Ziegfeld Theatre
141 W. 54th Street,
New York,
NY
10019
141 W. 54th Street,
New York,
NY
10019
131 people
favorited this theater
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C'mon Gals and Guys:
Way too quiet here-we need something to keep the juices flowing until the Classics come back to the Ziegfeld. So what is a “Classic?”
Steven Spielberg said something interesting about this when he received his first Oscar in 1987, which is a producer’s award, the Thalberg:
Steven Spielberg on
Accepting
The Irving Thalberg Memorial Award
March, 1987
“Thank you very much.
Following in the footsteps of some of my heroes: Cecil B. DeMille, and George Stevens, Alfred Hitchcock, William Wyler, Ingmar Bergman, and Robert Wise, this award is truly a great honor for me. The Thalberg award was first given 50 years ago in 1937 which was the year of In Old Chicago, Captains Courageous, Dead End, The Life of Emile Zola, Lost Horizon, Stage Door, and A Star is Bornâ€"all having been nominated for best picture that year.
I’m told that Irving Thalberg worshipped writers and that’s where it all beginsâ€"that we are first and foremost storytellers and without, as he called it, the photoplay, everybody is simply improvising. He also knew that a script is more than just a blueprint. The whole idea of Movie Magic is that interweave of powerful image and dialogue and performance and music that can never be separated, and when it’s working right can never be duplicated or ever forgotten.
I’ve grown up; most of my life has been spent in the dark watching movies. Movies have been the literature of my life. The literature of Irving Thalberg’s generation was books and plays. They read the great words of great minds. And I think in our romance with technology and our excitement at exploring all the possibilities of film and video, we’ve partially lost something that we now have to reclaim. I think it’s time to renew our romance with the word. I’m as culpable as anyone in having exalted the image at the expense of the word. But only a generation of readers will spawn a generation of writers.
The five films nominated for best picture this year are as much the writer’s film as the director’s and it’s good news that each of these films has found it’s audience because this audience, who we all work for, deserves everything we have to give them. They deserve that fifth draft, that tenth take, that one extra cut and those several dollars over budgetâ€"and Irving Thalberg knew that. He would have been proud to have been associated with any of these films as I am proud to have my name on this award in his honor because it reminds me of really how much growth as an artist I have ahead of me in order to be worthy of standing in the company of those who received this before me.
So, my deepest thanks to the Board of Governors of the Academy and the audience out there in the dark.
Thank you very much."
Now, The Writers Guild of America has just come out with its list ot the 101 best screenplays ever written (the new “Premiere” Summer issue has narrowed it down to 25)
From The WGA:
“The Godfather, Casablanca, Citizen Kane, Chinatown, Schindler’s List – the greatest films of all time have one thing in common: each began as the vision of writer. Long before the parts were cast and the cameras rolled, a writer gazed upon a blank page and set in motion a classic story. For the first time ever, the Writers Guild of America, west (WGAw) and the Writers Guild of America, East (WGAE) are celebrating the best screenwriters and their timeless works with the release of the 101 Greatest Screenplays list.
101 Greatest Screenplays compiles the finest achievements in film writing, as voted upon by professional film and television writers. In the summer of 2005, ballots were sent out asking WGA members to list up to ten of their favorite produced screenplays. Any film, past or present, English-language or otherwise, was eligible. The resulting list is like a travelogue of the greatest films of the century, with all decades from the 1930s on represented among the rankings.
Like a composer of a classic symphony or an author of a beloved novel, the most memorable and moving pictures would not exist without their principal architect: the screenwriter. Too often classic films are linked only to their stars or directors, overlooking the original artists who first put pen to paper – or more recently keyboard to laptop – to create the kind of enduring works that have entertained and inspired generations of movie-going audiences around globe. 101 Greatest Screenplays will finally set the record straight by celebrating the best in film writing and bringing recognition to the wizards behind the curtain: the men and women who wrote the greatest films of all time.
And now, on with the list…"
Screenplay by Julius J. & Philip G. Epstein and Howard Koch. Based on the play “Everybody Comes to Rick’s” by Murray Burnett and Joan Alison
Screenplay by Mario Puzo and Francis Ford Coppola. Based on the novel by Mario Puzo
Written by Robert Towne
Written by Herman Mankiewicz and Orson Welles
Screenplay by Joseph L. Mankiewicz. Based on “The Wisdom of Eve,” a short story and radio play by Mary Orr
Written by Woody Allen and Marshall Brickman
Written by Charles Brackett & Billy Wilder and D.M. Marshman, Jr.
Written by Paddy Chayefsky
Screenplay by Billy Wilder & I.A.L. Diamond. Based on “Fanfare of Love,” a German film written by Robert Thoeren and M. Logan
Screenplay by Francis Ford Coppola and Mario Puzo. Based on Mario Puzo’s novel “The Godfather”
Written by William Goldman
Screenplay by Stanley Kubrick and Peter George and Terry Southern. Based on novel “Red Alert” by Peter George
Screenplay by Calder Willingham and Buck Henry. Based on the novel by Charles Webb
Screenplay by Robert Bolt and Michael Wilson. Based on the life and writings of Col. T.E. Lawrence
Written by Billy Wilder & I.A.L. Diamond
Written by Quentin Tarantino. Stories by Quentin Tarantino & Roger Avary
Screenplay by Larry Gelbart and Murray Schisgal. Story by Don McGuire and Larry Gelbart
Screen Story and Screenplay by Budd Schulberg. Based on “Crime on the Waterfront” articles by Malcolm Johnson
Screenplay by Horton Foote. Based on the novel by Harper Lee
Screenplay by Frances Goodrich & Albert Hackett & Frank Capra. Based on short story “The Greatest Gift” by Philip Van Doren Stern. Contributions to screenplay Michael Wilson and Jo Swerling
Written by Ernest Lehman
Screenplay by Frank Darabont. Based on the short story “Rita Hayworth and the Shawshank Redemption” by Stephen King
Screenplay by Sidney Howard. Based on the novel by Margaret Mitchell
Screenplay by Charlie Kaufman. Story by Charlie Kaufman & Michel Gondry & Pierre Bismuth
Screenplay by Noel Langley and Florence Ryerson and Edgar Allan Woolf Adaptation by Noel Langley. Based on the novel by L. Frank Baum
Screenplay by Billy Wilder and Raymond Chandler. Based on the novel by James M. Cain
Screenplay by Danny Rubin and Harold Ramis. Story by Danny Rubin
Written by Marc Norman and Tom Stoppard
Written by Preston Sturges
Written by David Webb Peoples
Screenplay by Charles Lederer. Based on the play “The Front Page” by Ben Hecht & Charles MacArthur
Written by Joel Coen & Ethan Coen
Screenplay by Graham Greene. Story by Graham Greene. Based on the short story by Graham Greene
Screenplay by Clifford Odets and Ernest Lehman. From a novelette by Ernest Lehman
Written by Christopher McQuarrie
Screenplay by Waldo Salt. Based on the novel by James Leo Herlihy
Screenplay by Donald Ogden Stewart. Based on the play by Philip Barry
Written by Alan Ball
Written by David S. Ward
Written by Nora Ephron
Screenplay by Nicholas Pileggi & Martin Scorsese. Based on book “Wise Guy” by Nicholas Pileggi
Screenplay by Lawrence Kasdan. Story by George Lucas and Philip Kaufman
Written by Paul Schrader
Screenplay by Robert E. Sherwood. Based on novel “Glory For Me” by MacKinley Kantor
Screenplay by Lawrence Hauben and Bo Goldman. Based on the novel by Ken Kesey
Screenplay by John Huston. Based on the novel by B. Traven
Screenplay by John Huston. Based on the novel by Dashiell Hammett
Screenplay by Carl Foreman and Michael Wilson. Based on the novel by Pierre Boulle
Screenplay by Steven Zaillian. Based on the novel by Thomas Keneally
Written by M. Night Shyamalan
Written by James L. Brooks
Screenplay by Preston Sturges. Story by Monckton Hoffe
Screenplay by William Goldman. Based on the book by Carl Bernstein & Bob Woodward
Written by Woody Allen & Marshall Brickman
Written by John Milius and Francis Coppola. Narration by Michael Herr
Written by Robert Zemeckis & Bob Gale
Written by Woody Allen
Screenplay by Alvin Sargent. Based on the novel by Judith Guest
Screenplay by Robert Riskin. Based on the story “Night Bus” by Samuel Hopkins Adams
Screenplay by Brian Helgeland & Curtis Hanson. Based on the novel by James Ellroy
Screenplay by Ted Tally. Based on the novel by Thomas Harris
Written by John Patrick Shanley
Screenplay by Peter Benchley and Carl Gottlieb. Based on the novel by Peter Benchley
Screenplay by James L. Brooks. Based on the novel by Larry McMurtry
Screen Story and Screenplay by Betty Comden & Adolph Green. Based on the song by Arthur Freed and Nacio Herb Brown
Written by Cameron Crowe
Written by Melissa Mathison
Written by George Lucas
Screenplay by Frank Pierson. Based on a magazine article by P.F. Kluge and Thomas Moore
Screenplay by James Agee and John Huston. Based on the novel by C.S. Forester
Screenplay by James Goldman. Based on the play by James Goldman
Written by Callie Khouri
Screenplay by Peter Shaffer. Based on his play
Written by Charlie Kaufman
Screenplay by Carl Foreman. Based on short story “The Tin Star” by John W. Cunningham
Screenplay by Paul Schrader and Mardik Martin. Based on the book by Jake La Motta with Joseph Carter and Peter Savage
Screenplay by Charlie Kaufman and Donald Kaufman. Based on the book “The Orchid Thief” by Susan Orlean
Written by Sylvester Stallone
Written by Mel Brooks
Screenplay by Earl W. Wallace & William Kelley. Story by William Kelley and Pamela Wallace & Earl W. Wallace
Screenplay by Jerzy Kosinski. Inspired by the novel by Jerzy Kosinski
Screenplay by Donn Pearce and Frank Pierson. Based on the novel by Donn Pearce
Screenplay by John Michael Hayes. Based on the short story by Cornell Woolrich
Screenplay by William Goldman. Based on his novel
Written by Jean Renoir and Charles Spaak
Written by Colin Higgins
Screenplay by Federico Fellini, Tullio Pinelli, Ennio Flaiano, Brunello Rond. Story by Fellini, Flaiano
Screenplay by Phil Alden Robinson. Based on the book by W.P. Kinsella
Screenplay by Eric Roth. Based on the novel by Winston Groom
Screenplay by Alexander Payne & Jim Taylor. Based on the novel by Rex Pickett
Screenplay by David Mamet. Based on the novel by Barry Reed
Screenplay by Joseph Stefano. Based on the novel by Robert Bloch
Written by Spike Lee
Screen Story and Screenplay by Francis Ford Coppola and Edmund H. North. Based on “A Soldier’s Story” by Omar H. Bradley and “Patton: Ordeal and Triumph” by Ladislas Farago
Written by Woody Allen
Screenplay by Sidney Carroll & Robert Rossen. Based on the novel by Walter Tevis
Screenplay by Frank S. Nugent. Based on the novel by Alan Le May
Screenplay by Nunnally Johnson. Based on the novel by John Steinbeck
Screenplay by Walon Green and Sam Peckinpah. Story by Walon Green and Roy Sickner
Screenplay by Christopher Nolan. Based on the short story “Memento Mori” by Jonathan Nolan
Written by Ben Hecht
So-All “Classics”?—What do you think? Which for the Ziegfeld?
Thanks,
Gary
Ed:
You have the “tongue of Cicero,” I can only aspire to be as articulate and inspirational as you, and I certainly hope that when the Classics return, I hear some introductions that you personally make to some of the screenings. Hell, all of us should be introducing these films. “Days of Heaven”-a title I didn’t even think of. I just watched “Pretty Baby” with Brooke Shields-I must have had the DVD for a year and for some reason watched it tonight. I had never seen this film before. A gorgeous, evocative work of art; I have an 80-inch screen with a front projection system-but it ain’t the Ziegfeld!!!
BRAVO
Gary
Gary… You inspired me. I just sent this comment to Craig on the Cleariew site and even dropped your name.
“Just wanted to drop a line to Craig. I attended a number screenings during the recent Classics series and I’ve already completed the survey above about my excellent experiences during the run (and on other first run occasions as well). I just wanted to thank you again for the terrific series and for the promise of more yet to come in the Fall. In the meanwhile, I hope to support the theater with its coming run of "Mission Impossible III” and always look forward to an opportunity to enjoy a film on the Ziegfeld’s big screen.
If I might suggest a title for a future Classics presentation… I saw in last Sunday’s Times that the Film Forum was running a brand new 35mm print of Terrence Malick’s beautiful 1978 film “Days of Heaven”. I refuse to do this painterly masterpiece the injustice of watching it in the Film Forum’s cramped quarters, but would love to see it spalshed across the 50 foot screen at the Ziegfeld.
I post regularly at the Cinema Treasures site and I know you peruse those comments and appreciate our patronage and suggestions. We certainly appreciate your listening to what we have to say. I’m aware one of our contributors – Gary – provided you with a lengthy list of suggestions and I’m sure he’s been in your ear a lot with various praise and criticisms. I just wanted to take the time – now that I’m in Classics withdrawal – to once again thank you for a wonderful 6 weeks of programming. I hope that we can see more 70mm and I hope we can get closer to the kind of presentation and showmanship that was intended for some of these roadshow era films (such as proper lighting and curtain cues for overture and intermission and a true intermission break where intended). I know you guys strive to bring us the best show possible and it was evident that many kinks were worked out as the series progressed. The kind of showmanship that these films demand is an art that has been greatly lost not only on the part of exhibitors over the years, but, sadly, on the part of the audience as well – in the form of lowered expectations and the general acceptance of mediocrity. How wonderful it would be if you could bring that level of showmanship back to your flagship theater. You folks are its curators and the Ziegfeld is your museum. We look to you to remind those of us who remember (and show those who know no better) what a truly grand and magical experience it once was to attend a Broadway roadshow engagement.
Thanks for your time."
Peter: I appreciate your response. Thank you! We agree, it is indeed a rare opportunity. I am going to skip work that day, certainly don’t want to miss it! If you wish, I’ll let you know how it turns out.
Regards,
JSA
Hi Everyone,
It’s been a while since I posted anything here on the site. But, I wanted to Thank You all for making The Hollywood Classics a nice success at The Ziegfeld.
Although I can not get into any specifics at this time, I can assure you that The Classics will be back at The Ziegfeld sometime in the fall!
This could not have been done without all of your nice comments and suggestions, so please keep them coming!
As soon as I know any details, you will be the first to know.
Thanks again
Craig
JSA – the word on the 80 Days print is that it is slightly faded in color, but otherwise in good shape. Regardless, it’s the rarity of seeing the 30fps version that makes the showing important. I believe it’s cmoing from a film archive as Warner Bros. no longer has any prints of the film – 35mm or 70mm. The festival sounds great, wish I were near LA and could go!
Jeff:
We’re in agreement. I can’t tell you how many voice mails I left for Craig, with no reply either. I just believe in perseverance. Today, I needed to see a foot doctor whose appointment schedule was totally booked. The only other option offered was an appointment in two weeks. I asked if my name and phone number could be held in case of a cancellation (something I do in my office), I was told absolutely NO! Just keep calling his office from 8 AM on to see if a cancellation was called in. However ridiculous this was to me, I had no other options. I called every half hour from 8AM on. By 1PM, I was told that there was a cancellation at 3 PM. My toe was taken care of and I am no longer in pain. I complained (nicely) to the doctor about his office policy and he told me that his office staff is so burdened with insurance nonsense and paperwork that unfortunately, requests like mine cannot be accommodated.
At my first classics visit, “West Side Story,” I believe, I was told that the building was landmarked by one of the staff. I called the NYC Landmarks Preservation Board to check this out. It is not landmarked. And even if it was landmarked, it could have the same fate as the Astor Plaza. The beautiful Bowery Savings Bank on 42 St. is now Cipriani’s, a beautiful catering hall.
All of which means that I am not willing to settle for “out of sync” prints like “Lawrence” either. To me, keeping an ongoing Classics program going in the midst of drivel like Scary Movie 4 is first priority. By the end of the “Lawrence” run, the comments here were much better. I think we can all work towards making the whole program (if it continues) much better.
I’m sure that Craig has to answer to the “suits” at Clearview and the “Bottom Line.” So, send ten more e-mails. Remember what Tim Robbins had to do in “Shawshank” to get his library.
We all want the same thing-the best Ziegfeld experience imaginable.
This is all going to take work until we can all buy the place and run it ourselves.
Thanks,
Gary
Peter:
To the best of your knowledge, how good is that “Around the World” print? Until I read the Egyptian schedule at the in70mm website, I was not aware that a Todd-AO print was in existence!
Regards,
JSA
The Ziegfeld would need to book those 70mm films from the studios, the Egyptian Theatre isn’t a distributor. The Around the World is not a new or restored print, the other two mentioned are new prints. Very doubtful that Warner, Fox, Goldwyn and the archives involved would let the films go to a platter house such as the Ziegfeld. If the Ziegfeld re-enabled their reel-to-reel system and demonstrated that they could handle the films properly, then they might consider it.
“Speak your mind-HE WANTS INPUT!!”
To a point… Remember how I was extreamly critical of the LOA issues? Very vocal?
Well, I eventually sent an email with my input/thanks/criticism/suggestions. No reply. Eh…
Andreco:
Terrific idea—this is exactly what I’m talking about when I suggest sending your suggestions to Craig at Clearview:
Craig is head of marketing at Clearview and the whole driving force behind the Classics series. Speak your mind-HE WANTS INPUT!!
Thanks,
Gary
I heard from a friend in LA that in May the Egyptian Theater will show Around the World, South Pacific and Patton in restored 70mm prints. Couldn’t Clearview make arrangements with the Egyptian management to have these prints shown at the Ziegfeld after the LA showing? Perhaps Clearview could establsh somekind of partnership and bring to NY all these wonderful film series that lucky Angelinos have the opportunity to see. Would appreciate comments and ideas.
I just checked to see which movies will be playing at the Ziegfeld after Ice Age 2 and while I’d cough up the dollars for something I normally wouldn’t see at any other theater, I’m disappointed to learn that I have zero interest in seeing these two: Scary Movie 4 and Mission Impossible 3 (I will not support Tom Cruise in any way, the jerk). However, these films will probably do pretty well with ticket sales, which is a good thing for the theater.
Gary, could you please send me an e-mail via the address on the main page of my website: www.geocities.com/crazyforcinema?
Thanks!
Since there has not been a post here in 5 whole days, I have to presume that many are suffering from “classics” withdrawal. So here’s the GOOD NEWS! I e-mailed the above list (including your suggestions for additions and deletions) to Craig at Clearview and received the following response TODAY:
“WOW, this is a great list Gary!
I really appreciate all your help with The Ziegfeld. I am sure that we
will bring The Classics back to The Ziegfeld soon and it is people like
you and the good folks at Cinema Treasures that will make this happen.
Thanks again
Craig"
I take no credit for this because I have drawn my inspiration and enthusiasm from this entire group right here. Again, I would ask you individually to take a moment and send your comments to Craig at Clearview. The concept of the Ziegfeld as a periodic Classics revival house is just an incredible thing to me. Let’s indeed make it happen.
Happy Holidays to All,
Gary
Beth:
Great suggestions, I especially like the Black & Whites—I think our whole group should be the programming committee. I would go to every one of these at the Ziegfeld. By weekend’s end, I’ll have about 100 films to send to Craig—so guys keep them coming. Ultimately, there is the issue of art vs. commerce, but so many of these ARE great and were successful and popular, that I think that Clearview could take a chance on quite a few. In other words, is there life after “Lawrence,” “Ben-Hur,” etc.?—ABSOLUTELY!
THANKS,
GARY
A couple of other films, probably less accesible but a lot of fun:
Any of BUSTER KEATON’s silent films – THE CAMERAMAN in particular would be a good film for a general crowd and a couple of scenes were shot on location in NYC. THE GENERAL is his most famous but a lot of his shorts would be great, too, like COPS, ONE WEEK, THE BOAT
The HAROLD LLOYD Trust just released a boxed set of the majority of Harold’s silent work. SAFETY LAST would be a good one. Several extended scenes from SPEEDY were shot on location in NYC and in Coney Island.
Hey Gary, I thought of a few more films to suggest (my apologies for any repeats and lack of knowledge concerning rights availability, etc…):
A week of gangster films, featuring the the tough guys Edward G. Robinson, James Cagney, Humphrey Bogart
For Halloween, the EVIL DEAD trilogy (not classics in the literal sense, but it’ll draw out the Sam Raimi geeks for repeat viewings; they’re rabid about their Evil Dead). Also classics like THE HAUNTING, THE INNOCENTS, THE OLD DARK HOUSE, the Universal FRANKENSTEINs, DRACULA, THE MUMMY, etc. They could even show the silly Abbott and Costello MEET THE… Another fun A&C film concerning ghosts is THE TIME OF THEIR LIVES (my favorite A&C)
Films by Michael Powell, such as BLACK NARCISSUS, THE RED SHOES, A MATTER OF LIFE AND DEATH aka STAIRWAY TO HEAVEN (these would look great on the Ziegfeld’s large screen)
Ealing films: THE LADYKILLERS, THE LAVENDER HILL MOB, THE MAN IN THE WHITE SUIT, etc.
Musicals: KISS ME KATE, GUYS AND DOLLS, Busby Berkeley films, almost any Fred and Ginger films – GAY DIVORCEE, TOP HAT, FOLLOW THE FLEET, SWINGTIME
More Hitchcock: NOTORIOUS, 39 STEPS, etc.
Yeah, maybe it was better when the studios owned the theaters (pre-1947?) I don’t have an answer; the last time I went to my local multiplex on L.I. the ticket taker was too busy with her boyfriend to take my ticket. But on a brighter note, I am still impressed that the suits at Clearview took a gamble on a classics program, for two months!! I could use seeing Roger Rabbit tonight at the Ziegfeld!!!
Gary
Yeah, maybe it was better when the studios owned the theaters (pre-1947?) I don’t have an answer; the last time I went to my local multiplex on L.I. the ticket taker was too busy with her boyfriend to take my ticket. But on a brighter note, I am still impressed that the suits at Clearview took a gamble on a classics program, for two months!! I could use seeing Roger Rabbit tonight at the Ziegfeld!!!
Gary
I would hope that a filmmaker like Nora Ephron would try to do something more about the sad state of multiplex exhibition that to merely write an op-ed piece in the Times. Why couldn’t something like this happen to a Steven Spielberg or George Lucas, who might actually care enough and have sufficient high-powered influence to make some waves over this unforgiveable lack of regard for the product (the very costly product, I might add) manufactured by the industry?
Gary – I was there too on the first day of “Roger Rabbit”. The air conditioning wasn’t working at all, and the ticket taker told everybody that. If it were any other theater, I would’ve turned around and left … but not at the Ziegfeld.
We are all in agreement—I remember seeing the first showing of “Who Framed Roger Rabbit” at the Ziegfeld. Incredibly hot summer day, the A/C, unfortunately, was barely working, the place was packed—and we all had a great time.
I received my Direct TV statement today with an enclosure for “pay per view” with this pitch—“No cell phones, No loud talkers, No popcorn crunchers.” “This May, stay home and have the theater all to yourself.”
With that said and what has been said above, I am still amazed that the Ziegfeld even exists today.
If the Ziegfeld could get an “exclusive” on “The DaVinci Code” next month(which it probably won’t), the lines would be back. But I’ll be there opening day.
Until then, in the hope of more “classics,” list some more favorites (Please)and send your comments and appreciations to Clearview.
Movieguy-the only good thing about the AMC 25 is the lobby!!
Thanks,
Gary
P.S. Check this out in Today’s Times for the state of the Multiplex:
OPINION | April 7, 2006
Op-Ed Contributor: The Last Picture Show
By NORA EPHRON
Going to see the movies, circa 2006.
View link
As I mentioned in an earlier post here Oliver Stone’s ‘The Doors’ had huge lines opening night at the Ziegfeld back in 1990-91. I went to to the midnight show. Had to wait in a huge line out side. The show was absolutely sold out, every seat filled.
There were lines around the block when “Independence Day” opened in 1996. I had to go to a 10 AM show to get in.