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Under reconstruction May 2015 photo added.
Under reconstruction May 2015
There was a seldom-used entrance on Livingston Street, but usually the Livingston Street marquee was used to advertise the current attraction.
The marquee has a lot of burned-out light bulbs, especially in the sign that says “Theatres”
After this theater was demolished, a new Rialto link was built on this corner and operated as a movie theater from 1935 to 1990 and for many years specialized in two-fisted melodramas and horror movies. Its manager once said his theater, both in styling and presentations, sought to satisfy the “ancient and unquenchable male thirst for mystery, menace and manslaughter.”
The TVLand 2015 Awards were filmed here, and the place looked great.
Orlando, it’s true than an eyewitness is often the best source of first-hand accounts, but there are many ways to arrive at the truth.
If there are errors in the introduction, I suggest you inform the site through the proper channels (which I’m sure you have done) and leave out the personal attacks on parties unknown. Your comment of April 16 at 9:40am was probably written out of frustration but it really should be deleted. You are working your dream job and have accomplished a lot, so these petty spats just sully this website.
And JamesD, your response of April 17, 5:36am was a bit out of line as well.
Let’s all delete this section of the comments before the webmaster has to do it for us.
I love that term “picture sheet.” Thanks for using it…!
One booking change to this house I have notice is that they no longer hold their features forever; they seem to get a new picture every couple of weeks…
Does the Dolby Theater in LA show movies on a regular basis?
This theater was featured in an Inside Edition episode tonight (4/10/15) in a report about rude kids at a screening of Cinderella.
Link here to the Inside Edition story, but I don’t think the report was actually filmed at this exact site, since they all went out afterwards at a New York restaurant…!
Mike Keegan — can we add your photos to our database here at Cinema Treasures? For posterity and all…
Interesting and informative article and well-chosen photos. Here is a direct link to the Alamo Drafthouse page.
Searching is weird sometimes. The theaters that pop up are the Open ones, then you have to find the tab with the closed or demolished ones…
What I do when I can’t find something specific is look for a nearby theater, in this case I looked up the Fox, and in the column on the right is a short list of nearby houses, and often — voila!
Text of article: (Note: at the link, the last photo is upside down!)
Fort Greene’s Paramount Theatre, which for the past half-century has been used as the Long Island University sports complex, is set to be restored to its mid-20th century glory by a partnership of Barclay Center developer Bruce Ratner and Onexim Sports and Entertainment.
The $50 million renovation is set to take place over the course of two years, and in advance of that the university has released a couple renderings on its Flickr account, as well as a few historical photos.
This trend, led by the Loew’s Kings Theater in Flatbush, of formerly majestic Brooklyn theaters being returned to their original uses and levels of magnificence is definitely one that we can get behind.
Link to article about a reborn Paramount is here
This one? Link
It looks like it’s on twice more — Friday at 2:30pm and Monday at 4:00am.
Saw the Disney show (Three Classic Fairy Tales) Saturday night, and it wasn’t half bad…!
But the theater itself and the real reason I went) was spectacular in a very muted way. Lots of dark wood, earth tones, and general good taste. The lobby was a little darker than the auditorium, which had lots of gold leaf trim and highlights. You can easily see why the theater was never subdivided — the ceiling is soaring and the auditorium is w i d e…
The photos of the place are usually bright and well-lit, to show the detail, but in actual use the theater lighting is much more subdued, as you might expect in a performance space. It isn’t a grand ballroom, after all, although it resembles one!
That said, the view from the mezzanine is breathtaking.
It always breaks my heart a little to know that I missed the days when people only had to pay a quarter or a dollar to enter these neighborhood fantasy wonderlands for a couple of hours; today the cost, if you are lucky enough to find a working movie palace, is considerably more.
Joe, I think you missed Coate’s point. A chat involves give and take, comments and responses, questions and answers and follow ups… It’s more interesting for everyone if we reply to posts by addressing the info in the previous post, rather than just going on to more questions…
As my mother used say in answer to my endless queries, “What, are you writing a book…?!”
Your wish is my command: Link
★★★★ | Roger Ebert
October 14, 1968 | ☄ 0
“Finian’s Rainbow” is the best of the recent roadshow musicals, perhaps because it’s the first to cope successfully with the longer roadshow form. The best musicals of the past (Astaire and Rogers in the 1930s, Gene Kelly’s and Stanley Donen’s productions in the 1950s) were rather modest in length and cost. They depended on charm and the great talents of their performers.
Since “The Sound of Music,” unhappily, musicals have been locked into the reserved-seat format. That, in turn, apparently means they have to be long, expensive, weighed down with unnecessary production values and filled with pretension. It was a gloomy sight to see the great songs and performances of “Camelot” trying to get out from beneath the dead weight of its expensive, unnecessary, distracting sets and costumes. [Note: Camelot played at this theater too…!]
Movies are a faster medium than the stage. They don’t have entrances, exits, curtains, scene changes. Yet recent film “versions” actually tend to be longer than Broadway productions, and the second half is often an ordeal. Movie musicals shouldn’t be much more than two hours long, I think.
“Finian’s Rainbow” is an exception. It gives you that same wonderful sense you got from “Swing Time” or “Singin' in the Rain” or any of the great musicals: that it knows exactly where it’s going, and is getting there as quickly and with as much fun as possible. Remarkably, because it is only Francis Ford Coppola’s second film, it is the best-directed musical since “West Side Story.” It is also enchanting, and that’s a word I don’t get to use much.
A lot of the fine things in the film come from Fred Astaire, who possibly danced better 30 years ago but has never achieved a better characterization. In most of the Astaire musicals we remember, he was really playing himself, and the plot didn’t make much of an effort to conceal that. This time he plays arthritic, wizened, wise Finian McLonergan (with some songs and dances the original stage Finian didn’t have). And it is a remarkable performance.
It is so good, I suspect, because Astaire was willing to play it as the screenplay demands. He could have rested on his laurels and his millions easily enough, turning out a TV special now and then, but instead he created this warm old man, Finian, and played him wrinkles and all. Astaire is pushing 70, after all, and no effort was made to make him look younger with common tricks of lighting, makeup and photography. That would have been unnecessary: He has a natural youthfulness. I particularly want to make this point because of the cruel remarks on Astaire’s appearance in the New York Times review by Renata Adler. She is mistaken.
All the same, this isn’t Astaire’s movie. One of its strengths is that a lot of characters are involved, and their roles are well balanced. The story is familiar: Finian and his daughter (Petula Clark) journey to America with a pot of gold stolen from a leprechaun (Tommy Steele). They pitch up in Rainbow Valley, a rural co-operative near Fort Knox. It is inhabited by black and white farmers who raise tobacco, by a redneck sheriff and by a Southern senator (Keenan Wynn) who is even more stereotyped than Strom Thurmond. There is an intrigue involving the back taxes on the co-op, a couple of romances, race relations, and the pot of gold.
Petula Clark is a surprise. I knew she could sing, but I didn’t expect much more. She is a fresh addition to the movies: a handsome profile, a bright personality, and a singing voice as unique in its own way as Streisand’s. Tommy Steele, as always, is a shade overdone, but perhaps a leprechaun should be a shade overdone.
Al Freeman Jr., who plays an earnest young Negro botanist, has a hilarious moment as he brings the senator a bromo with the official darky shuffle. Barbara Hancock, an accomplished dancer, is fetching as Susan the Silent. Don Francks, as Petula’s boyfriend, is clean-cut and pleasant, alas. And after the racist senator (Wynn) is magically turned black, there’s a bravura scene. He joins up with one of the most improbable gospel quartets ever assembled.
The movie’s message is a sort of subliminal plea for racial understanding but not much is made of it. Perhaps that’s just as well. “Camelot” got mired in its involved philosophy, and “My Fair Lady” succeeded because it dumped most of Shaw’s preaching.
For the rest, “Finian’s Rainbow” is a marvelous evening right up to its last shot of Astaire walking away down a country road. Unfortunately, the management of the Bismarck turned on the house lights before Astaire was finished walking; for that, I would gladly turn them into little green toads.
This house was mentioned in Roger Ebert’s review of Finian’s Rainbow:
“Finian’s Rainbow” is a marvelous evening right up to its last shot of Astaire walking away down a country road. Unfortunately, the management of the Bismarck turned on the house lights before Astaire was finished walking; for that, I would gladly turn them into little green toads.
Nice report on Saturday’s NBC Nightly News…
The show is running now, and worth catching.