Showing 151 - 175 of 919 comments
You caught me, Mark, just as I was typing my message – good eye…
Both Chuck1231 and lostmemory’s recently posted links are actually links to images of the New Beverly Cinema: /theaters/1156/
The color photo in the introduction above actually shows a conversion of the Symphony Space entrance, which is still there and is separate from the entrance to the Thalia.
Why would Clearview be resuming at the Ziegfeld the engagement of a film (‘The Baxter’) which completely tanked in its 47-theatre, tri-state run, and, from all reports, most notably at the Ziegfeld? Seems to be, to say the least, highly unlikely. I suspect, as per Totoro’s post from September 5th, the Ziegfeld will be re-opening on the 23rd with ‘Flightplan’.
Make that ‘decrepit’ from my comment yesterday…
Agreed, Ian; the Independent Film Festival of Boston is a super film festival. I’ve managed to catch a few screenings when I’ve been back home and I’ve been very impressed – with the quality and diversity of the films which have been shown, the guests who’ve come to town with their films (Steve Buscemi and Bill Pullman, I know of, to name a couple), the panels, and the overall operation.
The Boston Film Festival could be a great compliment to the IFFB, catching the films ready to make the festival rounds in the fall; to think of the slate of films this year’s festival alone could have brought to town: ‘Shopgirl’, ‘A History of Violence’, ‘Elizabethtown’, ‘Brokeback Mountain’… the list goes on…
The street address of the Thalia was/is 250 W. 95th Street.
The ideal for the Boston Film Festival would be for it to be helmed by a committee consisting of Robin Dawson (who I understand is heading operations for this year’s festival) and the programming directors of the Brattle and Coolidge Corner Theatres and the film program at the MFA. The result would be a group of individuals who have contacts within the world of Hollywood (Dawson) and those who have the same within the art-house and independent film worlds. There’d obviously be a lot of work to do to achieve a modicum of its reputation, but at worst Boston could potentially have a film festival that could potentially at some point be mentioned in the same breath as the NY Film Festival.
I was told by someone who snuck a look during the final months when the Pilgrim was still open for business that the balcony had become decripit from neglect and unsafe for physical occupation.
Prior to the dual-engagement run of ‘The Matrix Reloaded’ at the Village East and the Angelika in the spring of 2003, the main auditorium of the Village East, with new seats then recently installed, was sold in ads in the Village Voice as having stadium seating.
This was my neighborhood supermarket when I first moved to NYC; I never would have guessed the building which houses it was once a movie theatre. Thanks to everyone for your memories and the information you posted, and thanks to you, Warren and Ed, for the photos.
Maybe I’m wrong, but shouldn’t they have been, or weren’t the above comments supposed to have been posted on another part of this site?
Guess this is one of many demarcation points of film nerdom (and it’s not remotely close to being a truly useful exercise), but does anyone else, after certain, presumably beloved theatres close, on occasion wonder or imagine what new releases would have been booked into them? (i.e., it doesn’t seem a stretch for me to conceive, for example, ‘The Constant Gardener’ having been booked into the Beekman… )
Pest control notices = proof that the ‘end’ for the Beekman and the other buildings on its block is near; I’d guess demolition is likely to begin sometime between mid-October to early November.
What’s the layout of the three screens at the Kent?
When the Metro first re-opened, one of the selling points of the management of the theatre by Peter Elson were his ‘connections’ within the film exhibition industry. Question is, what kind of ‘connections’ does Elson have? Just look at some of the highlights of the current slate of art-house films currently in exhibition around the city: ‘The Aristocrats’, ‘Broken Flowers’, ‘The Constant Gardener’, ‘Grizzly Man’, ‘Junebug’, ‘Me and You and Everyone We Know’, and ‘2046’; if Elson truly had meaningful contacts of note, wouldn’t he have been able to book at least one of those films into the Metro?
…all for a social center that could have opened in another vacant building. A shame, indeed…
I can’t speak as to whether New York Life still owns the Meadows, but can say that New York Life does still exist.
Isn’t it – hasn’t it long been the time – to tear down the Plaza Theater? It was once worth saving, but in its current, ruinous (and long-deteriorating) state, it’s become a ruin with little of note that could be (and/or, logically, should be) salvaged. If the audience is there to support it, the wisest plan would be to build a new multiplex on the land.
The a**clowns at Reading/City Cinemas also still had listed on their website, TWO YEARS after they were demolished and replaced by the NYU Outpatient Cancer Center, the Murray Hill Cinemas as one of their properties.
Post a query on this site and within a couple of hours or 24 hours and beyond, plenty of helpful individuals answer your questions and provide you with the information you’re seeking – remarkable, but certainly not a surprise. Thanks to everyone for your responses :–)
Did the auditorium retain its original appearance until the 1999 closing?
The Loews State was closed for quite a few days after 9/11, probably due, in no small part, to those exact concerns.
Pardon me for being of little faith, but as if the Duane Reade people are going to preserve anything remotely hinting at what formerly occupied that space…
‘The Baxter’, the IFC Films release booked exclusively into 47 Clearview Cinemas properties, including the Ziegfeld, experienced a near-total flameout this past weekend, grossing an estimated $37,708 for a per-screen average of $802. Almost needless to say, I think Clearview overestimated what they had on their hands, especially with ‘The 40-Year-Old Virgin’ and ‘Wedding Crashers’ as competition.