AFI Silver Theatre
8633 Colesville Road,
Silver Spring,
MD
20910
8633 Colesville Road,
Silver Spring,
MD
20910
15 people
favorited this theater
Operated by the American Film Institute, the AFI Silver Theatre is a film house and education and cultural center. Arthouse films, classics, and film festivals are presented in the historic theatre that opened in 1938 and in the two auditoriums that opened in 2003. The AFI Silver is near the Silver Spring stop of Metro’s Red line. Silver Spring is a suburb of Washington, D.C.
The Silver Theatre opened September 15, 1938, with 1,100 seats and “Four Daughters” starring John Garfield and Claude Rains. The Silver was built by a local movie theatre operator W.S. Wilcox, but quickly turned over to Warner Bros. The theatre was designed by fame theatre architect John Eberson, one of his later classics. The historic building has a nautical theme including its mast like vertical sign and imitation portholes. When seen from above, the building mimics the lines of a ship. Eberson designed it to give moviegoers the feeling they are entering a cruise ship. The movie screen was designed to appear as if it were floating in front of the auditorium.
In 1984, objecting to the preservation of the theatre, its owners demolished some of the facade including the vertical neon town and tile mosaics. As demolition crews punched holes in the brick facade in August 1984, frantic Silver Spring residents rushed to the theatre to plead that demolition be halted. A ‘stop work’ order from Montgomery County saved the theatre from demolition at that time. The infamous, deliberate vandalism of the theatre by its owners became a rallying call to those who cherished it. K-B Theatres closed the Silver Theatre in 1985. Boarded up, its fate was uncertain. The Silver Theatre was added to the National Register of Historic Places in 1988.
Richard Striner, a founder and former president of the Art Deco Society of Washington led a 19 year campaign to save the theatre. In 1998, Montgomery County began negotiations with the American Film Institute to reopen the theatre. The AFI were previously based at Washington D.C.’s Kennedy Center since 1975. Renovations by Gensler Architects at the Silver began in 2001. The five year construction project cost twenty million dollars and was totally funded by Montgomery County. County executive Douglas M. Duncan led the charge to fund the theatre’s rehabilitation. The AFI Silver is the flagship (pun intended) of a one million public & private rejuvenation of the downtown Silver Spring.
The historic Silver Theatre was ‘rehabilitated’ rather than replicated, because it isn’t an exact replica as it was. The original blueprints were discovered, and reviewed, along with vintage photographs. When built, the theatre had 60 colors in the interior. The reincarnation has 40 colors including the blues, yellows, reds and deep browns typical of 1930’s Art Moderne. Peacocks and shells can be seen on the wall decor. A new larger screen was placed in front of the original smaller screen. The original carpet was replicated.
The rehabilitation project features 32,000 square feet of new construction housing two new stadium theatres, a film-based retail kiosk, office and meeting space, as well as reception and exhibit areas.
The AFI Silver reopened April 4, 2003 with a gala including a screening of the restored classic “The Oxbow Incident” and actor/director Clint Eastwood receiving the AFI Silver Legacy Award. With photographs of its facade and auditoriums, the AFI Silver Theatre is depicted in the 2004 book ‘Cinema Treasures, A New Look at Classic Movie Theaters’.
As of 2007, historic Auditorium 1 has 400 seats in its raked auditorium, an electric organ to accompany silent films, projection equipment that includes 70mm projectors, and a very large movie screen that is 41 feet wide and 18 feet tall. Auditorium 2 has 200 seats, stadium seated, and a very large movie screen that is 37' x 19'. Auditorium 3 has 75 seats, stadium seating, and a 27' x 14' screen. All auditoriums have digital surround sound, are THX certified, and have curtains to open and close before the movie.
Concessions that can be enjoyed in the cafe or auditoriums include beer and wine, in addition to food and other drinks.
Contributed by
Ray Barry, Howard B. Haas
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Recent comments (view all 172 comments)
even though I just received the blu-ray of ‘Cleopatra’ which is glorious looking – AFI should have shown the 70mm print of that during the most recent Elizabeth Taylor retrospective. I’d love to see ‘Those Magnificent Men in their Flying Machines’ ‘Vertigo’ ‘South Pacific’ ‘Lord Jim’ ‘Oklahoma!’ ‘Ryan’s Daughter’
oh I forgot, in regards to the 70mm print of ‘Lifeforce’ the print looked a bit dodgy, but the sound.. oh the sound, my jaw was on the floor, by the time the film reached it wild over the top conclusion my ears felt like they had rocketing off my head – wow!, WOW!!
I’m sure any 70mm showings would be with existing prints…which would really limit the Star Treks (all were 35mm blow ups too). Any 70mm print struck before 1983 would also be very pink.
As for 2001 and Lawrence…they play so much due to availability…Warner Bros and Columbia keep those prints in stock as they do get a return on investment. Lawrence was also restored so its INs are readily available and one need not go through another check-print phase…driving the cost up.
But let them know what you want.
How expensive is it to make a new print of the older movies? A few thousand? I imagine 70mm would be a little more, of course.
With the director’s edition of TMP, they must have a digital version of it, from which to strike a new print, or go to the original source negatives. Of course, the investment would need recouping. One would think with the popularity of the reboot, revisiting the classic cast would be a no-brainer.
One sound effect I love about 70mm 6 track presentations is when the movies use that sssHHHHHHHHHH transitional sound effect. It gives me goose bumps. Lifeforce has it in the title sequence, Cocoon has it as the film transitioned from space, to earth and sea. Star Trek 3 has it in the opening after the Paramount logo and Brainstorm has it at the end, during the ascension light show sequence at the end.
Hello Dolly is playing here on 3/24, in 70mm. One measly day. I hope to make it that day. Maybe AFI will reconsider and have more showings. I hope that print isn’t pinked out.
Hello Dolly would be from a relatively recent print (it has played the AFI/Silver before).
I plan on seeing Dolly again, the prior screening was gorgeous, when she comes down the restaurant stairs I thought she was going to walk right off the screen.
I was lucky this time and was able to catch the 70mm version of ‘Hello Dolly.’ Not surprisingly, there were quite a few patrons in spite of the bad weather. I do not recall seeing the film in its entirety even when it would run on tv, specifically, ABC’s movie of the week, in the 70s. Overall, we had a good time watching this classic.
The film looked quite good. Colors were bright but I did notice some contrasting dark parts around the perimeter of the movie in some parts. For example, during the parade scene, you could see the vibrant colors of the costuming, particularly nice bright reds. Yet, if you look at the sky above, it was grey as if a storm were approaching. Not sure if it was just the source negative that faded, but you’d expect color correction if the print was from a digital source, as is with the newer restorations.
Sound was decent as well. I noticed in the beginning when Walter Matthau’s character talked and moved to the left, his voice travelled ‘following him.’ I didn’t notice surrounds though. It seemed as if everything played from the screen. Was this the way the film originally played in the same 6-track format? Or, was the surround switch turned off from the projection booth. :)
The best 70mm presentations I have experienced, even if the film’s story is bad, at least treated one to an immersion of sight and sound, with the surround track and booms. Being a musical, I expected to be surrounded by orchestral instruments with Streisand’s voice filling up the auditorium.
As to the summer 70mm festival, I did send in my suggestion but received no response, as usual. I suspect when they do get to running it, it will be the usual films like 2001 and Lawrence of Arabia, which according to a recent posting on in70mm.com, is to have a celebratory anniversary re-release soon.
the ‘Lawrence’ re-release is to coincide with the bluray release (street date TBA but rumoured later this year).
As for ‘Hello, Dolly!’ – I thought this second presentation I saw looked better, in terms of color. although there is still an abrupt odd cut in the opening store scene between Barnaby and Cornelius.
I agree I thought the sound seemed a bit off, notably the surrounds being rather non-present. I also thought the treble from the front speakers was a tad too bright at times. In terms of the audio, Todd-AO sound and most 6-track sound at the time was five front channels plus mono surround, so yes, the music and dialogue has a wide directional presense.
In70mm reports a 70mm festival here. Unfortunately, the hyperlink just goes back to the theater webpage. No information as of yet. Not even on the calendar. Someone is in the know and is not telling…hopefully, we’ll have some decent sci-fi this time. There is a new print of 2001 in 70mm. I suspect that will be booked yawn again.
Patton will be playing there on Memorial Sunday/Monday! They are going to try and get as many titles as possible.