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“CHEYENNE AUTUMN” opened on December 23, 1964 on a two shows a day (three on weekends) roadshow basis at the Capitol. It did run a NYT full page ad on October 4, 1964 announcing the holiday opening at the Loews Cinerama. This may possibly account for bigjoe’s Cinerama conundrum. It ran until February 23, 1965 when it was replaced by “LOVE HAS MANY FACES”, a wide release.
“GIGI” programs are easily found on ebay. “CHEYENNE AUTUMN” not so easy.
According to the NYT in April 1955,
the Paramount VistaVision screen was 64ft x 35ft,
the Roxy Cinemascope was 64.5ft x 26.5ft,
the Warner Cinerama was 67ft x 24.5ft.
BobbyS, the Warner Cinerama was the Strand.
Zoetmb is off the mark. Most Manhattan theatres are threatened by property values, not quality presentation, film choice, nor attendance. The Cinema 1-2-3 will eventually go as it is prime real estate. The Regal Union Square is going nowhere anytime soon as it is one the highest grossing in the city and has small ground level footprint.
Theatre owners did everything possible to delay DVD windows but the market forces made this unsustainable. Who cares about the window when audiences lose interest after two weeks anyway. Less theatres will help the remaining ones survive, and eventually every neighborhood will have one single multiplex serving it.
The mega chains are not so concerned about profits in NYC as long as the theatre is a cash cow that can produce quick revenue that can be invested elsewhere before the studio share is even due.
Thanks for that clip rasLXR. It was fantastic!
bigjoe59, the film was not the whole show. A fourth week was rare at the Capitol in the early thirties.
I think Bill’s comment is accurate.
MGM agreed the results were less than expected and early tracking showed a lack of adult interest. “PINOCCHIO” did twice the business.
Since it was barely released in 1939 and had most of its runs in 1940, it came in fourth place behind “PINOCCHIO” and “BOOM TOWN”.
“WIZARD” had a hard time attracting adults the first time around. It was only a big hit in NYC and that was mostly because Judy Garland and Mickey Rooney were added in person to help fill the house.
In 1970 this would have been an ABC Florida State Theatres Ultravision Theatre. A similar one opened in Deerfield Beach just a few months later.
zoetmb, your angry rant at the March of Time is appropriate in spirit but ignorant in theme.
Dermycar’s customer service is as rare and refreshing as any theatre manager could ever offer. I think you should celebrate that which we can preserve. Human decency. He didn’t build it, book it or sound proof it.
The Angelika Center was a noisy basement cinema the day it opened to rave reviews and a huge success for over twenty four years.
Your denial of dermycar’s efforts is the main reason classic theatres close.
Bigjoe59, I do know the book, and while it makes for very entertaining reading, it does have some sloppy research. Perhaps Rolston can produce an updated version with a errors corrected and a more consistent definition of what he considered a “Roadshow” and in what country.
Yes Bigjoe59, it was three shows a day with reserved seats and should probably have been included.
That “Tea Room” was a full service restaurant and serious and damaging alterations were made in 1967.
The Odeon Leicester Square interior and exterior have been altered several times and used to include a full service restaurant for pre-theatre meals and snob appeal separate seating and entrances.
Since the original design of all the Leicester Square cinemas had been altered several times over the years, what would you list? Behind the facade of the VUE West End is an all new building and the Empire was already a messy three-plex by 1985.
A great marquee shot can be seen here
The address should be 261 West 47th Street.
Name change to Cineluxe needed here.
Thanks for this, Bricetx.
Do you know anything about the mini cinemas added in the early late 60’s? In particular, where were they located and what projection system was used?
Welcome home, Lost Memory.
We sure missed you.
SethLewis, I think you just gave a perfect example of why they don’t. Once the reviews and the word of mouth got out on “NINE”, it had no chance to recoup its costs. The costs of money today requires immediate results and many DVD/BLU RAY release rights are sold based on opening week grosses. Only small films can afford a build-up and carefully aimed marketing campaign. When a bunch of teenagers show up for “NINE”, who never heard of Fellini and hate musicals anyway, you just lost your shirt on twitter.
Love the Roxy book, Ross Melnick.
I didn’t know the Rockettes predated Radio City Music Hall until I read your book.