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Pleasantly surprised to see the venerated Paris logo in today’s NYT print ad. Does this bode well for the venue’s future.
Print ads are confusing as NYT had the IFC Theatre as the only outlet screening this flick. Glad that the Paris has gotten a temporary reprieve, and that the Belasco has been impressed to showcase the Irishman. Sad state of film distribution that important films from Netflix have had to scrounge for prestige venues. Savvy marketers and distributors should take note as other worthy films are rolled out. These fiulms deserve to be treated as special events. Is there a future for the Paris in this role?
Is Ackerman the last of the breed of distributor/theatre owner who shaped the art house phenomena of the past half-century? Where are the heirs to Donald Rugoff, Walter Reade & Dan Talbot. These sadly missed titans presented product that not only forecasted important social trends but stimulated intellectual dialogue.
How could this art-house masterpiece be expected to fill such a cavernous theatre. Was it dubbed in English?
There are barely any theatre marquees to speak of. Whatever signage exists is bland and nondescript. There are recognizable logos such as AMC, but would any of these identifiers lure me into that particular movie house? Theatrefan made a valuable suggestion of the applications of LED as a replacement for neon. That could be quite exciting.
Had missed this posting when it first appeared but I too am impressed by Gigantor’s pic of the Echo. The surrounding shops give a clear sense of the simple life of that community. Confirming an earlier comment by John D, there was a strong Sicilian enclave that began to ebb in the 1950’s as the Hispanics began to emerge. Curiously, there were also wood-frame dilapidated tenements that were exclusively for the Negro population in the neighborhood. The various ethnic groups appeared to have coexisted well.
Back in the 1950’s it may have shown Spanish double features.
I knew that she was popular but never realized that Garbo’s films would fill this huge theatre.
Would that be the theatre manager on the left orDon Rugoff’s father?
Quite an awesome display of outdoor showmanship, possibly surpassing the product on screen.
What a bizzare double feature, Can see the teens on a Saturday bight walking out/making out when WOTT comes on the screen.
Funny coincidence that you mention Camelot tonight as I spent New Years Eve eons ago at the Strand.
Remember this site when it was a boarded up warehouse. No idea behind its famed past. The opening of the Sunshine was consistent with the rapid transformation and gentrification of the LES which caused shockwaves across Williamsburg & Bushwick. Will miss its neon frontage.
Any sign of the Hirshfeld mural?
I’ve just come across the link provided by jflundy. Truly addictive, and potentially expensive. Thanks!
Along Brooklyn’s Gowanus Canal there is a workshop that gives lessons in glassblowing and creating neon signs. I hear that the signage involves quite an intricate process. Could we possibly hope for a neon sign comeback?
Always fascinating insights into street life of over a century ago. Neon signage played a major roll in illuminating the urban streets-capes whether through bright retail signs or movie marquees. Promoting a particular brand, and developing immediate recognition was achieved through lighting. It seems that East 86th St. was never dark. Can’t imagine the sight from any of the elevated subway lines as you pulled into the station.
Attended a family funeral at nearby, majestic Holy Trinity RC Church. There is a gaping hole from the corner of Meserole St/Graham Ave, to where the Rainbow once stood. Despite the highly touted gentrification of the area, it all seems quite desolate without the Rainbow. Similarly, the Broadway site where the Commodore once stood also remains undeveloped.
When the Plaza joined the Rugoff – Cinema 5 group, the roster of theatres also included the Murray Hill, the 5th Avenue Cinema, the Art & the 8th St. Playhouse. There was fierce competition with Walter Reade Sterling in the showcasing of the international “art house” films. As jay58 has mentioned in earlier posts, the Rugoff corporate offices were around the corner from the Plaza at 595 Madison Ave. Oh, what I would have given to have lived next door to the Plaza!
When it opened in the 60’s the Essex filled the gap as the sole neighborhood theatre that was once served by movie palaces like the Loews Canal, the Loews Delancey as well as the Apollo, the Winston, the Ruby and even the New Delancey. All those theatres gave the LES its unique character.
Lived briefly in the area and saw Lady Sings the Blues in its showcase run. Regretfully, didn’t have a chance to admire the sumptuousness of the theatre, not realizing that it would be my one and only visit.
Years back, my kids went to a dance studio on the block. Never went in, and by then it was already a triplex. Was it privately owned or ever under one of the chains such s Randforce?
Can’t imagine a more fitting venue for the red carpet premiere given the theatre’s location in the heart of what was once a center of counter-culture satire. Hopefully, in defiance of the N. Korean gangsters the premiere will soon take place here.
Of course RCMH was always in a class by itself, but how was it that durring this period movie palaces like the Paramount or the Roxy were not selected for roadshow presentations?
A memorable experience seeing El Cid on the Warner’s big screen. Romance between Heston & Loren was anemic, but the battle scenes were the real spectacle.