Showing 1 - 25 of 828 comments
During demolition, during preparations to salvage the “Grauman’s Imperial Theater” stained glass window in the lobby, we went down into the under-stage basement several times, and saw the body outline on the floor, and there were dozens of bullet holes in the fire door at the opposite end of the basement room. we took photos of the room, but nothing extraordinary showed up in our images. With the noise of the Bobcats and backhoe above us, there was no real sense of creepiness, let alone terror. It would have been interesting to have been in the same space when the theatre was abandoned—before demolition began.
The theatre has been closed for several years now and does not appear well cared for. the two retail spaces flanking the entrance are in operation.
The vertical sign on this theatre was heavily influenced, in color and general design, by the late 1940s vertical of the Millbrae Theatre, Millbrae.
Thanks Ken, for this photo! I saw it from my car when it looked like this, but I had no camera with me. So glad this brief moment in the theatre’s existence was captured on film.
The photo was originally taken by San Jose journalist and photographer, Shirlie Montgomery.
I remember riding by the Sono-Marin at night with my folks, and not saying a THING as I tried to catch what was on the screen as we whizzed along.
I have been by the Avenal a couple of times in the past year, and it seems that they are no longer showing movies, just hosting occasional events for the town, such as meetings.
The top part of the tower was preserved, and mounted onto the new library building, which has been completed. I do not know if any other features of the theatre were incorporated anywhere else in the new building.
I’m actually quite impressed with this design idea. Not all neighborhood theatres can remain theatres, and this concept preserves more of the interior than most such projects.
This is truly a baffling image! Someone has digitally added Fox-Skouras style ornament to a vintage photo of the interior of the Columbia Theatre. I have never heard of a Skouras remodel being done that far East, but I suppose it’s not impossible. Montana has at least one. Question is—is this someone’s recent photographic pipe dream, or did this remodel actually happen?
Note also the remnant of terrazzo sidewalk in the entry, and to the left of the entry, more stainless steel cladding, with a window, where there was once a little pizza stand, “LUX PIZZA,” which served patrons both on the the street and entering the theatre.
I can’t help but wonder if any bits of the extensive recollections from my father of attending this theatre when he was a young boy in the 1920s—which I wrote down, and have been added to the theatres archives—have made it into the tour spiel at the Palace.
Fox West Coast Theatres renovated the theatre and reopened it in 1947. It had originally been built in the late 1930s, and was an independent operation known as the Beach.
So wonderful to see a Quonset theatre being restored! There were legions of these built after World War II. Trade magazines heralded them as a wave of the future for people wanting to establish new theatres without spending a lot of money. And indeed, for a time the Quonset theatres were a big success, nationwide. Today, there are a scant few remaining, and ever fewer in operation. In California, I only know of the Rio, in Monte Rio, that is operating as a movie theatre.
This is not the correct Strand. This photo is of the theatre that opened as the Empress, was renamed Strand, and spent most of its life as the St. Francis.
This photo is not of the theatre presently called the Strand. The photo above is of the Strand that was originally called Empress, and later, the St. Francis. At the time this theatre was the Strand, the Strand for which this page is devoted was going by another name. This confusion is quite common.
This is a mid 1980s view of the auditorium, with Joe Musil standing in the balcony. He designed the Farewell to the Fox event. Later, he would go on to design the refurbishing of the Crest in Westwood, the El Capitan in Hollywood, the Fine Arts in Los Angeles, and his final project, the Village in Coronado.
These figures were originally part of mural panels in the grand lobby. They had to be removed because of complete seismic retrofit of the lobby structure, which was housed in a former nickelodeon, built of brick.
A short paragraph from an early theatre operators' trade magazine shows the name of the theatre as Katherine, not Catherine.
Sad. In repainting the exterior, they remove all the remaining original neon, and retain the cheezy, plastic, 1970s MEXICO letters.
Interesting that the newest incarnation of the theatre/club is called Ritz. For a very brief time in the 1920s, a little further down the same block, there actually was a small movie theatre in operation called the Ritz. During my research for my book, Theatres of San Jose, I only found it listed in the City Directory for a few years, and never found any photos of it. I went to where the address number should have been, but all the buildings at that point in the block are so thoroughly remodeled, it was impossible to find any building that could have been the old Ritz.
A few more details, provided by Jack Tillmany: In the classified ads of Motion Picture World, October 30, 1915, there is one for a “fully equipped” movie theatre in Monticello, six months old, expenses $50, receipts $90-$100 per week, long lease. “Act quick,” heralds the ad. Julius D. Sampson is listed as the contact. Seating capacity is given as 260. It is later listed as being taken over by J. M. Johnson, and named Katherine by that time. So clearly, the lower floor functioned as a theatre from the start, in 1915, and perhaps got the Catherine name a little later. Catherine is listed as the operator, c. 1940. According to trade publication listings in Jack Tillmany’s collection, it was S. K. Stratos who renamed it the Jefferson. A June 1945 Film Daily magazine reports that it was “recently destroyed by fire” and “will be rebuilt.” This may be the time of the pouring of the new concrete walls remembered by locals, and included in the preceding post. Presumably it got its 500 seat capacity at that time.
The building which housed the Jefferson Theatre was constructed in 1914. It had two levels. Upstairs was a Masonic lodge. The original function of the ground floor is, at present, unknown, but the theatre opened on that level in the 1920s. At the time of the theatre’s opening, it was named the Catherine, after Catherine Johnson, the daughter of the operator. During its early years of exhibition, the theatre experienced two fires, both caused by nitrate film igniting. After one of these fires, concrete was poured to increase the structural resilience of the theatre’s siding. The theatre had a balcony, which was provided for African-American patrons. They had to use a separate entrance, which was located along the right side of the building. Near this side entrance, a drinking fountain and bathroom were located, for their use. However, if these patrons wanted snacks to eat during the show, they had to pay for these at the ticket window, and then a staff member would go and get the requested items, and hand them to the patron. The year of the Catherine’s last significant remodeling was 1938. The theatre first closed in 1940. In 1950, the theatre reopened with a new name, Jefferson, and continued to operate until the late 1960s. After a few years of closure, the Jefferson reopened in the early 1970s, but then closed some years later, for the final time. After the Masons had moved to new quarters in another building, the Masonic lodge upstairs was converted into a condominium for the Morris family, including a room which was provided with bunk beds for use when child relatives came to visit. It was in this condominium that Sharon Morris—source of much of this information—grew up. The next owner of the building still lives up there. The ground floor has been completely remodeled into offices for an investment firm. Framed reprints of classic movie posters adorn the walls, giving a clue to the building’s former use.*************The preceding information was furnished to this writer by Monticello resident and film historian, Ed Hurley, who gleaned much of it from Sharon Morris, granddaughter of the Jefferson’s owner during the 1970s. Additional information comes from Monticello historian, Dee Count.
The name Minski’s should certainly be removed from the title of this theatre’s page, as—according to the history researched by Joe Vogel, the Minski name was only applied to the theatre for one year.