Rivoli Theatre
1620 Broadway,
New York,
NY
10019
1620 Broadway,
New York,
NY
10019
49 people
favorited this theater
Showing 401 - 425 of 1,005 comments
The Rivoli was probably the best place in NY to see 70mm. I only wish I got to see the 60’s films there.
The orchestra level of the Strand was also wonderful.
Both had large curved screens that hit you head on.
And then there is my beloved Criterion…
But I am also torn with what Warren says about the old house.
From post cards it was very beautiful and though it did not have a real stage I understand it held concerts initially. Surely in the back there was enough room to have concerts again before they twinned it.
It would have been 100 times better than the Beacon.
I am sure you could put up a lot of nice skycrapers where Broadway theatres are. In fact there are a lot of legit houses that don’t hold a candle to the Riv. And then of course the most beautiful of them is now a church. Yuck.(Though it was originally a movie theater.)
The above picture does not do justice to it’s interior. Can one post a postcard of the house from the balconey?
I got one off ebay but I don’t know where I put it.
Oh, that’s too bad, Life’s too short. It’s a shame that people can be so rude as to drown out the movie soundtrack with excessive amounts of noise. You know what? I think that the theatre staff really should be tough on people who’re excessively noisy and threaten them with expulsion from the theatre if they don’t quiet down. if that doesn’t work, then outright ousting from the theatre in cases like that is probably the best. Or, maybe the projectionist can shut off the movie until the crowd quiets down? Wishful thinking, maybe.
With regard to “inner city hoodlums”:
I saw a movie once on 42nd St. It was about ‘89 and I think the theatre was the Harris. The theatre was completely packed, balcony and all. I was really surprised to see such numbers in an old movie theatre. But the crowd was so rowdy that you couldn’t hear the sound track of the movie. It was a really crazy experience.
Boston lost a lot of its fine movie theatres to so-called progress, too. I’m more than grateful that the Coolidge Corner Theatre and the Brattle Theatre are still around.
Al, in the last part of your post about the steady stream of inner city hoodlums. We had the same problem with them crusing down Hollywood Blvd. and making it very hard to get to the many theatres that operated there. One booking the theatre I was at had “Colors” in the main house (1200 seats) and “Blood In, Blood Out” in one of the upstairs houses (500 seats) and another action type film in the other 500 seat house. We were running full Friday and Saturday. Boy, those were the days. We had Police and News just waiting for something to spark.
That’s what I remember from many of those Times Square houses, those action films brought in a tough group of patrons on visits to NYC from LA.
MPol, here is an example. When Cineplex Odeon took over the profitable Warner Twin (Strand), they were offered the equivalent of ten year’s profit in exchange for getting out of the lease and an option for a new theatre in the new building. Since they had other Times square locations including the National, Rialto, and the brand new World Wide in the pipeline, they took it. Once all leases were bought out the building was replaced by an office tower and no theatre was included.
In later years the National was also in constant play as the landlord felt that the theatre crowd hurt their office tenants’s image and they could lease the space out for more money. Cineplex Odeon refused to budge for years but the deal was promptly made in 1997 once the company ran into Chapter 11 problems. It is now the GOOD MORNING AMERICA studios.
The landlords did not like the movie theatres because they were huge spaces that in the late seventies, eighties and early nineties attracted a steady stream of inner city hoodlums which disrupted the screenings and often caused mayhem in the area. They were crowded but not easy to run locations.
I should also add to the above list with the Paramount Downtown, Carthay Circle, Hill Street, Warner Beverly Hills, The Beverly.
Los Angeles is still pretty lucky as that they have only lost a few of their large houses to progress. (Paramount Downtown, Carthay Circle, Hill Street) The palaces along Broadway in Downtown Los Angeles holds one of the best collections of theatres in the country. These theatres remained pretty full most days of the week till the late 80’s. When VCR and cable entertainment became cheaper for the spanish patrons that used these theatres and closer theatres opened up. As with the Rivoli and Times Square there is alway people there and business. The UA chain saw the writing on the wall for this theatre. You can only project what could happen in this business and what the market could look like for this house. As a few posts above said about changing some of the facade. They were able to close and sell and have theatre razed fast. The Rivoli was UA’s Flagship Theatre in New York City as was the Egyptian Theatre in Hollywood, CA.. At one point UA was planning to build a large 6-8 plex around the main house of the Egyptian. Making it the center piece of this new complex in Hollywood. They were to restore and maintain the main house for Big features and premieres and use the rest of the complex for other new films. The main house had a full D-150 size screen in it and there was the land behind it to use. The city planning commission vetoed the plan and UA started to run the house like a 3rd run theatre with tickets at $1.00 . Not to soon after that they dropped the house from the chain.
The Rivoli Twin sat on a small piece of land on Broadway. They could have cut the theatre up alittle more into a 4-6 screen house. I’ve worked for afew chains that had large theatres that they had plans made to further cut and plex houses.
When so many of these grand, venerable old movie palaces get torn down, is the fact that the land is worth more than the business of movie theatres why these grand old movie palaces have all too often gone the way of office space, parking lots, arcades, and retail, etc?
Yes, select areas some of these Grand house could return, but as AL pointed out the land they sit on is worth more than the business of movie theatres.
Also worth the theatre chains couldn’t keep pouring money into these locations without shareholders of the company having a problem with profits.
If this particular theatre was always packed, then why was the Rivoli ultimately closed and demollshed? Why wasn’t it revitalized and restored?
“It’s hard to keep a great theatre open with no one coming.”
This particular theatre was always packed. Times Square theatres rarely close due to poor business. Like drive-ins, they close because the land they are sitting on is worth so much more than the business of movie theatres.
This:
“It’s hard to keep a great theatre open with no one coming.”
is true too, William.
I guess the fact that mall cineplexes became so popular was/is a sign of the times, but, from what I understand, many of these multiplex ciinemas that’re situated in malls are in pretty big trouble too, from what I understand. Too bad. Maybe, if and when times change, movie palaces such as the old Rivoli Theatre will come back in vogue. Or is that wishful thinking?
As Warren pointed out about the Rivoli, it had no stage facilities and dressing rooms to help it be saved as a stage venue in Times Square. Many chains started unloading theatres during the 50’s,60’s,70’s. This theatre was able to survive till the late 80’s in this marketplace. Many theatres that were built in the time of the Rivoli, Capitol, Roxy, Strand, State all had full stages and dressing rooms for large stage shows that were presented with the movies. The Capitol and Roxy Theatres were just too big to fit into the new era of entertainment in the area at the time. With both theatres seating 5000 people and the studios wanting to release in larger amount of prints to make their money. The chains tried to hold on to select houses and convert them into 2-3 screen houses and try to maintain that First-Run class feel (The State, Warner & Rivoli). The chains let their prizes go one by one when they could no longer make a profit as a theatre. Depending on the area, many people went to mall plexes. It’s hard to keep a great theatre open with no one coming.
Most movie theatres, to what limited knowledge I have about them, have never had dressing rooms or anything like that. I think it’s pitiful that developers couldn’t think of anything to do with most of these venerable old movie palaces except to knock them down and build a parking lot or whatever else they thought they could make a really great profit on. Many developers didn’t seem to have the hint that the arts, which the movies are a part of, have also always played a great part in the average, ordinary people’s lives.
If that be the case, it’s really unfortunate, Warren. Again, however, from the photos that I saw of both the interior and exterior of the Rivoli Theatre, it seems like it had a great deal of potential for renovation and revival. Why didn’t people see past the decaying conditions and realize the potential that this theatre could’ve had? That’s what I don’t understand. Unfortunately, this is happening with far too many of the venerable movie palaces here in the United States at large, as well as throughout the world. it’s sad, and it’s pitiful that these grand old movie palaces have never been integrated into the fabric of downtown redevelopment(s), instead of just being destroyed outright.
The fact that the Rivoli Theatre was getting dumpier and dirtier, as well as playing junkier, schlockier movies shortly before it closed, and the fact that it was “Twinned” were all omens of what was to come. Often enough, when these movie palaces are “twinned”, or cut up into several screens, it destroys the very character of the theatre. Too bad that many people don’t realize that this is the beginning of the end for a lot of these movie palaces.
My two cents here:
A.) Although I’d never been to the Rivoli Theatre, judging from at least a couple of photos that I’d seen of it, the Rivoli was clearly a beautiful theatre, both inside and out.
B) It looked like a fabulous place to see some of those venerable golden oldie-but-goody classic movies in, and West Side Story was no exception. William—I guess you answered my question—I was going to ask if the Rivoli Theatre was the same theatre where my alltime favorite movie, West Side Story opened in late October 1961. Bill Huelig: Thanks for the historical newsprinted photographs of the poster of the film West Side Story. Every time I see such historical ads, my nostalgia for West Side Story burns brighter and I end up humming one of the great songs from this movie/musical classic.
C) What a sin that this great-looking theatre was closed and demolilshed. Why couldn’t they have just restored and renovated it as necessary, instead of razing it? Come to think of it, I’ve made at least a couple of road trips down to NYC for screenings of West Side Story; one at Radio City Music Hall, in October 2001, for the special 40th year Anniversary screening of WSS, and, five years later, a screening of WSS at the Ziegfeld Cinema, which are both fabulous theatres for showing movies like West Side Story and other venerable old classics, but I would’ve loved to see a screening of West Side Story at the (now-nonexistant) Rivoli Theatre.
D) Vito—you’ve got a point about that so-called “Technical Tattletale” that’s been proposed for theatres—there’s the potential for gross abuse, and particularly now, in this post-9/11 climate, when many people are already twitchy to begin with, it could be dangerous.
E) Bob Furmanek: What happened at the Rivoli, when it started playing all the really junky, schlocky films prior to its closing, also happened at the Wang Center for the Performing Arts here in Boston, shortly before they did away with their Classic Film Series. Although I didn’t read it as such back then, now, the more I think about it, the more I believe that the screening of schlockier movies in such great movie palaces was an omen of what was to come….and it wasn’t good, if one gets the drift.
Unfortunately Bob, exploitation did best on Times Square during the eighties. Some of those titles were massive hits for a week or two. These theatres survived with drive-in product as their bread and butter.
What a bunch of garbage for the last few years at this once great palace. I wonder if they were purposely booking junk in order to close it?
Sorry everyone,I did not realise you had to log on to see that review.
I believe that “The King and I” had its NYC premiere engagement at the Roxy, not at the Rivoli.
posted by Warren G. Harris on Jan 14, 2009 at 6:34am
Indeed it did premiere at the Roxy in June 1956
Here is the NY Times review
View link
It’s hard top believe this was the treatre that premiered “The King and I”, “Oklahoma”, “West Side Story”, “Cleopatra”, Hello, Dolly", etc…
A list of films shown when it was the United Artists Twin.
10/26/1984 theatre became United Artists Twin
10/26/1984 Body Double (4 weeks, Dolby Stereo)
10/26/1984 Country (3 weeks, Dolby Stereo)
11/16/1984 Missing In Action (4 weeks)
11/21/1984 Supergirl (4 weeks, Dolby Stereo)
12/14/1984 Starman in 70mm (5 weeks, Dolby Stereo)
12/19/1984 Breakin' 2: Electric Boogaloo (3 weeks, Dolby Stereo)
1/11/1985 Emmanuelle 4 (2 weeks)
1/18/1985 Maria’s Lovers (2 weeks)
1/25/1985 The Perils Of Gwendoline (3 weeks, Dolby Stereo)
2/1/1985 Torchlight (2 weeks)
2/15/1985 The Mean Season (3 weeks)
2/15/1985 1984 (2 weeks)
3/1/1985 Missing In Action 2: The Beginning (3 weeks)
3/8/1985 Lovelines (1 week, Dolby Stereo)
3/15/1985 Hellhole (1 week)
3/22/1985 Amadeus (MO, 4 weeks, Dolby Stereo)
3/22/1985 Baby: Secret Of The Lost Legend (3 weeks, Dolby Stereo)
4/12/1985 Nine Deaths Of The Ninja (1 week)
4/19/1985 Alamo Bay (1 week)
4/19/1985 The Company Of Wolves (2 weeks, Dolby Stereo)
4/26/1985 Just One Of The Guys (2 weeks, Dolby Stereo)
5/3/1985 Code Of Silence (7 weeks)
5/10/1985 Rappin' (3 weeks, Dolby Stereo)
5/31/1985 Future Cop (1 week, Ultra Stereo)
6/7/1985 Perfect (4 weeks, Dolby Stereo)
6/21/1985 Lifeforce in 70mm (4 weeks, Dolby Stereo)
7/3/1985 Day Of The Dead (6 weeks)
7/19/1985 The Legend Of Billie Jean (2 weeks, Dolby Stereo)
8/2/1985 Fright Night (6 weeks, Dolby Stereo)
8/16/1985 Volunteers (2 weeks, Dolby Stereo)
8/30/1985 American Ninja (4 weeks, stereo)
9/13/1985 Sudden Death (3 weeks)
9/27/1985 Maxie (3 weeks, Dolby Stereo)
10/4/1985 Jagged Edge (4 weeks, Dolby Stereo)
10/18/1985 Re-Animator (2 weeks)
11/1/1985 Death Wish 3 (6 weeks, two weeks on two screens)
11/15/1985 Once Bitten (2 weeks)
11/27/1985 Santa Claus: The Movie in 70mm (5 weeks, Dolby Stereo)
12/13/1985 Guardian Of Hell (1 week)
12/20/1985 Sword Of Heaven (2 weeks)
1/3/1986 Head Office (2 weeks, Dolby Stereo)
1/3/1986 The Alchemist (3 weeks)
1/17/1986 Troll (3 weeks, Dolby Stereo)
1/24/1986 My Chauffeur (2 weeks)
2/7/1986 F/X (9 weeks, Dolby Stereo)
2/7/1986 Foxtrap (1 week)
2/14/1986 The Delta Force (4 weeks, Dolby Stereo)
3/14/1986 Crossroads (2 weeks, Dolby Stereo)
3/28/1986 3:15: The Moment Of Truth (1 week, stereo)
4/4/1986 P.O.W.: The Escape (3 weeks, Dolby Stereo)
4/11/1986 Basic Training (2 weeks)
4/25/1986 8 Million Ways To Die (2 weeks, stereo)
4/25/1986 Low Blow (1 week)
5/2/1986 Agent On Ice (1 week)
5/9/1986 Dangerously Close (1 week, Dolby Stereo)
5/9/1986 In The Shadow Of Kilimanjaro (2 weeks, Dolby Stereo)
5/16/1986 Stitches (1 week)
5/23/1986 Violets Are Blue (MO, 1 week, stereo)
5/23/1986 Ninja Turf (1 week)
5/30/1986 At Close Range (3 weeks, Dolby Stereo)
5/30/1986 Demons (2 weeks, Dolby Stereo)
6/13/1986 Back To School (7 weeks, Dolby Stereo)
6/20/1986 The Karate Kid Part II (5 weeks, Dolby Stereo)
7/25/1986 Haunted Honeymoon (2 weeks, Dolby Stereo)
8/1/1986 Choke Canyon (2 weeks, Dolby Stereo)
8/8/1986 Cocaine Wars (2 weeks, stereo)
8/15/1986 Armed and Dangerous (2 weeks, Dolby Stereo)
8/22/1986 The Texas Chainsaw Massacre 2 (2 weeks, Ultra Stereo)
8/29/1986 Reform School Girls (3 weeks, stereo)
9/5/1986 Tenement: Game Of Survival/The Texas Chainsaw Massacre 2 (1 week, mono/Ultra Stereo
9/12/1986 Bedroom Eyes (2 weeks)
9/19/1986 American Justice (1 week)
9/26/1986 Last Resort (1 week, stereo)
9/26/1986 Women’s Prison Massacre (3 weeks)
10/3/1986 Armed Response (2 weeks)
10/17/1986 Crawlspace (2 weeks)
10/17/1986 Combat Shock (1 week)
10/24/1986 From Beyond (2 weeks, Ultra Stereo)
10/31/1986 Sky Bandits (1 week, Dolby Stereo)
11/7/1986 Something Wild (2 weeks, Dolby Stereo)
11/7/1986 52 Pick-Up (4 weeks, Ultra Stereo)
11/21/1986 Eye Of The Tiger (2 weeks, Ultra Stereo)
12/5/1986 Rebel (1 week, Dolby Stereo)
12/5/1986 Weekend Warriors (1 week, stereo)
12/12/1986 Three Amigos (5 weeks, Dolby Stereo)
12/12/1986 Class Of Nuke ‘Em High (2 weeks)
12/25/1986 The Boy Who Could Fly (RE, 2 weeks, Dolby Stereo)
1/9/1987 Assassination (4 weeks, stereo)
1/16/1987 The Bedroom Window (6 weeks)
2/6/1987 From The Hip (2 weeks, stereo)
2/20/1987 The Good Wife (1 week, Dolby Stereo)
2/27/1987 Hoosiers (4 weeks, Dolby Stereo)
2/27/1987 Rage Of Honor (2 weeks, Dolby Stereo)
3/13/1987 Death Before Dishonor (MO, 1 week, Ultra Stereo)
3/20/1987 Iron Warrior (1 week, Dolby Stereo)
3/27/1987 Street Smart (2 weeks, Dolby Stereo)
3/27/1987 Prettykill (1 week)
4/3/1987 Return To Horror High (1 week)
4/10/1987 Children Of A Lesser God (RE, 1 week)
4/10/1987 Crocodile Dundee (RE, 2 weeks, Dolby Stereo)
4/17/1987 Silent Night, Deadly Night Part 2 (1 week)
4/24/1987 Slaughter High (2 weeks)
4/24/1987 The Princess Academy (1 week)
5/1/1987 Campus Man (1 week)
5/8/1987 Steele Justice (2 weeks, stereo)
5/8/1987 Blind Date (MO, 1 week, Dolby Stereo)
5/15/1987 Monster In The Closet (1 week)
5/22/1987 Enemy Territory (1 week, Ultra Stereo)
5/22/1987 Happy Hour (1 week, Ultra Stereo)
5/29/1987 Morgan Stewart’s Coming Home (1 week, stereo)
5/29/1987 Hunter’s Blood (1 week, stereo)
6/5/1987 Munchies (2 weeks)
6/5/1987 Creepshow 2 (MO, 2 weeks)
6/14/1987 theatre closed
Dimension-150 is just the long name for the process, or D-150 for short.
Vito: “The Bible” was the first D-150 feature which opened in 1966, but I’m sure you’re right about the year you saw the demonstration.
Looking at the ads back then, I always thought the D in D-150 stood for Dino DeLaurentiis, producer of “The Bible”. I’ll bet he liked to think it stood for that too :) When “Patton” was released in 1970, it was called Dimension-150.