke even and the Metropolitan produced huge losses.
Much of the Kenmore income came from the dubious tenants along Church Street, not the box office. I say dubious because the jeweler barely had any jewels and the bridal shop never paid the rent. The fish store in the corner often had as many cats as fish on the premises.
I think your contempt is misplaced.
The Kenmore would have closed in 1988 if Drabinky had not insisted on taking it over and prolonging it’s life. Say what you wish about the man and his business sense, he kept theatres going way after they were profitable busineses and the Kenmore rarely broke even.
It often cost more to heat and cool this place than the total box office takings could pay for.
RKO was selling everything. United Artists was not taking over any old houses and Loews and City Cinemas wanted nothing to do with Brooklyn.
Cineplex Odeon was a bad employer, landlord, and an overly agressive operator in many ways, but it was a friend of preservation.
The Kenmore lasted as long as it did thanks to gory violent movies and Drabinky’s obsession with market share. Remember, it was Loews who shut it down.
Warren, it was indeed always the KIPS BAY until the January 1978 Walter Reade take-over. The porn years started in 1971.
Here are some playtimes:
ROXY
STARS AND STRIPES FOREVER (4 weeks)
GENTLEMEN PREFER BLONDES (6 weeks)
THE ROBE(13 weeks)
THERE’S NO BUSINESS LIKE SHOW BUSINESS (7 weeks)
PEYTON PLACE (6 weeks)
RCMH
THE BAND WAGON (7 weeks)
It should also be noted that
Something’s not right here. I did not post that comment????
You sound like you are burned out and need some serious financial advice on how to do this and be taken seriously.
Some people eat popcorn as a snack and others feed on it as if they were farm animals. This is not really a theatre issue.
Schmadrian, are you really Stewie from Family Guy?
Al
Gents,
Please check out Rogelio Agrasanchez, Jr.’s excellent book, “Mexican Movies in the United States”.
The Alameda is the heart of the book.
This theatre is mentioned in Rogelio Agrasanchez, Jr.’s excellent book MEXICAN MOVIES IN THE UNITED STATES.
As a Spanish language house, the Belmont hosted the NY premier of the Mexican classic AY JALISCO, NO TE RAJES! in 1943 to packed houses. The owner, who also ran Spanish films at the WORLD 49th Street, took a gamble on a Spanish language Broadway house and won big time. He moved several Mexican titles into the World 49 during the second world war most likely to compensate for the diminished European product.
This theatre is mentioned in Rogelio Agrasanchez, Jr.’s excellent book MEXICAN MOVIES I N THE UNITED STATES.
It was turned into a Spanish language house by exhibitor Jeane Ansell in 1944.
A Manhattan Theatre on west 109th Street and Manhattan Avenue (213 Manhattan Avenue) was already running movies by 1918. Were there two different buildings on this location?
This theatre is mentioned in Rogelio Agrasanchez, Jr.’s excellent book MEXICAN MOVIES IN THE UNITED STATES.
In 1948, Cuban rhumba dancer Mexican film star Maria Antonieta Pons made a live appearance that filled the South Bronx PUERTO RICO’s 2200 seats and left another 500 with standing room only at each show.
For the run of her 1949 film, her film performance in LA HIJA DEL PENAL was challenged on stage by a live performance from rival rhumba dancer AMALIA AGUILAR in what sounds like a pre- ROCKY HORROR combination of film and stage histronics that drove the audiences wild.
The Cinema Circuit PROSPECT was opened nearby due to the overwhelming suceess of the PUERTO RICO.
There is a photo as the FORUM in the book.
Ed, if you get stuck in here again I promise to send Lost Memory in before New Year with some supplies.
This theatre is mentioned in Rogelio Agrasanchez, Jr.’s excellent book MEXICAN MOVIES I N THE UNITED STATES.
The Azteca was an East Harlem house managed by Jeane Ansell, a 1940’s exhibitor with a chain of over ten local theatres who was financially destroyed by a tax scandal in the fifties.
This theatre is mentioned in Rogelio Agrasanchez, Jr.’s excellent book MEXICAN MOVIES I N THE UNITED STATES.
The GOTHAM as the DEL MAR filled the 2500 seat house with Spanish Language films. It hosted the World Premiere of superstar Cantinflas’ PUERTA JOVEN.
This theatre is mentioned in Rogelio Agrasanchez, Jr.’s excellent book MEXICAN MOVIES I N THE UNITED STATES.
The SCHUYLER is listed as the COLON when showing Spanish Language movies.
This theatre is mentioned in Rogelio Agrasanchez, Jr.’s excellent book MEXICAN MOVIES I N THE UNITED STATES.
The CARIBE and the ARDEN are listed as being the same theatre.
This theatre is mentioned in Rogelio Agrasanchez, Jr.’s excellent book MEXICAN MOVIES IN THE UNITED STATES.
In 1952 it switched to Spanish language films and broke all previous first-run records. An excellent photo of the BORICUA can be found in the book.
This theatre is mentioned in Rogelio Agrasanchez, Jr.’s excellent book MEXICAN MOVIES I N THE UNITED STATES.
The Audubon as the SAN JUAN ran Spanish Language films when the going got tough in the late forties often playing day and date with the flasgship PUERTO RICO in the South Bronx.
San Juan should be added as an alternate name here.
This theatre is mentioned in Rogelio Agrasanchez, Jr.’s excellent book MEXICAN MOVIES I N THE UNITED STATES.
This theatre is mentioned in Rogelio Agrasanchez, Jr.’s excellent book MEXICAN MOVIES IN THE UNITED STATES.
It was inaugurated as the Campoamor on August 10, 1934 by Argentinian tango singer Carlos Gardel (currently known as the composer of the song VOLVER) plus a variety show and the film CUESTA ABAJO. The film was a New York production starring Gardel himself. The theatre thrived with a string of Spanish language melodramas designed to make the audience cry. The Jorge Negrete feature UNA CARTA DE AMOR was granted standing ovations.
It was the CERVANTES by 1936 and then the HISPANO and was briefly known as the RADIO TEATRO HISPANO from 1940.
A photo as the TEATRO HISPANO is available in the book mentioned above.
Here is what the NY Times time clock listed on the last week of August 1986, after which it disappears from those listings:
Screen 1- THE TEXAS CHAIN SAW MASSACRE II
Screen 2- NIGHT OF THE CREEPS
SCreen 3- RUNNING SCARED