I went to the Garden City Cinema mostly when it was a single screen theater. It showed mainstream and family films. One exception. “Something For Everyone” was a dark comedy starring Angela Lansbury, light years before her widespread popularity from television. The movie ad enticed me to go on opening night, and I enjoyed it tremendously. It played a short run there, and then vanished from circulation.
I rarely went to the Paris Cinema. No lobby. Small Screen. I didn’t like the theater at all. But, yes! I, too, saw “The Gang That Couldn’t Shoot Straight” at the Paris. I remember nothing about the movie except for Jo Van Fleet, who was very funny. Otto Preminger’s “Such Good Friends” also comes to mind. An awful film.
As I recall, the Art Cinema didn’t suddenly switch to exploitation films in the latter half of the sixties. It first tested the market with borderline ones, the kind with Jayne Mansfield and Mamie Van Doren. Their careers were in sharp decline at the time, but they were still name stars. The theater even dabbled in the avant guarde. “Scorpio Rising” and “Chafed Elbows” played there.
I didn’t think the Art Cinema ever showed children’s movies, at least beginning in 1960, except twice. “The Sword in the Stone” in 1963, and “A Hard Day’s Night” two years later. There were never matinees on Saturday, only on Sunday, and always after 2:00 P.M.
I always thought that the Paris Cinema had employed the same logo as the theater in New York to suggest perhaps that foreign films would play there. But, very few played there as I recall.
The theater was famous for showing “The Sound of Music” for such a long duration. But, does anyone remember the protest when it booked “Kiss Me, Stupid”? The film was “Condemned” by the Legion of Decency, and a controversy ensued. If I recall correctly, the film’s engagement there was abruptly halted.
The Elmwood was one of my favorite theaters in the sixties. I loved the marquee with the theater’s name written across the top. It showed mostly first run and roadshow productions, often with reserved seating (!). They played for extended periods, and the ticket prices were considered expensive. The theater just seemed to have so much class. One of the last movies that I saw there was Luschino Visconti’s “The Damned”, a film about the decadence of the rich and powerful in Nazi Germany. My cousin fell asleep, and I had to nudge him when the movie ended.
You’re right. It was a bit out-of-the-way. I recall that my mother and father would refer to the theater as “way down Broad Street.” Furthermore, as you stated, business probably peaked in the early sixties. The film that played one of the longest engagements there was “La Dolce Vita.” After a successful first run at the Majestic, it opened at the Art Cinema in November, 1961. Every Friday, the newspaper ran a large ad with the addendum “Held Over!” printed above it. On the occasion of its fifth week, the theater pulled its usual ad that Friday, the one with Anita Ekberg holding a kitten, and replaced it with a more provocative one, Anita Ekberg in a long strapless dress, girating. It most certainly stood out from all the other bland advertisements on the page. When the movie finally ended its run, yet another controversial film followed, “A Cold Wind in August.” Do you remember that one?
Gerald DeLuca,
Thank you, I enjoyed the photos. Perhaps you will remember this. The Art Cinema had a sign or inscription permanently printed on each side of the marquee (and I think on the front, as well) that stated “Distinctive Fare from the Film Capitals of the World” or something like that. It was an apparent reference to the many foreign films that played there.
My first visit to the Art Cinema was in May, 1966. The feature presentation was “To Die in Madrid,” a documentary about the Spanish Civil War. The co-feature was a British comedy with Peter Sellers, “Two Way Stretch,” made early in his career. However, I was too young at the time, in my early teens, to appreciate either film. What I especially remember is the number of patrons in the theater that evening that I could count on one hand. Even then, I wondered how the theater would stay in business with such low attendance. The answer, of course, came the following year. By fall of 1967, the Art Cinema was regularly showing exploitation films, a precursor to the soft core variety which played a couple of years later.
Memories of the Art Cinema. Growing up in the 1960s, I just loved to read the movie page. But what fascinated me most were the ads for the Art Cinema (and, after that, those of the Avon). It showed the most unusual movies, usually foreign, but also unconventional American films as well. In fact, in those days, any motion picture that was on the “C-Condemned” list of the Catholic Church was eventually booked at the Art Cinema. The newspaper ads for these films were quite intriguing to me, even though I was too young for admission.
I went to the Garden City Cinema mostly when it was a single screen theater. It showed mainstream and family films. One exception. “Something For Everyone” was a dark comedy starring Angela Lansbury, light years before her widespread popularity from television. The movie ad enticed me to go on opening night, and I enjoyed it tremendously. It played a short run there, and then vanished from circulation.
I rarely went to the Paris Cinema. No lobby. Small Screen. I didn’t like the theater at all. But, yes! I, too, saw “The Gang That Couldn’t Shoot Straight” at the Paris. I remember nothing about the movie except for Jo Van Fleet, who was very funny. Otto Preminger’s “Such Good Friends” also comes to mind. An awful film.
As I recall, the Art Cinema didn’t suddenly switch to exploitation films in the latter half of the sixties. It first tested the market with borderline ones, the kind with Jayne Mansfield and Mamie Van Doren. Their careers were in sharp decline at the time, but they were still name stars. The theater even dabbled in the avant guarde. “Scorpio Rising” and “Chafed Elbows” played there.
I didn’t think the Art Cinema ever showed children’s movies, at least beginning in 1960, except twice. “The Sword in the Stone” in 1963, and “A Hard Day’s Night” two years later. There were never matinees on Saturday, only on Sunday, and always after 2:00 P.M.
I always thought that the Paris Cinema had employed the same logo as the theater in New York to suggest perhaps that foreign films would play there. But, very few played there as I recall.
The theater was famous for showing “The Sound of Music” for such a long duration. But, does anyone remember the protest when it booked “Kiss Me, Stupid”? The film was “Condemned” by the Legion of Decency, and a controversy ensued. If I recall correctly, the film’s engagement there was abruptly halted.
The Elmwood was one of my favorite theaters in the sixties. I loved the marquee with the theater’s name written across the top. It showed mostly first run and roadshow productions, often with reserved seating (!). They played for extended periods, and the ticket prices were considered expensive. The theater just seemed to have so much class. One of the last movies that I saw there was Luschino Visconti’s “The Damned”, a film about the decadence of the rich and powerful in Nazi Germany. My cousin fell asleep, and I had to nudge him when the movie ended.
You’re right. It was a bit out-of-the-way. I recall that my mother and father would refer to the theater as “way down Broad Street.” Furthermore, as you stated, business probably peaked in the early sixties. The film that played one of the longest engagements there was “La Dolce Vita.” After a successful first run at the Majestic, it opened at the Art Cinema in November, 1961. Every Friday, the newspaper ran a large ad with the addendum “Held Over!” printed above it. On the occasion of its fifth week, the theater pulled its usual ad that Friday, the one with Anita Ekberg holding a kitten, and replaced it with a more provocative one, Anita Ekberg in a long strapless dress, girating. It most certainly stood out from all the other bland advertisements on the page. When the movie finally ended its run, yet another controversial film followed, “A Cold Wind in August.” Do you remember that one?
Gerald DeLuca,
Thank you, I enjoyed the photos. Perhaps you will remember this. The Art Cinema had a sign or inscription permanently printed on each side of the marquee (and I think on the front, as well) that stated “Distinctive Fare from the Film Capitals of the World” or something like that. It was an apparent reference to the many foreign films that played there.
My first visit to the Art Cinema was in May, 1966. The feature presentation was “To Die in Madrid,” a documentary about the Spanish Civil War. The co-feature was a British comedy with Peter Sellers, “Two Way Stretch,” made early in his career. However, I was too young at the time, in my early teens, to appreciate either film. What I especially remember is the number of patrons in the theater that evening that I could count on one hand. Even then, I wondered how the theater would stay in business with such low attendance. The answer, of course, came the following year. By fall of 1967, the Art Cinema was regularly showing exploitation films, a precursor to the soft core variety which played a couple of years later.
Memories of the Art Cinema. Growing up in the 1960s, I just loved to read the movie page. But what fascinated me most were the ads for the Art Cinema (and, after that, those of the Avon). It showed the most unusual movies, usually foreign, but also unconventional American films as well. In fact, in those days, any motion picture that was on the “C-Condemned” list of the Catholic Church was eventually booked at the Art Cinema. The newspaper ads for these films were quite intriguing to me, even though I was too young for admission.