In the 1977 sketch comedy film CAN I DO IT…‘TILL I NEED GLASSES, a theatre marquee is advertising the producers’ previous film IF YOU DON’T STOP IT, YOU’LL GO BLIND. The marquee says, “The American Theatre.” The movie was definitely shot in Los Angeles. Could this be the same place? Was this still standing and/or operating in the ‘70’s?
The Graceland started out as a Jerry Lewis cinema in the ‘70’s; the chain had another location in Columbus, a single screen called the York Plaza. When the Lewis chain went under they were picked up by Nicholas Circone and Marvin Goldfarb, who also dabbled in hotel/motel movie distribution, the ancestry to the “Spectravision” services that are common today. It was widely held that since Graceland had the longest continuous run of ROCKY HORROR since the film’s opening, it would stand to reason that it opened at Graceland during their stewardship.
Bob and Belinda Judson took over both theatres in the '80’s, along with the Grandview theatre, and operated them as second run houses. When they had a dispute with the property owners of Graceland Shopping Center, they closed the theatre and briefly attempted to set up ROCKY HORROR at the York Plaza, but that folded after a couple weeks. The Judsons eventually left theatre operation, and Belinda is now an Executive Director of the Mid-States branch of National American Theater Operators.
Glenn Ackerman, creator of the Raintree Cinemas and later the Flickers cinema/restaurant chain, took over operation of the Graceland Twin and returned ROCKY HORROR to regular play. Eventually, however, Ackerman would close all of his locations and the Graceland went dark for good in the late '90’s.
Mt. Healthy is really just a suburb of Cincinnati, not a city. As such, the location listing should be changed to Cincinnati, OH.
I drove past that location dozens of times, I never knew there was a theatre there. I wonder if the shops expanded into the theatre space or if it’s just being used as a warehouse. Any idea on the capacity?
So conflicted – I used to love Tuesday night 15 cent wings at BW3 in college, but the thought of them now occupying where I went to so many movies my freshman year…
It’s bitterly amusing that the last sentence reads “Updates regarding the threat will be on here.” Obviously, the intended word is “theatre,” but greedy sharks like Max Netty are a threat to our Cinema Treasures.
I don’t think there was any plan to twin the auditorium itself. It’s more likely that the Franks were hoping to purchase the other storefronts, nay the entire land parcel, from its current owner, and convert those into small screening rooms.
A sad day. I was working for the Franks when they first acquired the theatre, and saw all the beautiful renovation they did to the place, and worked many long, proud hours at the theatre when it reopened. I may be hundreds of miles away now, but I’m going to miss it all the same.
The theatre is still operating (as of this date, they are running WHEN DID YOU LAST SEE YOUR FATHER with Colin Firth, but the building is for lease – Regent may indeed want out of this location.
A different site states the theatre closed a month earlier:
“…Cinema X [closed] on February 3, 1982 after hosting the double feature ‘Sex Boat’ and ‘Hot Channels.’ The theater closed as part of a negotiated agreement with the commonwealth of Kentucky taking over the building in exchange for fines against the cinema. Later that year, the state gave the building to the city of Newport so that it could be demolished for a parking lot. Demolition began on March 1, 1983 and a sign now designates the spot as the Historic Taylor’s Landing public parking lot.”
At the beginning of Willis Vance’s management, this theatre was called the Eden, no doubt due to its proximity to lovely Eden Park. Vance also managed the State in Newport, KY, before it became Cinema X, and the Ohio in Norwood.
I believe the Laemmle family that operates this theatre chain were cousins to the Carl Laemmle family, with no direct ties or financial interest in Universal Studios.
Also, for those who saw the recent CBS News “48 HOURS” episode about murdered starlet Christa Helm, her ill-fated debut film LET’S GO FOR BROKE had it’s world premiere (and only public) engagement at the 20th Century in 1974.
I could have sworn they had a ground-floor crying room as well – my father pointed it out to me when I was in middle school and we went to movies there. Although, that could have been the nearby Ambassador theatre instead.
I want to say that for a brief time, this drive-in reopened in the early ‘80’s as the “Captain Kidd” or “Captain Blood,” maybe for only a summer. If it wasn’t this location, it had to be nearby.
The plans have changed. The property will not be a Crobar-branded venue like the ones in Chicago and Miami, but will still be a multi-purpose live performance venue. This article provides links to other related ones.
a sampling of some of the offerings at the Vista when Landmark was booking the theatre:
1 9 8 3 (incomplete)
PREMIERES
Wolf Gremm’s FABIAN
Marc Huestis’ WHATEVER HAPPENED TO SUSAN JANE
Ed Pincus’ DIARIES
Rainer Werner Fassbinder’s BERLIN ALEXANDERPLATZ
Jean-Luc Godard’s MADE IN U.S.A.
FESTIVALS AND TRIBUTES
“Dial M for Mysteryâ€
Contemporary Gay Cinema
“Screen Dreamsâ€
“Buried Treasures†â€" featuring premieres of
John Huston’s PHOBIA
Fritz Lang’s TIGRESS OF BENGAL
Ettore Scola’s ROCCO IN CHICAGO
Claude Whatham’s SWEET WILLIAM
Ivan Passer’s CRIME AND PASSION
Ingmar Bergman
Bette Davis
Wim Wenders
Dance Festival
Tennessee Williams
Preston Sturges
SPECIAL EVENTS
Robert Israel accompanies Albert Parker’s THE BLACK PIRATE and Erich von Stroheim’s BLIND HUSBANDS
Tribute to Vivian Blaine
1 9 8 4 (incomplete)
PREMIERES
Victor Schonfeld’s THE ANIMALS FILM
Philo Bregstein’s WHOEVER SAYS THE TRUTH SHALL DIE
King Hu’s A TOUCH OF ZEN
David Cronenberg’s STEREO
David Cronenberg’s CRIMES OF THE FUTURE
David Cronenberg’s ITALIAN MACHINE
Eldar Ryazanov’s BEWARE OF CARS
Eldar Ryazanov’s IRONY OF FATE
Eloi de la Iglesia’s EL DIPUTADO
Tom Huckabee & Kent Smith’s TAKING TIGER MOUNTAIN
Mai Zetterling’s SCRUBBERS
Robert Epstein & Richard Schmiechen’s THE TIMES OF HARVEY MILK
Michael Raeburn’s THE GRASS IS SINGING a/k/a KILLING HEAT
FESTIVALS AND TRIBUTES
Federico Fellini
“Czech it Out!†â€" Czechoslovakian films, featuring premieres of
Jiri Menzel’s SHORTCUTS
Oldrich Lipsky’s THE MYSTERIOUS CASTLE IN THE CARPATHIANS
Vaclav Vorlicek’s HOW TO DROWN DOCTOR MRACEK
Ladislav Smoljak’s RUN WAITER, RUN
Martin Holly’s SIGNUM LAUDIS
Zoro Zahon’s THE ASSISTANT
Christopher Isherwood
“A Tribute to L.A.†â€" 24 films salute the host city of the 1984 Olympics
“Summer Campâ€
Best of the 1984 New York Gay Film Festival â€" featuring premieres of
Amos Guttman’s DRIFTING
George Katakouzinos’ ANGEL
Rosa von Praunheim’s CITY OF LOST SOULS
Phillipe Vallois’ RAINBOW SERPENT
Edward Fleming’s MIRROR, MIRROR
Tuija-Maija Niskanen’s THE FAREWELL
“A World of Danceâ€
Alfred Hitchcock
“Japanese Cinema†â€" featuring premieres of
Yoichi Takabayahsi’s IREZUMI â€" SPIRIT OF THE TATTOO
Nagisa Oshima’s CRUEL STORY OF YOUTH
The San Francisco Gay Erotic Film Festival
Jean Cocteau
RESTORATIONS AND REVIVALS
Michael Todd’s AROUND THE WORLD IN 80 DAYS â€" original roadshow version, technicolor print
Sergio Leone’s ONCE UPON A TIME IN THE WEST â€" original uncut version
SPECIAL EVENTS
“The Hollywood Hall of Shame†â€" Harry and Michael Medved in person to introduce infamous films
1 9 8 5 (incomplete)
PREMIERES
David Stevens’ THE CLINIC
Ji-Shun Duan & Junya Sato’s THE GO MASTERS
Patrice Chereau’s L’HOMME BLESSE
Nikita Mikhalkov’s WITHOUT WITNESS
Renato Castellani’s LIFE OF VERDI
Wim Wenders’ TOKYO
Daniel Schmid’s TOSCA’S KISS
Francois Bei & Gerard Vienne’s THE CLAW & THE TOOTH
FESTIVALS AND TRIBUTES
Joan Crawford
Derek Jarman
“Nagisa Oshima Rediscoveriesâ€
Opera Festival
Pier Paolo Pasolini
Tennessee Williams
“Australian Film Festival†â€" featuring premieres of
Michael Pattinson’s MOVING OUT
Scott Hicks’ FREEDOM
Bruce Beresford’s BARRY MACKENZIE HOLDS HIS OWN
Kevin James Dobson’s SQUIZZY TAYLOR
Michael Thornhill’s BETWEEN WARS
“Ozu/Mizoguchiâ€
“Heroes and Legendsâ€
“Great Ladies of the Silver Screenâ€
USC student films
RESTORATIONS AND REVIVALS
Hideo Goyoshin’s GOYOKIN
Pier Paolo Pasolini’s OEDIPUS REX
For some historical interest, here are some of the initial offerings when Landmark took over booking the theatre in 1992:
PREMIERES
Lol Creme’s THE LUNATIC
Monika Treut’s MY FATHER IS COMING
Peter Cohen’s THE ARCHITECTURE OF DOOM
Abbe Wool’s ROADSIDE PROPHETS
Sam Fuller’s WHITE DOG
Jon Jost’s ALL THE VERMEERS IN NEW YORK
Randy Thompson’s THE MONTANA RUN
Suzie Baer’s WARRIOR: THE LIFE OF LEONARD PELTIER
Murray Lerner’s JIMI HENDRIX AT THE ISLE OF WIGHT
David Byrne’s ILE AIYE: THE HOUSE OF LIFE
Philip Haas’ GIANT WOMAN AND THE LAUGHING MAN
Declan Lowney’s BOB MARLEY: TIME WILL TELL
Hutt/Elgear/Meleran’s VOICES FROM THE FRONT
Katherine Gilday’s THE FAMINE WITHIN
Norman Loftis’ SMALL TIME
Barbara Trent’s THE PANAMA DECEPTION
Francis Girod’s L’ELEGANT CRIMINEL
FESTIVALS AND TRIBUTES
Humphrey Bogart
“Japanese Animation†â€" featuring premieres of
Toyoo Ashida’s VAMPIRE HUNTER D
Mamoru Shinzaki’s BAREFOOT GEN
“Film Threat Presents†â€" series of premieres and revivals including
Leonard Kastle’s THE HONEYMOON KILLERS
Craig Baldwin’s TRIBULATION 99: ALIEN ANOMALIES UNDER AMERICA
David Van Taylor’s DREAM DECEIVERS
Shinya Tsukamoto’s TETSUO: THE IRON MAN
Henri Xhonneux’s MARQUIS
“Reemergence: Jewish Life in Eastern Europeâ€
RESTORATIONS AND REVIVALS
Terry Gilliam’s BRAZIL â€" original European version
F.W. Murnau’s TABU new print of restored version
Merian C. Cooper and Ernest P. Schoedsack’s CHANG new print of restored version
Frank Capra’s BROADWAY BILL new print
Yves Allegret’s THE PROUD ONES new print of uncut restored edition
SPECIAL EVENTS
William Osco’s ALICE IN WONDERLAND plays midnights
“Film Threat Presents†â€" series of midnight movies including premieres of
Jorg Buttgereit’s NEKROMANTIK
Jorg Buttgereit’s NEKROMANTIK 2
Jorg Buttgereit’s THE DEATH KING
While I do not have any clearer details, what the above poster said is true: Landmark does not want to leave, but it has been effectively given the heave by the property owner.
The recourse that film lovers may have is that in order for the owner to get anything done with the building, such as put in his underground parking or redo the interior, he must get approval from Santa Monica city council. He owns a retirement home nearby that he has repeatedly attempted to raze for luxury apartments, but the residents have mobilized each time his application comes up in front of council and vigorously protested, thus keeping him from kicking them out. So if enough people go to protest his plans when he tries to get them past council, he may have to give up. It won’t be easy, it will require effort, but there is some degree of hope.
The Westwood Regent is safe for now: a long-term lease is in effect.
Damien, Black Abba screenings are NOT public knowledge, NOT open to the public, are NOT free, and are PRIVATE, INVITE-ONLY shows. I would really appreciate it if you removed all posts pertaining to this matter, lest I have to cancel the entire series.
The property is dormant right now. I wonder what it would take to do any sort of temporary film screening there, like a Last Remaining Seats for Hipsters?
As fun as it would be to see classic movies at the National, it does butt up against the nearby Landmark Nuart and their longstanding Friday midnight movie series. Thus, the National should do something more unique if they want to have midnight shows, such as
a) only run 70MM prints. That’s something the Nuart definitely can’t do;
b) add midnight shows to their regular features. I was shocked and amazed that when the National opened HOSTEL PART II that they did not schedule either an advance Thursday 12:01 show or have weekend midnights. That would have seemed a no-brainer.
c) find a new movie that could easily become a cult film, plug it in at midnight, stick with it for a few weeks or months, and let people find it. After all, classics like PINK FLAMINGOS and ERASERHEAD took years to build an audience. There’s gotta be plenty of weird, crazy new movies that could benefit from a residency at a great theatre like the National. And that would be the thing to get attention for the place…“Hey, what’s that movie that only shows at the National at midnight?”
All of those things would be original enough to offer something different. Otherwise, to just do the same ol' midnight movies that Nuart is doing would ultimately dilute an already finite audience.
In the 1977 sketch comedy film CAN I DO IT…‘TILL I NEED GLASSES, a theatre marquee is advertising the producers’ previous film IF YOU DON’T STOP IT, YOU’LL GO BLIND. The marquee says, “The American Theatre.” The movie was definitely shot in Los Angeles. Could this be the same place? Was this still standing and/or operating in the ‘70’s?
The Graceland started out as a Jerry Lewis cinema in the ‘70’s; the chain had another location in Columbus, a single screen called the York Plaza. When the Lewis chain went under they were picked up by Nicholas Circone and Marvin Goldfarb, who also dabbled in hotel/motel movie distribution, the ancestry to the “Spectravision” services that are common today. It was widely held that since Graceland had the longest continuous run of ROCKY HORROR since the film’s opening, it would stand to reason that it opened at Graceland during their stewardship.
Bob and Belinda Judson took over both theatres in the '80’s, along with the Grandview theatre, and operated them as second run houses. When they had a dispute with the property owners of Graceland Shopping Center, they closed the theatre and briefly attempted to set up ROCKY HORROR at the York Plaza, but that folded after a couple weeks. The Judsons eventually left theatre operation, and Belinda is now an Executive Director of the Mid-States branch of National American Theater Operators.
Glenn Ackerman, creator of the Raintree Cinemas and later the Flickers cinema/restaurant chain, took over operation of the Graceland Twin and returned ROCKY HORROR to regular play. Eventually, however, Ackerman would close all of his locations and the Graceland went dark for good in the late '90’s.
Mt. Healthy is really just a suburb of Cincinnati, not a city. As such, the location listing should be changed to Cincinnati, OH.
I drove past that location dozens of times, I never knew there was a theatre there. I wonder if the shops expanded into the theatre space or if it’s just being used as a warehouse. Any idea on the capacity?
Whoa – BW3 moved into the space?
So conflicted – I used to love Tuesday night 15 cent wings at BW3 in college, but the thought of them now occupying where I went to so many movies my freshman year…
I guess you really can’t go home again.
This is an image from the Arthur Penn movie NIGHT MOVES. Is this the same Magnolia?
View link
It’s bitterly amusing that the last sentence reads “Updates regarding the threat will be on here.” Obviously, the intended word is “theatre,” but greedy sharks like Max Netty are a threat to our Cinema Treasures.
I don’t think there was any plan to twin the auditorium itself. It’s more likely that the Franks were hoping to purchase the other storefronts, nay the entire land parcel, from its current owner, and convert those into small screening rooms.
A sad day. I was working for the Franks when they first acquired the theatre, and saw all the beautiful renovation they did to the place, and worked many long, proud hours at the theatre when it reopened. I may be hundreds of miles away now, but I’m going to miss it all the same.
The theatre is still operating (as of this date, they are running WHEN DID YOU LAST SEE YOUR FATHER with Colin Firth, but the building is for lease – Regent may indeed want out of this location.
Movietickets.com lists a full set of showtimes for the theatre as of today – looks like they’re open and eager for customers.
According to the book STEPPING OUT IN CINCINNATI, the theatre was demolished in 1965.
A different site states the theatre closed a month earlier:
“…Cinema X [closed] on February 3, 1982 after hosting the double feature ‘Sex Boat’ and ‘Hot Channels.’ The theater closed as part of a negotiated agreement with the commonwealth of Kentucky taking over the building in exchange for fines against the cinema. Later that year, the state gave the building to the city of Newport so that it could be demolished for a parking lot. Demolition began on March 1, 1983 and a sign now designates the spot as the Historic Taylor’s Landing public parking lot.”
View link
At the beginning of Willis Vance’s management, this theatre was called the Eden, no doubt due to its proximity to lovely Eden Park. Vance also managed the State in Newport, KY, before it became Cinema X, and the Ohio in Norwood.
I believe the Laemmle family that operates this theatre chain were cousins to the Carl Laemmle family, with no direct ties or financial interest in Universal Studios.
Also, for those who saw the recent CBS News “48 HOURS” episode about murdered starlet Christa Helm, her ill-fated debut film LET’S GO FOR BROKE had it’s world premiere (and only public) engagement at the 20th Century in 1974.
I could have sworn they had a ground-floor crying room as well – my father pointed it out to me when I was in middle school and we went to movies there. Although, that could have been the nearby Ambassador theatre instead.
In fairness to Landmark, they did not drop the NuWilshire – they were evicted by the landlord who wanted the space for retail development.
I want to say that for a brief time, this drive-in reopened in the early ‘80’s as the “Captain Kidd” or “Captain Blood,” maybe for only a summer. If it wasn’t this location, it had to be nearby.
The plans have changed. The property will not be a Crobar-branded venue like the ones in Chicago and Miami, but will still be a multi-purpose live performance venue. This article provides links to other related ones.
View link
It’s expected to open in the fall.
I think a prankster just managed to rearrange some of the letters left behind on the marquee.
a sampling of some of the offerings at the Vista when Landmark was booking the theatre:
1 9 8 3 (incomplete)
PREMIERES
Wolf Gremm’s FABIAN
Marc Huestis’ WHATEVER HAPPENED TO SUSAN JANE
Ed Pincus’ DIARIES
Rainer Werner Fassbinder’s BERLIN ALEXANDERPLATZ
Jean-Luc Godard’s MADE IN U.S.A.
FESTIVALS AND TRIBUTES
“Dial M for Mysteryâ€
Contemporary Gay Cinema
“Screen Dreamsâ€
“Buried Treasures†â€" featuring premieres of
John Huston’s PHOBIA
Fritz Lang’s TIGRESS OF BENGAL
Ettore Scola’s ROCCO IN CHICAGO
Claude Whatham’s SWEET WILLIAM
Ivan Passer’s CRIME AND PASSION
Ingmar Bergman
Bette Davis
Wim Wenders
Dance Festival
Tennessee Williams
Preston Sturges
SPECIAL EVENTS
Robert Israel accompanies Albert Parker’s THE BLACK PIRATE and Erich von Stroheim’s BLIND HUSBANDS
Tribute to Vivian Blaine
1 9 8 4 (incomplete)
PREMIERES
Victor Schonfeld’s THE ANIMALS FILM
Philo Bregstein’s WHOEVER SAYS THE TRUTH SHALL DIE
King Hu’s A TOUCH OF ZEN
David Cronenberg’s STEREO
David Cronenberg’s CRIMES OF THE FUTURE
David Cronenberg’s ITALIAN MACHINE
Eldar Ryazanov’s BEWARE OF CARS
Eldar Ryazanov’s IRONY OF FATE
Eloi de la Iglesia’s EL DIPUTADO
Tom Huckabee & Kent Smith’s TAKING TIGER MOUNTAIN
Mai Zetterling’s SCRUBBERS
Robert Epstein & Richard Schmiechen’s THE TIMES OF HARVEY MILK
Michael Raeburn’s THE GRASS IS SINGING a/k/a KILLING HEAT
FESTIVALS AND TRIBUTES
Federico Fellini
“Czech it Out!†â€" Czechoslovakian films, featuring premieres of
Jiri Menzel’s SHORTCUTS
Oldrich Lipsky’s THE MYSTERIOUS CASTLE IN THE CARPATHIANS
Vaclav Vorlicek’s HOW TO DROWN DOCTOR MRACEK
Ladislav Smoljak’s RUN WAITER, RUN
Martin Holly’s SIGNUM LAUDIS
Zoro Zahon’s THE ASSISTANT
Christopher Isherwood
“A Tribute to L.A.†â€" 24 films salute the host city of the 1984 Olympics
“Summer Campâ€
Best of the 1984 New York Gay Film Festival â€" featuring premieres of
Amos Guttman’s DRIFTING
George Katakouzinos’ ANGEL
Rosa von Praunheim’s CITY OF LOST SOULS
Phillipe Vallois’ RAINBOW SERPENT
Edward Fleming’s MIRROR, MIRROR
Tuija-Maija Niskanen’s THE FAREWELL
“A World of Danceâ€
Alfred Hitchcock
“Japanese Cinema†â€" featuring premieres of
Yoichi Takabayahsi’s IREZUMI â€" SPIRIT OF THE TATTOO
Nagisa Oshima’s CRUEL STORY OF YOUTH
The San Francisco Gay Erotic Film Festival
Jean Cocteau
RESTORATIONS AND REVIVALS
Michael Todd’s AROUND THE WORLD IN 80 DAYS â€" original roadshow version, technicolor print
Sergio Leone’s ONCE UPON A TIME IN THE WEST â€" original uncut version
SPECIAL EVENTS
“The Hollywood Hall of Shame†â€" Harry and Michael Medved in person to introduce infamous films
1 9 8 5 (incomplete)
PREMIERES
David Stevens’ THE CLINIC
Ji-Shun Duan & Junya Sato’s THE GO MASTERS
Patrice Chereau’s L’HOMME BLESSE
Nikita Mikhalkov’s WITHOUT WITNESS
Renato Castellani’s LIFE OF VERDI
Wim Wenders’ TOKYO
Daniel Schmid’s TOSCA’S KISS
Francois Bei & Gerard Vienne’s THE CLAW & THE TOOTH
FESTIVALS AND TRIBUTES
Joan Crawford
Derek Jarman
“Nagisa Oshima Rediscoveriesâ€
Opera Festival
Pier Paolo Pasolini
Tennessee Williams
“Australian Film Festival†â€" featuring premieres of
Michael Pattinson’s MOVING OUT
Scott Hicks’ FREEDOM
Bruce Beresford’s BARRY MACKENZIE HOLDS HIS OWN
Kevin James Dobson’s SQUIZZY TAYLOR
Michael Thornhill’s BETWEEN WARS
“Ozu/Mizoguchiâ€
“Heroes and Legendsâ€
“Great Ladies of the Silver Screenâ€
USC student films
RESTORATIONS AND REVIVALS
Hideo Goyoshin’s GOYOKIN
Pier Paolo Pasolini’s OEDIPUS REX
For some historical interest, here are some of the initial offerings when Landmark took over booking the theatre in 1992:
PREMIERES
Lol Creme’s THE LUNATIC
Monika Treut’s MY FATHER IS COMING
Peter Cohen’s THE ARCHITECTURE OF DOOM
Abbe Wool’s ROADSIDE PROPHETS
Sam Fuller’s WHITE DOG
Jon Jost’s ALL THE VERMEERS IN NEW YORK
Randy Thompson’s THE MONTANA RUN
Suzie Baer’s WARRIOR: THE LIFE OF LEONARD PELTIER
Murray Lerner’s JIMI HENDRIX AT THE ISLE OF WIGHT
David Byrne’s ILE AIYE: THE HOUSE OF LIFE
Philip Haas’ GIANT WOMAN AND THE LAUGHING MAN
Declan Lowney’s BOB MARLEY: TIME WILL TELL
Hutt/Elgear/Meleran’s VOICES FROM THE FRONT
Katherine Gilday’s THE FAMINE WITHIN
Norman Loftis’ SMALL TIME
Barbara Trent’s THE PANAMA DECEPTION
Francis Girod’s L’ELEGANT CRIMINEL
FESTIVALS AND TRIBUTES
Humphrey Bogart
“Japanese Animation†â€" featuring premieres of
Toyoo Ashida’s VAMPIRE HUNTER D
Mamoru Shinzaki’s BAREFOOT GEN
“Film Threat Presents†â€" series of premieres and revivals including
Leonard Kastle’s THE HONEYMOON KILLERS
Craig Baldwin’s TRIBULATION 99: ALIEN ANOMALIES UNDER AMERICA
David Van Taylor’s DREAM DECEIVERS
Shinya Tsukamoto’s TETSUO: THE IRON MAN
Henri Xhonneux’s MARQUIS
“Reemergence: Jewish Life in Eastern Europeâ€
RESTORATIONS AND REVIVALS
Terry Gilliam’s BRAZIL â€" original European version
F.W. Murnau’s TABU new print of restored version
Merian C. Cooper and Ernest P. Schoedsack’s CHANG new print of restored version
Frank Capra’s BROADWAY BILL new print
Yves Allegret’s THE PROUD ONES new print of uncut restored edition
SPECIAL EVENTS
William Osco’s ALICE IN WONDERLAND plays midnights
“Film Threat Presents†â€" series of midnight movies including premieres of
Jorg Buttgereit’s NEKROMANTIK
Jorg Buttgereit’s NEKROMANTIK 2
Jorg Buttgereit’s THE DEATH KING
While I do not have any clearer details, what the above poster said is true: Landmark does not want to leave, but it has been effectively given the heave by the property owner.
The recourse that film lovers may have is that in order for the owner to get anything done with the building, such as put in his underground parking or redo the interior, he must get approval from Santa Monica city council. He owns a retirement home nearby that he has repeatedly attempted to raze for luxury apartments, but the residents have mobilized each time his application comes up in front of council and vigorously protested, thus keeping him from kicking them out. So if enough people go to protest his plans when he tries to get them past council, he may have to give up. It won’t be easy, it will require effort, but there is some degree of hope.
The Westwood Regent is safe for now: a long-term lease is in effect.
Damien, Black Abba screenings are NOT public knowledge, NOT open to the public, are NOT free, and are PRIVATE, INVITE-ONLY shows. I would really appreciate it if you removed all posts pertaining to this matter, lest I have to cancel the entire series.
The property is dormant right now. I wonder what it would take to do any sort of temporary film screening there, like a Last Remaining Seats for Hipsters?
As fun as it would be to see classic movies at the National, it does butt up against the nearby Landmark Nuart and their longstanding Friday midnight movie series. Thus, the National should do something more unique if they want to have midnight shows, such as
a) only run 70MM prints. That’s something the Nuart definitely can’t do;
b) add midnight shows to their regular features. I was shocked and amazed that when the National opened HOSTEL PART II that they did not schedule either an advance Thursday 12:01 show or have weekend midnights. That would have seemed a no-brainer.
c) find a new movie that could easily become a cult film, plug it in at midnight, stick with it for a few weeks or months, and let people find it. After all, classics like PINK FLAMINGOS and ERASERHEAD took years to build an audience. There’s gotta be plenty of weird, crazy new movies that could benefit from a residency at a great theatre like the National. And that would be the thing to get attention for the place…“Hey, what’s that movie that only shows at the National at midnight?”
All of those things would be original enough to offer something different. Otherwise, to just do the same ol' midnight movies that Nuart is doing would ultimately dilute an already finite audience.