Shows up in a September 1, 1918 NY Times full page ad for Paramount and Artcarft product.
“It is just as important to project the right sort of pictures ‘over here’ as it is to fire the right sort of cartridges ‘over there’"
reads the WWI ad.
In August 1956 the NYT announced plans by Walter Reade to reopen the theatre, an easy reconvert by removing a false floor put in the bank. The theatre is then listed as having 599 seats.
(BY WAY OF REPORT; ‘War and Peace’ Is Due At Capitol—Addenda
By A.H. WEILER. New York Times (1857-Current file). New York, N.Y.: Apr 15, 1956. p. 121 (1 page))
This plan was scrapped when new zoning laws would no longer allow it, hence the sale of the property to the archdioces soon after.
I work with Steve in London. He is the CEO of Cineworld Cinemas, a British chain he started from scratch in 1996 that built 34 multiplexes in ten years. In 2004 Cineworld bought UGC Cinemas and is now 79 theatres strong. www.cineworld.co.uk
Cineplex Odeon tried to multiplex the Ziegfeld and triplex the National. Their respective landlords would not allow it. Whatever their motivation, common sense prevailed.
Ah, yes, to go back to the days when I was a manager in NY and we had reel to reel…
The refunds we gave out when the projectionist fell asleep at the Waverly.
The abuse I got from when he passed out drunk at the Bay.
The beating I received when he disappeared from the booth altogether at the Fresh Meadows and that infamous BACKDRAFT World Premiere at the Ziegfeld!
Cineplex Odeon named it Park & 86th Street even though it was closer to Lexington because they thought Park sounded classier. They also refused 86th & Park for the same reason.
The previous name, RKO 86th Street Twin (opened December 22, 1971) should be added here.
Gee Hal. “It’s all about the money?” When super budget productions like WEST SIDE STORY, BEN-HUR, 2001: A SPACE ODYSSEY and LAWRENCE OF ARABIA were produced they were even bigger risks than today’s films which can generate millions in a weekend. It was even more about the money then when one screw-up on Broadway could mean 50% of the film’s world wide gross. These older classics were often ruined by bad projectionists, rude customers (juvenile delinquents, we called them) and careless sloppy staff. If you really want to remember how cattle were herded in the good old days go to a Christmas show at Radio City Music Hall.
I think if you read the posts above, The Ziegfeld suffers from none of these and I cannot say the same was the case during the Walter Reade/Cineplex Odeon days.
I think your memories are rose coloured and you need let go and give credit where it is due! Most new cinemas have great presentation. It is most of the movies that tend to be crap and make this series so special.
I see there are two Globes here (is the other one listed?). The one on 46th street went legit in 1957 after showing A FACE IN THE CROWD possibly prompting the PALACE decision to drop Vaudeville and play better films.
This one opened Russ Meyers VIXEN and THE MAGIC CHRISTIAN and may have been the FULTON for a while in the late 40’s. Can anyone confirm or correct me?
Sorry for the delay on this, br. When I left NY, little work had been done that could damage the Kenmore interior aside from that associated with the thankfully rather cheap quading efforts. The chandelier was intact and most auditorium features were worn but otherwise untouched. The lobby mirror wall was intact and the balcony level trimings were still impressive aside from the occassional bullet hole. Aside from some the corridor dry wall coverings (a Cineplex Odeon norm here and at the Met) which allowed elements behind to remain, the place was quite delicately refurbished. The upstairs lobby ceilings were worn though beautifully intricate but the bathrooms were all beat to death. A massive (and scary) basement and backstage area remained with some dressing rooms. The coal furnace was still being fed by human hands and serviced by a coal shoot from the sidewalk.
I am not sure what damage has been done since, but I can assure you Cineplex Odeon did little harm. For all their faux marble crimes in Manhattan, their Brooklyn conversions were generally reseating and cleaning if only for cost reasons.
The Roxy is listed in the 1934 Year Book of Motion Pictures as having 725 seats.
The Paramount is listed in the 1934 Year Book of Motion Pictures as having 1509 seats.
The Mayfair is listed in the 1934 Year Book of Motion Pictures as having 700 seats.
The 1934 Yearbook lists this place as having 1350 seats.
I saw BILLY HILL, the failed Gerome Ragni play here in previews. I don’t think it ever left Miami after well deserved scathing reviews.
I believe it may be this furniture store:
Inspiration Furniture By Scan Design
3025 Sunny Isles Blvd North Miami Beach, FL 33160 (305) 944-8080
If the Theatre St. Marks rates a listing under the name THEATRE surely this should be changed to Cinema Studio.
In Christmas of 1922 the Stadium joined the wide release of Mary Pickford’s TESS OF THE STORM COUNTRY…and I mean wide.
33 runs in Manhattan alone.
Shows up in a September 1, 1918 NY Times full page ad for Paramount and Artcarft product.
“It is just as important to project the right sort of pictures ‘over here’ as it is to fire the right sort of cartridges ‘over there’"
reads the WWI ad.
In August 1956 the NYT announced plans by Walter Reade to reopen the theatre, an easy reconvert by removing a false floor put in the bank. The theatre is then listed as having 599 seats.
(BY WAY OF REPORT; ‘War and Peace’ Is Due At Capitol—Addenda
By A.H. WEILER. New York Times (1857-Current file). New York, N.Y.: Apr 15, 1956. p. 121 (1 page))
This plan was scrapped when new zoning laws would no longer allow it, hence the sale of the property to the archdioces soon after.
I work with Steve in London. He is the CEO of Cineworld Cinemas, a British chain he started from scratch in 1996 that built 34 multiplexes in ten years. In 2004 Cineworld bought UGC Cinemas and is now 79 theatres strong. www.cineworld.co.uk
The address for this theatre was 3025 Interama Boulevard.
The address above is incorrect. The Gables was at 2112 Ponce de Leon.
The address above is incorrect. The Coral was at 2331 Ponce de Leon.
This is now known as OLYMPIA THEATRE AT GUSMAN HALL. Common sense prevails!
This is now being advertised as the WEST 34TH STREET in newspapers since AMC took over.
Shouldn’t LOEWS CINE be added to the former names here even though it only referred to part of the building?
Cineplex Odeon tried to multiplex the Ziegfeld and triplex the National. Their respective landlords would not allow it. Whatever their motivation, common sense prevailed.
Ah, yes, to go back to the days when I was a manager in NY and we had reel to reel…
The refunds we gave out when the projectionist fell asleep at the Waverly.
The abuse I got from when he passed out drunk at the Bay.
The beating I received when he disappeared from the booth altogether at the Fresh Meadows and that infamous BACKDRAFT World Premiere at the Ziegfeld!
Ah, the good old days…
Cineplex Odeon named it Park & 86th Street even though it was closer to Lexington because they thought Park sounded classier. They also refused 86th & Park for the same reason.
The previous name, RKO 86th Street Twin (opened December 22, 1971) should be added here.
Good grief, Warren.
Where do you get these great pics? You are the real treasure here!
Gee Hal. “It’s all about the money?” When super budget productions like WEST SIDE STORY, BEN-HUR, 2001: A SPACE ODYSSEY and LAWRENCE OF ARABIA were produced they were even bigger risks than today’s films which can generate millions in a weekend. It was even more about the money then when one screw-up on Broadway could mean 50% of the film’s world wide gross. These older classics were often ruined by bad projectionists, rude customers (juvenile delinquents, we called them) and careless sloppy staff. If you really want to remember how cattle were herded in the good old days go to a Christmas show at Radio City Music Hall.
I think if you read the posts above, The Ziegfeld suffers from none of these and I cannot say the same was the case during the Walter Reade/Cineplex Odeon days.
I think your memories are rose coloured and you need let go and give credit where it is due! Most new cinemas have great presentation. It is most of the movies that tend to be crap and make this series so special.
I see there are two Globes here (is the other one listed?). The one on 46th street went legit in 1957 after showing A FACE IN THE CROWD possibly prompting the PALACE decision to drop Vaudeville and play better films.
This one opened Russ Meyers VIXEN and THE MAGIC CHRISTIAN and may have been the FULTON for a while in the late 40’s. Can anyone confirm or correct me?
Something is not right here. The Globe was on 46th street, the Big Apple on 42nd and CANDY premiered at the Astor.
Sorry for the delay on this, br. When I left NY, little work had been done that could damage the Kenmore interior aside from that associated with the thankfully rather cheap quading efforts. The chandelier was intact and most auditorium features were worn but otherwise untouched. The lobby mirror wall was intact and the balcony level trimings were still impressive aside from the occassional bullet hole. Aside from some the corridor dry wall coverings (a Cineplex Odeon norm here and at the Met) which allowed elements behind to remain, the place was quite delicately refurbished. The upstairs lobby ceilings were worn though beautifully intricate but the bathrooms were all beat to death. A massive (and scary) basement and backstage area remained with some dressing rooms. The coal furnace was still being fed by human hands and serviced by a coal shoot from the sidewalk.
I am not sure what damage has been done since, but I can assure you Cineplex Odeon did little harm. For all their faux marble crimes in Manhattan, their Brooklyn conversions were generally reseating and cleaning if only for cost reasons.
Ad for 3 -strip Cinerama at the Florida, downtown Miami.
http://cinerama.topcities.com/florida.htm