The Village Voice carried ads for the Thalia back in the sixties. It may take some google archive searching but this issue, for example, shows “THE TITAN”, “THE IDIOT”, “THE ETERNAL MASK”, “ONE POTATO, TWO POTATO”, “THE NIGHT WATCH”, “BLACK ORPHEUS”, “LAST YEAR AT MARIENBAD”, ANIMAL FARM", “CHARLIE CHAPLIN SHORTS”, “THE LEOPARD”, “NIGHT AND FOG”, “THE LAW”, and “THE DOLL” one week in July 1965.
I am not sure what some of you are referring to as Hollywood greed. Every advance made to projectors from sound on film, mylar film stock, cue marks, automatic lens changers, zenon lamps, platters, remote timers, and rewind tables all made the skills to run them less crucial as the pay rates went up to about ten times a theatre manager’s salary
This article isn’t about the demise of a craft. Good technicians will always be needed even for a digital projector. This article is about the demise of a union that became obsolete back in the seventies due to their own devices.
I wonder if Mr. Rivierzo was around when Local 306 was a closed shop and that seriously outdated “test” was designed to keep women, hispanics and African-Americans out of their union. The test had been written by the union and administered by the union who then gave “friendly” applicants and relatives the answers. Wasn’t it in the eighties, when Mr. Rivierzo was running porn, that Local 306 agreed to run VHS tapes at union rates in competition with 35mm theatres? Was Mr. Rivierzo around when Local 306 choked 70mm projection by demanding two and sometimes three projectionists on duty any time a 70MM film was being run?
We can all wax melancholy about an era when white men could keep their well paid union jobs even if they failed to show up for work or ran a cassette player for their pay. As long as they could collect union dues, the industry’s survival was never their concern. Now it is surviving just fine without them.
Production costs and star salaries have increased more dramatically at the movies. Distributors and theatre owners have simply managed their business better in an effort to appeal to the masses without resorting to government subsidies, private donations and added ‘theatre remodeling’ taxes.
A night time view of the Le Jeune Auto Theatre can be seen in the opening sequence of the first segment of TCM’s new series “MOGULS AND MOVIE STARS: A HISTORY OF HOLLYWOOD”
Ad for the August 1957 re-launching of the Palace as an “important” first-run house.
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This is wonderful news, Phillip.
This theatre is already listed.
/theaters/16673/
Opening day ad here:
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Cinema Village has three screens.
The Ziegfeld, Big Manhattan (Imaginasian), Walter Reade, Lefrak IMAX, and Maysles are still there.
bobob,
The Village Voice carried ads for the Thalia back in the sixties. It may take some google archive searching but this issue, for example, shows “THE TITAN”, “THE IDIOT”, “THE ETERNAL MASK”, “ONE POTATO, TWO POTATO”, “THE NIGHT WATCH”, “BLACK ORPHEUS”, “LAST YEAR AT MARIENBAD”, ANIMAL FARM", “CHARLIE CHAPLIN SHORTS”, “THE LEOPARD”, “NIGHT AND FOG”, “THE LAW”, and “THE DOLL” one week in July 1965.
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Well done to all, especially Ken.
I am not sure what some of you are referring to as Hollywood greed. Every advance made to projectors from sound on film, mylar film stock, cue marks, automatic lens changers, zenon lamps, platters, remote timers, and rewind tables all made the skills to run them less crucial as the pay rates went up to about ten times a theatre manager’s salary
This article isn’t about the demise of a craft. Good technicians will always be needed even for a digital projector. This article is about the demise of a union that became obsolete back in the seventies due to their own devices.
The two little screens opened in December 1969 and the theatre advertised as “Florida’s only triple theatre”
Mike, this theatre was/is in Deerfield Beach and is already listed.
/theaters/15990/
I wonder if Mr. Rivierzo was around when Local 306 was a closed shop and that seriously outdated “test” was designed to keep women, hispanics and African-Americans out of their union. The test had been written by the union and administered by the union who then gave “friendly” applicants and relatives the answers. Wasn’t it in the eighties, when Mr. Rivierzo was running porn, that Local 306 agreed to run VHS tapes at union rates in competition with 35mm theatres? Was Mr. Rivierzo around when Local 306 choked 70mm projection by demanding two and sometimes three projectionists on duty any time a 70MM film was being run?
We can all wax melancholy about an era when white men could keep their well paid union jobs even if they failed to show up for work or ran a cassette player for their pay. As long as they could collect union dues, the industry’s survival was never their concern. Now it is surviving just fine without them.
This photo used to be available to see here.
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New York Theatre & Annex should be an aka.
There is already a Tim Horton’s directly across the street.
??
Ads for the roadshow of “Hello, Dolly!” only offer orchestra and “loge” seats, loge being the smoking section back then.
Break a leg, Jorge. The Trail deserves another chance.
The long run of “WOODSTOCK” opened at the smaller Coral which was used for exclusive runs. The Gables ran the film later when it went wide.
The Art Greenwich was totally demolished for the glass tower Equinox Gym.
Production costs and star salaries have increased more dramatically at the movies. Distributors and theatre owners have simply managed their business better in an effort to appeal to the masses without resorting to government subsidies, private donations and added ‘theatre remodeling’ taxes.
Thanksgiving 1960
Top price New York Philharmonic $4.00
Thanksgiving 2010
Top price New York Philharmonic $128.00
Thanksgiving 1960
Top price New York City Ballet $3.95
Thanksgiving 2010
Top price New York City Ballet $175.00
Thanksgiving 1960
Top price for “MY FAIR LADY” live on Broadway $8.75
Thanksgiving 2010
Top Price for “MARY POPPINS” live on Broadway $157.00
Thanksgiving 1960
Top price for “SPARTACUS” $3.50
Thanksgiving 2010
Top price for IMAX “HARRY POTTER” $19.00
…and you all think movie prices are too high?
Hmmm.
It also appears to have managed to open the 1929 film “Pandora’s Box” in 1913.
The Davis Marcus name change came from a 1950 Skouras fund raising effort to benefit the United Jewish Appeal in aiding Israel’s development.
A night time view of the Le Jeune Auto Theatre can be seen in the opening sequence of the first segment of TCM’s new series “MOGULS AND MOVIE STARS: A HISTORY OF HOLLYWOOD”
HDTV267, he most probably subscribed to the Variety archives.
There was a theatre next to the Odeon sometimes called the Avenue, Odeon Annex, and possibly Franklin. That could have also been the Grant once.
What a great recap of the Canal history and the movie industry in NYC.
Thanks, John!