“Biz is holding up so well for "Marty” at the arty Sutton Theatre that film rental on this United Artists release may be sufficient to pay off the $325,000 estimated negative cost.
Albert Greene who ran the Avenue U decided it would be a good idea to chrome plate 36,000 pennies to hand out as change to his patrons. The patrons were then asked drop one into a “Wagner bottle†in order to drive home his protest against the 5% admission tax imposed on theatres.
After a visit from the Treasury Men, Greene was warned that adding weight to coins was illegal and he should desist immediately a turn over all the altered pennies, of which 12,000 remeined. In an effort to undo the damage he offered two copper pennies for each chrome one returned.
Unfortunately neighborhood kids with chemistry sets caught on to the deal and “fake†chrome pennies started turning up in massive numbers.
Greene responded by running a trailer addressed to the “fathers of Junior Counterfeitersâ€
“We beg you to assert your parental authority on the chemistry genius in your family. Pul-e-e-ze tell your boys to stop producing synthetic chrome plated pennies. This is against the law, besides being of great annoyance to us. Show mom how firm you can be.â€
Once enough pennies had been returned, Greene decided to “strip†them of the chrome instead of turning them in and again ran afoul of the Treasury Department for tampering with the currency.
Once the stunt hit the news, neighborhood merchants started pitching in, helping to round up renegade chrome pennies, 1400 of which had ended up at the CBS “It’s News to me” show.
Ed, regarding your post of January 13, when I ran the Meadows the maskings had to moved manually. We used to set them up every Thursday night for the coming show. It is a shame that no one even bothers now.
Paramount theatre, Brooklyn, was focal point in a gruesome joke last Saturday when a man committed suicide by jumping out of a window and landing on the sidewalk in front of the house.
A little insight into better times from Variety, August 8, 1951
RIVALRY MOUNTS FOR B’WAY PIX: DEMANDS SOARING WITH HOT BIDDING
Product jams at a couple of spots and intensifying rivalry within the ranks of both distributors and exhibitors are resulting in sweeping departures from traditional booking practices in N.Y.’s showcase sector.
There’s a rift between United Paramount Theatres’ flagship house, the Paramount, and Paramount Pictures. UPT refused to go along on Par’s terms on “Rhubarb†and consequently the pic has been booked for Harry Brandt’s nearby Globe. Par’s “A Place in the Sun†is set for the Capitol marking the first time the Loews house will serve as a first-run outlet for Par.
Columbia and City Investing Co., operator of the Astor and Victoria, disclosed a deal yesterday (Tues.) for a continuing tieup. This is designed to guarantee the two theatres a constant source of supply and, of course, provides Col with important showcase outlets.
The long runs of Metro’s “The Great Caruso†and the current “Show Boat†are forcing three films, which normally would play the Hall, elsewhere, including “Place in the Sunâ€. Other two are Par’s “Here Comes the Groom†and Warners’ “Streetcar Named Desireâ€.
WB’S “Capt. Horatio Hornblowerâ€, which follows “Show Boat†at the Hall, also is expected to hold for a long run and this will further aggravate the booking jam Conditions… (article continues)
pmullins and cypress, as two CT members who have actually paid your $15 to help keep this place open in the past, I think you do undeniably hold the moral high ground.
“They seem only interested in finding another place to fulfill their sexual desires.”
Did you get that from a 42nd Street marquee?
By the way, Bollywood is mostly run by mobsters in India and the Fair was apparently kept open, not “defiled” by the porn fans who have kept this place open this long.
Deviant behaviour is in the eye of the beholder. Have you ever sat through a three and a half hour Bollywood war musical?
This Cinema Treasures member respects his fellow member’s rights to enjoy cinemas on their own terms without imposing false moral judgement. As any true showman will tell you, you play the film your audience will buy tickets for and leave personal feelings aside.
Warren, this Easter why not try recognising tolerance, for one day, as an alternative lifestyle. You may find it oddly rewarding.
The Gables triple and the Miracle Center never did co-exists as the second theatre opened way after Winn Dixie demolished the first. Although the Gables was a very successful theatre, property values made the sale inevitable. The replacement General Cinema (not AMC)next door was a failure probably due to that steep ramp mentioned by JWX. My car was an automatic and still struggled to get in. The last time I drove by the mall was a latin American style mess of tiny discount shops.
By the way, I have your attention on the popular Ridgewood thread, I have two more Manhattan sites I cannot locate.
The TAPIA operated in the early seventies showing arthouse/soft core films. By the name I assume it was in a Puerto Rican or otherwise hispanic neighborhood.
The HARRISON advertised in 1994 for a very short time.
PKoch, PHOTO DRAMA was a common generic name for movies back then so the sign may have just meant “Deluxe Movie Theatre Coming Soon”.
The Candler name may have been hastily used as it was in the Candler building. Once Cohen & Harris plays were introduced it switched to COHEN & HARRIS and eventually HARRIS.
Silent dramas do go back to the late 1800’s but I think THE BIRTH OF A NATION introduced full time movie theatres with full-time features in 1915 for the first time giving some movies equal status to plays. Otherwise they were shorts or novelty portions of stage acts, as in the case of Vaudeville.
If that is indeed the Candler, it opened with “Antony and Cleopatra” in early May 1914, then soon switched to plays. I suspect the other titles on that sign are from the same Italian producers as a NYT article says “Antony” was “from the same director as "Quo Vadis”.
Going back to Lost Memory’s post of March 27, my guess is that it is the Candler (Harris) next to Murray’s Restaurant on 42nd street. The actual building is, how do I say this, err…conspicuous by its absence.
It was already there by 1926 so this must be an opening postcard. I believe it was always Publix with the company eventually becoming Florida State Theatres, then ABC Florida State. By the time ABC became Plitt Theatres, the Olympia was already Gusman Hall having spent a few years of Blaxploitation and horror flicks.
This marquee had a platform that you could walk on once you climbed up. It was indeed huge and wide. The Sunny Isles and Loews 167th Street along the same stretch were also large, but not quite as wide as this one and had no platform.
I do remember these three vividly as I was older then and actually managed the Sunny Isles for several years and often changed the marquee myself, a dangerous exercise on windy Florida night.
I think it was more of a sixties thing than a particular Wometco trademark.
A photo of the marquee as the THE READE can be found in a NY times article January 1, 1973 (Subway noise Threatens Read Theatre Opebing). THE READE never opened and Walter Reade theatres walked away when the subway noise problem proved impossible to solve.
A “Harrison” theatre advertised in 1994 as being on 89th and Broadway. Does anyone know what venue that may have been?
A “Harrison” theatre advertised in 1994 as being on 89th and Broadway. Does anyone know what venue that may have been?
That’s the one! Thanks guys, I will figure it out some day.
A British newspaper covers midgnight movies and EL TOPO at the Elgin.
View link
My previous post appears to be missing, but anyway, the Tapia name I was enquiring about appears in ads in the early seventies.
Warren, thanks for posting those porn ads on the Cinemart page. I guess you were being funny after all!
Variety June 22, 1955
“Biz is holding up so well for "Marty” at the arty Sutton Theatre that film rental on this United Artists release may be sufficient to pay off the $325,000 estimated negative cost.
According to a July 1928, 1954 Variety story:
(CHROMED PENNIES DRAW T-MEN TO B'KLYN THEATRE)
Albert Greene who ran the Avenue U decided it would be a good idea to chrome plate 36,000 pennies to hand out as change to his patrons. The patrons were then asked drop one into a “Wagner bottle†in order to drive home his protest against the 5% admission tax imposed on theatres.
After a visit from the Treasury Men, Greene was warned that adding weight to coins was illegal and he should desist immediately a turn over all the altered pennies, of which 12,000 remeined. In an effort to undo the damage he offered two copper pennies for each chrome one returned.
Unfortunately neighborhood kids with chemistry sets caught on to the deal and “fake†chrome pennies started turning up in massive numbers.
Greene responded by running a trailer addressed to the “fathers of Junior Counterfeitersâ€
“We beg you to assert your parental authority on the chemistry genius in your family. Pul-e-e-ze tell your boys to stop producing synthetic chrome plated pennies. This is against the law, besides being of great annoyance to us. Show mom how firm you can be.â€
Once enough pennies had been returned, Greene decided to “strip†them of the chrome instead of turning them in and again ran afoul of the Treasury Department for tampering with the currency.
Once the stunt hit the news, neighborhood merchants started pitching in, helping to round up renegade chrome pennies, 1400 of which had ended up at the CBS “It’s News to me” show.
Ed, regarding your post of January 13, when I ran the Meadows the maskings had to moved manually. We used to set them up every Thursday night for the coming show. It is a shame that no one even bothers now.
From Variety May 5, 1950
GRIM TRAILER
Paramount theatre, Brooklyn, was focal point in a gruesome joke last Saturday when a man committed suicide by jumping out of a window and landing on the sidewalk in front of the house.
Picture at the theatre was D.O.A.
A little insight into better times from Variety, August 8, 1951
RIVALRY MOUNTS FOR B’WAY PIX: DEMANDS SOARING WITH HOT BIDDING
Product jams at a couple of spots and intensifying rivalry within the ranks of both distributors and exhibitors are resulting in sweeping departures from traditional booking practices in N.Y.’s showcase sector.
There’s a rift between United Paramount Theatres’ flagship house, the Paramount, and Paramount Pictures. UPT refused to go along on Par’s terms on “Rhubarb†and consequently the pic has been booked for Harry Brandt’s nearby Globe. Par’s “A Place in the Sun†is set for the Capitol marking the first time the Loews house will serve as a first-run outlet for Par.
Columbia and City Investing Co., operator of the Astor and Victoria, disclosed a deal yesterday (Tues.) for a continuing tieup. This is designed to guarantee the two theatres a constant source of supply and, of course, provides Col with important showcase outlets.
The long runs of Metro’s “The Great Caruso†and the current “Show Boat†are forcing three films, which normally would play the Hall, elsewhere, including “Place in the Sunâ€. Other two are Par’s “Here Comes the Groom†and Warners’ “Streetcar Named Desireâ€.
WB’S “Capt. Horatio Hornblowerâ€, which follows “Show Boat†at the Hall, also is expected to hold for a long run and this will further aggravate the booking jam Conditions… (article continues)
I went to the Paris recently to see BREAKING AND ENTERING and the place was immaculate. It looked like a theatre that had just opened.
After the war, did anybody really care what was playing as long as the Rockettes were kicking up their heels?
Where were you when the lights went out?
Thanks for that Tapia ad.
I have another suspect now for the Tapia.
The PEERLESS, 314 East 148th Street.
pmullins and cypress, as two CT members who have actually paid your $15 to help keep this place open in the past, I think you do undeniably hold the moral high ground.
That is hilarious, Warren!
“They seem only interested in finding another place to fulfill their sexual desires.”
Did you get that from a 42nd Street marquee?
By the way, Bollywood is mostly run by mobsters in India and the Fair was apparently kept open, not “defiled” by the porn fans who have kept this place open this long.
Deviant behaviour is in the eye of the beholder. Have you ever sat through a three and a half hour Bollywood war musical?
This Cinema Treasures member respects his fellow member’s rights to enjoy cinemas on their own terms without imposing false moral judgement. As any true showman will tell you, you play the film your audience will buy tickets for and leave personal feelings aside.
Warren, this Easter why not try recognising tolerance, for one day, as an alternative lifestyle. You may find it oddly rewarding.
The Gables triple and the Miracle Center never did co-exists as the second theatre opened way after Winn Dixie demolished the first. Although the Gables was a very successful theatre, property values made the sale inevitable. The replacement General Cinema (not AMC)next door was a failure probably due to that steep ramp mentioned by JWX. My car was an automatic and still struggled to get in. The last time I drove by the mall was a latin American style mess of tiny discount shops.
So could the TAPIA be the Vandberbilt Live Theatre(1931-1933?)
148 West 48th stree??
By the way, I have your attention on the popular Ridgewood thread, I have two more Manhattan sites I cannot locate.
The TAPIA operated in the early seventies showing arthouse/soft core films. By the name I assume it was in a Puerto Rican or otherwise hispanic neighborhood.
The HARRISON advertised in 1994 for a very short time.
PKoch, PHOTO DRAMA was a common generic name for movies back then so the sign may have just meant “Deluxe Movie Theatre Coming Soon”.
The Candler name may have been hastily used as it was in the Candler building. Once Cohen & Harris plays were introduced it switched to COHEN & HARRIS and eventually HARRIS.
Silent dramas do go back to the late 1800’s but I think THE BIRTH OF A NATION introduced full time movie theatres with full-time features in 1915 for the first time giving some movies equal status to plays. Otherwise they were shorts or novelty portions of stage acts, as in the case of Vaudeville.
If that is indeed the Candler, it opened with “Antony and Cleopatra” in early May 1914, then soon switched to plays. I suspect the other titles on that sign are from the same Italian producers as a NYT article says “Antony” was “from the same director as "Quo Vadis”.
PHOTO DRAMA THEATRE DELUXE
Going back to Lost Memory’s post of March 27, my guess is that it is the Candler (Harris) next to Murray’s Restaurant on 42nd street. The actual building is, how do I say this, err…conspicuous by its absence.
What a great postcard!
It was already there by 1926 so this must be an opening postcard. I believe it was always Publix with the company eventually becoming Florida State Theatres, then ABC Florida State. By the time ABC became Plitt Theatres, the Olympia was already Gusman Hall having spent a few years of Blaxploitation and horror flicks.
Harvey,
This marquee had a platform that you could walk on once you climbed up. It was indeed huge and wide. The Sunny Isles and Loews 167th Street along the same stretch were also large, but not quite as wide as this one and had no platform.
I do remember these three vividly as I was older then and actually managed the Sunny Isles for several years and often changed the marquee myself, a dangerous exercise on windy Florida night.
I think it was more of a sixties thing than a particular Wometco trademark.
A photo of the marquee as the THE READE can be found in a NY times article January 1, 1973 (Subway noise Threatens Read Theatre Opebing). THE READE never opened and Walter Reade theatres walked away when the subway noise problem proved impossible to solve.