Boris, the Brattle did indeed show CinemaScope anamorphic films in the 1960s and beyond. I can recall seeing “Jules and Jim,” “The 400 Blows,” “La Dolce Vita”…all Scope ratio films…and others here during that period. And they show them today, via rear projection and without distortion…e.g. “The Leopard” and the revival of “La Dolce Vita.”
Regarding spelling and to confuse the issue further: I have in front of me a 1982 newspaper ad for The Public Theatre (not “theater”) and a ticket stub as well from the showing of “Careless” I attended in 1982. On it is printed: Public Theatre and Little Theatre—-both “-tre.” Their program flyer for the same period, however, says “Public Theater.”
When it was Anthology Film Archives (now located on 2nd Avenue) they were such purists here that, whenever possible, they avoided showing foreign language film prints that had subtitles, because they would distract from the integrity of the image. Rossellini’s “Francesco, giullare di Dio,” for example, was only shown in an Italian-language print without subtitles. I believe they owned it. You had to either know the language or rely on a synopsis.
I have no problems with calling it Little Theatre, since that was the designation used to refer to it within the larger complex, although that was NOT its name. No New York theatre was known as “Little Theatre.” If you asked someone in New York where they had seen a movie, and they said “Little Theatre,” that would be a puzzling response indeed. If they said “The Public Theatre,” you would know what they were talking about. Some special film programs, incidentally, took place not at the “Little Theatre” but at a larger one in the complex. None of this would be an issue if ALL the auditoriums were film venues and “The Public Theatre” meant “The Public Cinema.” But because live theatre is predominant, it seems we have to somehow separate the cinema portion for a site called Cinema Treasures.
Should the Museum of Modern Art auditoriums be listed as Roy and Niuta Titus Theatres I & II?
The Little Theatre at the Public had a steep stadium-style rake long before that became the thing in multiplex movie-houses.
Regarding the theatre’s name: in ads and publicity and in a logo, this was generally referred to as The Public Theatre or The Public…with the definite article included.
I have many memories of seeing films here during the venue’s several-decades-long life. One of the auditoriums was used for live theatre productions, such as Joseph Papp’s New York Shakespeare Festival. The “Little Theatre” is, I believe, now also used for that purpose.
Many Italian films of merit were shown here. I remember a belated American premiere run in 1982 of Bolognini’s moody and atmospheric 1961 “Senilità ”—-renamed “Careless” for its run here. I saw a number of Rossellini films here: “The Age of the Medici,” a rare screening of his “The Messiah,” with an introduction by daughter Isabella, a presentation of Francesco Rosi’s “Neapolitan Diary” with the director on hand, a retrospective of Mario Monicelli films with the director introducing.
Some hard-to-see Luis Buñuel films made in Mexico were offered to filmgoers here. There was so much more, and I would like to check my files to refresh my memory. Perhaps other New York film buffs may want to add their recollections of this unique cinema.
Under Schwartz’s tutelage the programs here were imaginative and exciting. In the mid-1980s I was asked by him to program a couple of series of rare Italian films there, many of them unseen in decades, and I had a good deal of enjoyment doing that. (I had had some experience running the Italian Film Society of R.I. and had access at that time to some rarer prints.)
When it was the Gemini I visited this place once in October 1979 to see the then oh-so-popular Laura Antonelli baring all she had in the Italian film “The Divine Nymph,” a rather poor film apart from the baring.
Gerard Damiano’s “The Devil in Miss Jones” played here in May, 1973. As with a number of porn theatres of the time they used 35mm prints. Interesting that a film like this would be advertised with the director’s name prominently featured in ads. Other 35mm porno films shown during this pre-video period were “Behind the Green Door” and “Teenage Cheerleaders.”
Br, yes, I believe it was located between 61st and 62nd Street on the west side of First Avenue. So the street address you gave is probably correct.
The only film I ever saw there was Akira Kurosawa’s “Dodes'ka-den” in October of 1974. Other films that played there were “First Position” (“A Dancer’s Life”), Renoir’s “The Little Theatre of Jean Renoir” and the Cuban film by Alea, “Memories of Underdevelopment.”
Ron, the ICA Cinema on Boylston Street, which probably merits its own listing, had the worst sight lines imaginable. Unless you sat in the very first row, you were doomed to having your view of the screen, and inevitably any subtitles, partially blocked by heads. This was a bad feature of their otherwise fantastic complete Pasolini retrospective.
I visited this theatre once only, in March of 1976, to see “Scent of a Woman,” the original Italian version (“Profumo di donna”) starring Vittorio Gassman.
The film and discussion session with legendary director Nicholas Ray took place on the evening of January 2, 1975. Mr. Ray fielded questions after the showing of the documentary on his life and career by David Helpern, “I’m a Stranger Here Myself.” Ray died four years later of lung cancer in 1979.
In its Cinema Italia phase, when the theatre was leased and programmed by Mr. Rolando Petrella of the local Italian-language radio programs, many popular Italian films of wide appeal to the Italian-speaking audience were shown, generally without subtitles. The Italian comic Totò was a standard favorite and would always draw larger audiences. In March of 1967 a film of his, the 1954 “Miseria e nobilità ” (co-starring a young Sophia Loren) played here alongside the non-Totò “Il conte di Matera.” The general American film-going audience never really knew Totò except from art-house fare like Monicelli’s “Big Deal on Madonna Street” and Pasolini’s “The Hawks and the Sparrows.” In recent years, however, there have been Totò retrospectives and tributes at places like the Museum of Modern Art and the Walter Reade Theatre in New York.
When Joseph Strick’s film “James Joyce’s Ulysses” played here in March of 1967, the unheard-of admission price (for that time) was $5.50! That was about two to three times what normal admission prices were in the area.
I visited this theatre only once, to see a specially-touted revival of David Lean’s “Great Expectations” in July of 1964. Was this at the start of the new art/revival policy?
The Bijou Cinema has closed as of Saturday, November 20, 2004. For the reasons see their website http://bijoucinema.org/ Among the last films shown, appropriately, was a revival of “The Last Picture Show.” No admission was charged.
Boris, the Brattle did indeed show CinemaScope anamorphic films in the 1960s and beyond. I can recall seeing “Jules and Jim,” “The 400 Blows,” “La Dolce Vita”…all Scope ratio films…and others here during that period. And they show them today, via rear projection and without distortion…e.g. “The Leopard” and the revival of “La Dolce Vita.”
Regarding spelling and to confuse the issue further: I have in front of me a 1982 newspaper ad for The Public Theatre (not “theater”) and a ticket stub as well from the showing of “Careless” I attended in 1982. On it is printed: Public Theatre and Little Theatre—-both “-tre.” Their program flyer for the same period, however, says “Public Theater.”
When it was Anthology Film Archives (now located on 2nd Avenue) they were such purists here that, whenever possible, they avoided showing foreign language film prints that had subtitles, because they would distract from the integrity of the image. Rossellini’s “Francesco, giullare di Dio,” for example, was only shown in an Italian-language print without subtitles. I believe they owned it. You had to either know the language or rely on a synopsis.
I have no problems with calling it Little Theatre, since that was the designation used to refer to it within the larger complex, although that was NOT its name. No New York theatre was known as “Little Theatre.” If you asked someone in New York where they had seen a movie, and they said “Little Theatre,” that would be a puzzling response indeed. If they said “The Public Theatre,” you would know what they were talking about. Some special film programs, incidentally, took place not at the “Little Theatre” but at a larger one in the complex. None of this would be an issue if ALL the auditoriums were film venues and “The Public Theatre” meant “The Public Cinema.” But because live theatre is predominant, it seems we have to somehow separate the cinema portion for a site called Cinema Treasures.
Should the Museum of Modern Art auditoriums be listed as Roy and Niuta Titus Theatres I & II?
The Little Theatre at the Public had a steep stadium-style rake long before that became the thing in multiplex movie-houses.
Regarding the theatre’s name: in ads and publicity and in a logo, this was generally referred to as The Public Theatre or The Public…with the definite article included.
I have many memories of seeing films here during the venue’s several-decades-long life. One of the auditoriums was used for live theatre productions, such as Joseph Papp’s New York Shakespeare Festival. The “Little Theatre” is, I believe, now also used for that purpose.
Many Italian films of merit were shown here. I remember a belated American premiere run in 1982 of Bolognini’s moody and atmospheric 1961 “Senilità ”—-renamed “Careless” for its run here. I saw a number of Rossellini films here: “The Age of the Medici,” a rare screening of his “The Messiah,” with an introduction by daughter Isabella, a presentation of Francesco Rosi’s “Neapolitan Diary” with the director on hand, a retrospective of Mario Monicelli films with the director introducing.
Some hard-to-see Luis Buñuel films made in Mexico were offered to filmgoers here. There was so much more, and I would like to check my files to refresh my memory. Perhaps other New York film buffs may want to add their recollections of this unique cinema.
Br,
No, I can tell you with certainty that the Thalia Soho also showed 35mm prints because I attended some there and because we (see my posting above) loaned them 35mm prints of out-of-circulation Italian films (among others: Léonide Moguy’s “Tomorrow is Too Late” with Pier Angeli) and because there were numerous 35mm prints in the Thalia/Schwartz collection from which the theatre programmed liberally and that we ourselves borrowed from Richard in return. Their theatre van was used to deliver and pick up prints in order to save on shipping charges. In our collaboration a Schwartz employee came all the way up to Rhode Island with the van. Yes, they owned, rented, and showed a good deal of 16mm, but not exclusively. The Schwartz film collection went to UCLA Film Archives after his death, but even now, I believe it is once a year, a film program takes place at the Anthology Film Archives in Schwartz’s memory using films from his former collection.
Under Schwartz’s tutelage the programs here were imaginative and exciting. In the mid-1980s I was asked by him to program a couple of series of rare Italian films there, many of them unseen in decades, and I had a good deal of enjoyment doing that. (I had had some experience running the Italian Film Society of R.I. and had access at that time to some rarer prints.)
A short hop from there is the Queensboro Bridge. In the late 1960s there was talk of the Cinémathèque Française constructing a New York branch of the famous Paris institution in the form of a screening facility beneath the Manhattan end of the bridge’s concrete support structure. That, of course, never materialized, but what a great idea!
When it was the Gemini I visited this place once in October 1979 to see the then oh-so-popular Laura Antonelli baring all she had in the Italian film “The Divine Nymph,” a rather poor film apart from the baring.
Gerard Damiano’s “The Devil in Miss Jones” played here in May, 1973. As with a number of porn theatres of the time they used 35mm prints. Interesting that a film like this would be advertised with the director’s name prominently featured in ads. Other 35mm porno films shown during this pre-video period were “Behind the Green Door” and “Teenage Cheerleaders.”
No…I also saw Toshio Matsumoto’s “Funeral Parade of Roses” here on June 9, 1973.
Br, yes, I believe it was located between 61st and 62nd Street on the west side of First Avenue. So the street address you gave is probably correct.
The only film I ever saw there was Akira Kurosawa’s “Dodes'ka-den” in October of 1974. Other films that played there were “First Position” (“A Dancer’s Life”), Renoir’s “The Little Theatre of Jean Renoir” and the Cuban film by Alea, “Memories of Underdevelopment.”
Ron, the ICA Cinema on Boylston Street, which probably merits its own listing, had the worst sight lines imaginable. Unless you sat in the very first row, you were doomed to having your view of the screen, and inevitably any subtitles, partially blocked by heads. This was a bad feature of their otherwise fantastic complete Pasolini retrospective.
I visited this theatre once only, in March of 1976, to see “Scent of a Woman,” the original Italian version (“Profumo di donna”) starring Vittorio Gassman.
The theatre was named the Starcase Cinema after the mid-1970s.
…but was the Cumberland Twin when I saw “Bite the Bullet” in 1975.
Titles of films weren’t given in newspaper ads. I guess they just changed stuff once a week.
The film and discussion session with legendary director Nicholas Ray took place on the evening of January 2, 1975. Mr. Ray fielded questions after the showing of the documentary on his life and career by David Helpern, “I’m a Stranger Here Myself.” Ray died four years later of lung cancer in 1979.
In its Cinema Italia phase, when the theatre was leased and programmed by Mr. Rolando Petrella of the local Italian-language radio programs, many popular Italian films of wide appeal to the Italian-speaking audience were shown, generally without subtitles. The Italian comic Totò was a standard favorite and would always draw larger audiences. In March of 1967 a film of his, the 1954 “Miseria e nobilità ” (co-starring a young Sophia Loren) played here alongside the non-Totò “Il conte di Matera.” The general American film-going audience never really knew Totò except from art-house fare like Monicelli’s “Big Deal on Madonna Street” and Pasolini’s “The Hawks and the Sparrows.” In recent years, however, there have been Totò retrospectives and tributes at places like the Museum of Modern Art and the Walter Reade Theatre in New York.
When Joseph Strick’s film “James Joyce’s Ulysses” played here in March of 1967, the unheard-of admission price (for that time) was $5.50! That was about two to three times what normal admission prices were in the area.
I visited this theatre only once, to see a specially-touted revival of David Lean’s “Great Expectations” in July of 1964. Was this at the start of the new art/revival policy?
This was still the Jerry Lewis Cinema when I saw “Gimme Shelter” here in November of 1971.
The Bijou Cinema has closed as of Saturday, November 20, 2004. For the reasons see their website http://bijoucinema.org/ Among the last films shown, appropriately, was a revival of “The Last Picture Show.” No admission was charged.
What a name! Sounds like it could have easily made the transition to a porn house. Er, sorry.
This should also be listed under the alternate name “Galeria Cinema” since that is what it opened as…“Galeria” with one l.
I saw a pile of films here in the spring 1981, a year when the theatre was one of several used for FILMEX.