A waterfall curtain raises up and down using bunching at the top instead of a stage house. it uses a number of lines to pull it, so as it rises it has ripples like a waterfall.
Oh, yes, it absolutely is fascinating, and I question how adaptable these new trends in architecture will be. It seems like they would have the potential to become dated much more quickly, just like how most movie palaces of the 20s underwent dramatic art deco makeovers and subsequent adaptations over the ensuing decades.
I would disagree with Paul Fortini’s comment. Cineplex Odeon, for all its faults, was probably the instigator of this trend towards distinction. Remember in its context, Cineplex was the one giving its theaters a distinctive brand by using consistent materials, and they were also the ones bringing back luxury image materials like marble, subtle lighting and thick carpet in contrast to the prevalent spartan interiors like General Cinemas and AMC had been using for many years. In addition Cineplex was putting in actual waterfall curtains at many locations, which was long-gone from most places at the time (and even now). The Grove in particular fit this trend; opening at the height of the shoebox era, its theaters averaged 450 seats. In fact an article at its opening specifically stated, “The new theaters feature decor designed to recapture the essence of theater palaces of the 1920s and 1930s. Interior designs include Italian marble floors, stepped ceilings, glassed-in loggia and pastel color scheme. The auditoriums will feature high-tech projection and sound equipment. (…) Billed as the company’s most technologically advanced complex, [Grove] features THX sound systems and 70mm screens in two auditoriums and Dolby stereo in the others.”
The theater may not have shown anything until just after new year. Also, the Golf Glen is being renovated and reopened by the largest theater chain in India. This seems likely to impact the theater’s future. View link
Despite earlier indications that the Golf Glen’s movie days were over for good, The Golf Glen is slated to reopen under India’s largest movie chain, taking advantage of the large Indian population nearby. This likely spells the end of the nearby Des Plaines Theater’s bollywood period.
One issue with this is that it is important to keep advertising to remind people the theaters exist, and to get them to travl to a theater for a show. For example, if I were to be looking for a given show through google, I’d be inclined to go wherever is closest, since that would show up first, but seeing the other ads might remind me to go to a different venue because of what’s around it, or to travel out of my usual range on google for a show that isn’t playing particularly nearby. Also, with new venues it’s very valuable to know it exists; the Rosemont Muvico does not advertise, and it has taken them a long time to drum up business, as the first in the region.
The Chicago Tribune discusses projects in 1956, 1957, 1960, 1961, and 1964 so, maybe yes, maybe no. It wasn’t their last project, but it was their last theater. The firm was probably quite skeletal at that point.
As Life’s Too Short will tell you, Mason Rapp (1906-1978) who was heading the firm at the time of its dissolution in 1965, trained under the brothers and officially joined the firm with the Gateway Theater in 1929. So, yes, I do think there was a significant amount of continuity in the firm. The architects aren’t the only ones involved in design, but they get the credit. Mies' firm continued producing buildings in his signature style as Fujikawa Conterato Lohan & Associates, with descendants and proteges; the same could be said of D.H. Burnham and Sons following Burnham’s death. As long as the firm has many of the same actors and understands the philosophy, they can continue to produce work in the same vein. Obviously aesthetic and program requirements had changed considerably by the 60s, but there’s a reason they went to Rapp and Rapp to do it and not some other firm; the firm had a reputation for expertise in theaters, not just because of the name but also the people.
Well, yes, but certainly the brothers were not the only ones working on the design, but the designs were rather the product of them and those draftsmen and designers in their office, so it was almost certainly many of the same people nonetheless.
Well, Tom, I was just paraphrasing the Tribune – I didn’t have any firsthand experience, as I was not yet living. I certainly don’t doubt it, however! That certainly is unfortunate; why was Fox demanding a higher rental if the film was not yet an established midnight performer?
The enameled steel panels were indeed just modernization, and the Riviera itself had a similar treatment proposed – good thing that never came through! I will have to check out the photo you mention.
I don’t know of any reason why you wouldn’t be able to see the photos. They should be visible to anyone.
There were a couple other little differences. I think the cornice originally had stud lighting, the frames of the windows are slightly off (the middle windows on the second floor should be slightly wider), and there is no terra cotta in the spandrels above the storefront windows, as there is between the secon and third floors. Otherwise it’s pretty perfect, and now the Riviera Theater facade is definitely in need of similar attention. Overall an excellent project. It would be great to get some condos or offices or anything next to the riv where that ugly pancake house is.
The Egyptian building was designed by architect Paul Gerhardt (who also designed the Cook County Hospital and Midway Terminal), and it was originally built in 1920 as a showroom for Philips-Overland Motors. It now is a bar, after having served as a liquor store for many years.
By the time this became the Mode, however, the Chateau had already become the Vogue. The Mode name probably just referred to it being “the latest thing”, since the remodeling was in the art deco/streamline style of the 30s unlike many theaters. The Mode (with an accent) name has caused some sources to suggest that it was once named the “mode o' day”; however I am pretty sure that is just a semi-phonetic spelling of the accented name.
Chicago street names do have some rationale, although it is not strictly followed. Boulevards connect parks and have green space, Drives curve, Avenues and Streets are generally interchangeable, Courts, Places, and Terraces are generally no standard on the grid and don’t run through, Roads are generally wide and intended for intercity traffic.
The McVickers was leased by B&K as a 30 year lease from 1937-1966. JLS had a 99-year lease previously, but after they defaulted on it the Board of Education took possession. The 1962 deal did involve some refurbishment such as paint, carpeted rows, and other things. It is unclear to me, then, how JLS was involved in 1962. The McVickers closed to Cinerama on September 11, 1966. Sill under the Nederlanders, first show this time around was “Half a Sixpence” for 7 weeks starting Nov. 1, then “On A Clear Day YOu Can See Forever from Dec. 19 to Jan 28, followed by the open run of Fiddler from Jan 30 to Oct 21. Man of La Mancha came on Nov. 8 and ran for 22 weeks. It then went back to movies with a reserved seat engagement of "Gone With The Wind”. The Nederlanders, as the Diana Theater Co., retained the lease until 1984, when they closed it (though it had long ceased as a legit house and was instead showing X-Rated, rock westerns, and the like in the interim).
Citicorp then assumed the lease , because the Board of Education had sold it to Citicorp’s predecessor, First Federal, in 1979, and Diana was not maintaining it. Citing an unstable facade, but perhaps more likely an excuse to get a tax drain off the books, Citicorp demolished it in 1985. The soft review was by Thomas Willis, while the harsh one was by Claudia Cassidy.
Several of the Norridges are pretty large, but I don’t know about THAT large
A waterfall curtain raises up and down using bunching at the top instead of a stage house. it uses a number of lines to pull it, so as it rises it has ripples like a waterfall.
Oh, yes, it absolutely is fascinating, and I question how adaptable these new trends in architecture will be. It seems like they would have the potential to become dated much more quickly, just like how most movie palaces of the 20s underwent dramatic art deco makeovers and subsequent adaptations over the ensuing decades.
I would disagree with Paul Fortini’s comment. Cineplex Odeon, for all its faults, was probably the instigator of this trend towards distinction. Remember in its context, Cineplex was the one giving its theaters a distinctive brand by using consistent materials, and they were also the ones bringing back luxury image materials like marble, subtle lighting and thick carpet in contrast to the prevalent spartan interiors like General Cinemas and AMC had been using for many years. In addition Cineplex was putting in actual waterfall curtains at many locations, which was long-gone from most places at the time (and even now). The Grove in particular fit this trend; opening at the height of the shoebox era, its theaters averaged 450 seats. In fact an article at its opening specifically stated, “The new theaters feature decor designed to recapture the essence of theater palaces of the 1920s and 1930s. Interior designs include Italian marble floors, stepped ceilings, glassed-in loggia and pastel color scheme. The auditoriums will feature high-tech projection and sound equipment. (…) Billed as the company’s most technologically advanced complex, [Grove] features THX sound systems and 70mm screens in two auditoriums and Dolby stereo in the others.”
The theater may not have shown anything until just after new year. Also, the Golf Glen is being renovated and reopened by the largest theater chain in India. This seems likely to impact the theater’s future. View link
View link
Despite earlier indications that the Golf Glen’s movie days were over for good, The Golf Glen is slated to reopen under India’s largest movie chain, taking advantage of the large Indian population nearby. This likely spells the end of the nearby Des Plaines Theater’s bollywood period.
One issue with this is that it is important to keep advertising to remind people the theaters exist, and to get them to travl to a theater for a show. For example, if I were to be looking for a given show through google, I’d be inclined to go wherever is closest, since that would show up first, but seeing the other ads might remind me to go to a different venue because of what’s around it, or to travel out of my usual range on google for a show that isn’t playing particularly nearby. Also, with new venues it’s very valuable to know it exists; the Rosemont Muvico does not advertise, and it has taken them a long time to drum up business, as the first in the region.
The Chicago Tribune discusses projects in 1956, 1957, 1960, 1961, and 1964 so, maybe yes, maybe no. It wasn’t their last project, but it was their last theater. The firm was probably quite skeletal at that point.
As Life’s Too Short will tell you, Mason Rapp (1906-1978) who was heading the firm at the time of its dissolution in 1965, trained under the brothers and officially joined the firm with the Gateway Theater in 1929. So, yes, I do think there was a significant amount of continuity in the firm. The architects aren’t the only ones involved in design, but they get the credit. Mies' firm continued producing buildings in his signature style as Fujikawa Conterato Lohan & Associates, with descendants and proteges; the same could be said of D.H. Burnham and Sons following Burnham’s death. As long as the firm has many of the same actors and understands the philosophy, they can continue to produce work in the same vein. Obviously aesthetic and program requirements had changed considerably by the 60s, but there’s a reason they went to Rapp and Rapp to do it and not some other firm; the firm had a reputation for expertise in theaters, not just because of the name but also the people.
Well, yes, but certainly the brothers were not the only ones working on the design, but the designs were rather the product of them and those draftsmen and designers in their office, so it was almost certainly many of the same people nonetheless.
It also appears on the cover of Konrad Schiecke’s Book, Historic Movie Theatres in Illinois, 1883-1960
Well, Tom, I was just paraphrasing the Tribune – I didn’t have any firsthand experience, as I was not yet living. I certainly don’t doubt it, however! That certainly is unfortunate; why was Fox demanding a higher rental if the film was not yet an established midnight performer?
Village Entertainment operator Ron Rooding got his start at the Riv when it turned into a nightclub.
View link
The Norridge’s days are numbered; currently it’s pegged at a year. Chicago Sun-Times
That’s correct. It was open at least from 1914-1917.
You’re looking for this.
I still don’t see a demo permit for this, but it is indeed being demolished. Coverage is at View link , and Here and here
In early 1972 it operated as a porn house called the Capri Theater
The enameled steel panels were indeed just modernization, and the Riviera itself had a similar treatment proposed – good thing that never came through! I will have to check out the photo you mention.
I don’t know of any reason why you wouldn’t be able to see the photos. They should be visible to anyone.
There were a couple other little differences. I think the cornice originally had stud lighting, the frames of the windows are slightly off (the middle windows on the second floor should be slightly wider), and there is no terra cotta in the spandrels above the storefront windows, as there is between the secon and third floors. Otherwise it’s pretty perfect, and now the Riviera Theater facade is definitely in need of similar attention. Overall an excellent project. It would be great to get some condos or offices or anything next to the riv where that ugly pancake house is.
The Egyptian building was designed by architect Paul Gerhardt (who also designed the Cook County Hospital and Midway Terminal), and it was originally built in 1920 as a showroom for Philips-Overland Motors. It now is a bar, after having served as a liquor store for many years.
By the time this became the Mode, however, the Chateau had already become the Vogue. The Mode name probably just referred to it being “the latest thing”, since the remodeling was in the art deco/streamline style of the 30s unlike many theaters. The Mode (with an accent) name has caused some sources to suggest that it was once named the “mode o' day”; however I am pretty sure that is just a semi-phonetic spelling of the accented name.
Chicago street names do have some rationale, although it is not strictly followed. Boulevards connect parks and have green space, Drives curve, Avenues and Streets are generally interchangeable, Courts, Places, and Terraces are generally no standard on the grid and don’t run through, Roads are generally wide and intended for intercity traffic.
The interior is quite well-preserved as well
The McVickers was leased by B&K as a 30 year lease from 1937-1966. JLS had a 99-year lease previously, but after they defaulted on it the Board of Education took possession. The 1962 deal did involve some refurbishment such as paint, carpeted rows, and other things. It is unclear to me, then, how JLS was involved in 1962. The McVickers closed to Cinerama on September 11, 1966. Sill under the Nederlanders, first show this time around was “Half a Sixpence” for 7 weeks starting Nov. 1, then “On A Clear Day YOu Can See Forever from Dec. 19 to Jan 28, followed by the open run of Fiddler from Jan 30 to Oct 21. Man of La Mancha came on Nov. 8 and ran for 22 weeks. It then went back to movies with a reserved seat engagement of "Gone With The Wind”. The Nederlanders, as the Diana Theater Co., retained the lease until 1984, when they closed it (though it had long ceased as a legit house and was instead showing X-Rated, rock westerns, and the like in the interim).
Citicorp then assumed the lease , because the Board of Education had sold it to Citicorp’s predecessor, First Federal, in 1979, and Diana was not maintaining it. Citing an unstable facade, but perhaps more likely an excuse to get a tax drain off the books, Citicorp demolished it in 1985. The soft review was by Thomas Willis, while the harsh one was by Claudia Cassidy.