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Except that the 1998 story was pure hype and not only did the trailer not improve grosses anywhere, few left after the trailer.
BD, please do tell us more. This is lost history due to morality barriers.
GeorgeCheeksSr, if you scroll down on that site you will find your answer. Only peep shows co-existed on that block.
This site might help.
Does anyone know if this was Teatro Nacional in 1976 showing movies?
“MOULIN ROUGE” was exclusive only for two weeks. “EDWARD SCISSORHANDS” opened in the boroughs after three weeks, but the Ziegfeld run was a Manhattan exclusive for over two months.
bigjoe59, the answer might be “EDWARD SCISSORHANDS”.
It opened at the Coronet during the newspaper strike. “A WEDDING” was showing here at the time.
Under performing which theatre?
“Hard” ticket (if you’ll forgive the expression), was definitely the case in Miami.
I got in under-age by having my older brother buy my ticket in advance. Although the usherette did ask me for ID, she walked away when I asked her for hers. I think she was younger than I was.
As for the slow release, (if you’ll forgive…)I think it was Oscar driven.
Thank you for that, patryan6019. The elimination of X-rated films from historical context is one of my pet peeves. As is the elimination of THE BIRTH OF A NATION and DEEP THROAT from all-time top grossing films. It all seems like cleansing of things that the new researchers find distasteful.
The LIEMAX element, digital or not, is most evident in New York City where one screen is eight stories high and the one down the street is twenty feet high. Both charge the same price and are branded as IMAX.
Don’t blame Empire, blame IMAX. They have sold out their brand and ruined a once wonderful concept.
Exactly my point, bigjoe59. The crowd for “Les Miserables” on 42nd street didn’t have to wait at all. There was a screening starting every few minutes with immediate seating. That is how those two cash cows on 42nd street outgross most of the country with the possible exception of Lincoln Square.
If you were a distributor would you bypass 42nd street to protect the Ziegfeld? You may do it for a few days just for prestige as “DREAMGIRLS” did, but much longer. Moviemakers just can’t afford that anymore.
If you look at the ad NYer posted for “GIANT SHADOW”, it actually states that Kirk Douglas will appear at the Fantasy ‘at intermission’. So there you go.
Yes, that one.
It was a wonderful brand new 70mm TWIN theatre with brand new seats and trademark Cineplex faux marble that failed miserably because it was too close to 42nd Street.
The two biggest hits I can remember there were “UNCLE BUCK” and the move-over of “LAWRENCE” in gorgeous 70mm.
Twin 2 (Rialto 2) never made it pass day two due to subway noise.
Let us not forget that Walter Reade and Cineplex Odeon used their clout to drive films to the Ziegfeld, something Clearview and Bow Tie don’t have.
Also, when “LAWRENCE OF ARABIA” moved to the loser Warner on 42nd street late in that run, business picked up.
Property values are a curious thing.
I love the Ziegfeld. It was my office for many years and the best screen in Manhattan. It is the best theatre in Manhattan for people who love big movies. That does not take away from reality.
The Ziegfeld is still there ONLY because nobody wants that location.
But it is NOT a choice location to open a major movie. And it never was.
Not really a matter of finding it but rather finding a better located place to see the same movie.
I have stated before, audiences DID have a problem finding it, hence the Coronet day and date openings in the eighties and nineties. A 100 seat screen on 42nd street can still outgross it.
Back then, Disney didn’t want “WHO FRAMED ROGER RABBIT” on 42nd street. Universal didn’t want “THE LAST TEMPTATION OF CHRIST” on 42nd street. Major screens like the the National and the Astor simply could not deliver the audience. The Ziegfeld could.
That is no longer the case.
The big difference is that back when the Ziegfeld was showing exclusives of major films, the Times Square theatres were thriving on exploitation films that did even better than big budget Hollywood films and the Ziegfeld was a better choice for the “GANDHI” and “BORN ON THE FOURTH OF JULY” crowd. This is no longer the case as in the new Times Square theatres on 42nd street even art films do well and exploitation films are few and far between. “GANDHI” today would do better on multiple screens at the Empire.
All I can tell you about “CAST A GIANT SHADOW” is that it did open as a two-a-day Roadshow in New York. It was reviewed at 141 minutes by the NY Times and the vinyl soundtrack includes a prologue but no intermission track.