Criterion Theatre

But it was a Todd AO print. So it was not a general release print. How could it be? They would have had to have cut down the roadshow prints which makes little sense.

I’m think that by the time Fox video prepared the bluray no roadshow prints survived including the one I saw. Strange that Oklahoma survived beautifully and that two monster hits like 80 Days and South Pacific did not. Or did you or someone else say you actually saw an 80 Days 70mm print? If so why hasn’t it been released on bluray?

When I saw South Pacific in Todd AO at the Warner Cinerama in ‘78 I doubt that was cut. I’m sure it was an original 70mm print from the late 50s. It looked it. But it was still utterly magnificent and I never liked the film on TV. And I still don’t like the color filters. Still Todd AO and 6 track stereo is there anything better?

Unless that print was tossed these people did not do their job. But then people today don’t know.

Thoroughly Modern Millie (Special Roadshow Edition) [Blu-ray] To be released August 24th.

Yeah, looking into it further the live performance space was part of the ex-Bonds/International Casino space to the left of the movie theatre. Constructed in 1988-89, it opened with 499 seats in one auditorium and 300 seats in the second. After Roundabout took it over the larger Stage Right space was the one that added a couple dozen seats to qualify as a Tony-eligible Broadway house while the smaller Stage Left space was used less frequently but was named for Laura Pels, an early leading figure in the off-Broadway movement. As a non-profit most Roundaboit productions are limited run, but ones that are successful would transfer to larger theatres elsewhere if there was demand for it (such as the 1997-98 production of 1776). After the Criterion Center was vacated for Toys R Us, Roundabout moved their Broadway productions to the American Airlines (née Selwyn) while the off-Broadway shows were moved to the new Laura Pels on 46th St (which had been the former home of the American Pace Theatre company).

However, Roundabout’s off-site productions became a huge hit, especially Cabaret, which started at the Henry Miller’s (chosen because it actually had been a seedy nightclub so made for a good Kit-Kat Klub) until a crane collapse damaged the theatre. Instead of closing outright they moved to another theatre that spent time as a disco. Sorry, I meant THE disco. And the tenure at Studio 54 was so successful that Roundaboit bought the theatre outright so it would stay a theatre.

Hello-

to vindanpar- I guess great minds think alike. after reading oknazevad’s 11/24 comment I was just about to note that the live theater space used by the Roundabout Theater Company was never part of the movie theater proper. if I remember correctly at the time the space opened it was stated it was unused storage space or the like. its kind of like the Orleans at the Warner. the theater proper was twined and the Orleans was created from storage space used for when the theater also presented life acts.

The write up seems to lack any mention that one of the auditoriums (post-multiplexing) was converted to live theatre use in 1989 as the “Criterion Center Stage Right”, which originally had exactly 499 seats (the maximum number to be considered off-Broadway) but, after it became the new home base of the Roundabout Theatre Company in 1991 a couple of dozen additional seats were added (probably only a row’s worth) to make it Tony-eligible as Roundabout became a force on Broadway.

Please update, total seats 2600, count includes the 4 basement screens.

The DeMille, formally the Columbia and then the Mayfair, always seemed like a stepchild in the Times Square movie scene. Looking through old ads when it was part of the Loew’s chain, it rarely had quality exclusives and always seem to be buried in their display ads, probably even worse under Brandt. With no loving parent to watch over it and take care of it, it’s no wonder it eventually sunk.

The Warner/Cinerama was ok as a twin, at least it kept many of the architectural details, especially upstairs was still breathtaking.

The Criterion was not too bad when it was just a twin, but the nadir of Times Square moviegoing had to be those basement screens. I still shudder when I think of my experiences down there.

Yeah, but maybe with the Capitol being the first to close, and at such an early date, spared it the ignomy of presenting exploitation fare.

Still, I wish it had remained longer to give me a chance to visit, even if I had to sit through Fists of Fury or Emmanuelle…

I don’t think any of these theatres avoided exploitation films. Their distributor alliances dictated the product. They all eventually played some low budget horror, Kung Fu, sexploitation or blaxploitation films.

As to CC’s current photo from Funny Girl to Myra Breckinridge in a matter of months shows you how Times Square and movies in general were changing very rapidly and not for the better. And then to come shortly trashy ordeals at the Criterion like Possession of Joe Delaney and Mandingo. One of the most important cinemas turned into an exploitation house in less than 6 months. More like 2 months if you include Patton as one of its more prestigious offerings. Places like Loews State and then the National and Astor Plaza managed to not wallow in the mud. Unfortunately the Criterion was the best of them.

It was the $6.50 I had trouble making out but that’s what I figured. Maybe the highest movie ticket price ever adjusted for inflation for a non benefit performance? In fact taking inflation into account My Fair Lady seems to have had the highest ticket prices ever overall. Even Sound of Music at the Rivoli was cheaper. $1.25 cheaper for a loge seat on a Saturday night in 1965 dollars was a big difference.

Anybody have the prices of This is Cinerama or Cleopatra at hand for comparison?

Hello-

I should think The Guns of Navarone had ROADSHOW written all over it. I’m highly surprised Columbia didn’t do so.