Loews not only played X-rated films, they were the first to introduce independent X-rated films to a major first-run market by opening “WITHOUT A STITCH” at the Manhattan State and Orpheum Theatres in 1970 to huge grosses, much to the chagrin of Jack Valenti, who called Loews management irresponsible. The Loews Orpheum/Cine then opened numerous x-rated films in the early seventies.
“The Sensual Male” and “Sexually Liberated Female” had a double feature twelve theatre break in February 1972. Released by mini-majors New World and Aquarius, Loews was hardly above showing them. The Gates was still advertised as a Loews during 1972 and Loews Georgetown also played several X titles during these years.
X-rated films did not become truly graphic until after “DEEP THROAT” was released that summer.
That Boxoffice article states that “Tomorrow Is Too Late” was the first foreign film to open in a large Broadway house. Although by 1952 the upper east side art houses played most foreign titles, “Tomorrow is Too late” was hardly the first to open in a large Broadway theatre. In fact, most foreign titles opened there before the art house (sure-seater)explosion.
In 1958-1959 the biggest and best theatre in the world was the Roxy in New York. In those years the top releases were Ben-Hur, The Ten Commandments, The Shaggy Dog, Auntie Mame, No Time for Sergeants, Some Like It Hot, The Vikings, Pillow Talk, Operation Petticoat and Solomon and Sheba.
How many of these opened at the Roxy?
None!
The Roxy was a Fox house and Fox had no big hits to provide. The Roxy was closed and demolished by 1960.
Many high-grossing independent theatres were driven out of business when the distributor owned a local flea-pit and would not provide product to the flagship house no matter how much they were willing to pay. The distributor closed the flea pit when TV came in and the town then had no theatre at all.
I found a 1970 NYT article that explains when legit switched from 8:30pm-8:50pm shows to 7:30pm shows so that people would attend shows just after work. This followed a drop in attendance when Times square had, as AGR mentioned, a spree of muggings.
The start times were later compromised at 8:00pm after restaurants complained it was hurting their business. NYC art houses were booming then and ran all day anyway.
I think the ‘saturation’ press had more to do with how many markets opened at once rather than how many screens. In Florida, for example, some secondary markets like Pensacola and Fort Meyers would normally not open at the same time as Miami like they did for “JAWS”.
In South Florida “JAWS” opened in seven locations when the average release would have opened in twenty to thirty screens from West Palm Beach to South Miami.
Jerry did more to establish a nationwide network of porn cinemas than any pornographer could have ever imagined. His admitted mob connections leave his intentions open to speculation.
Interesting in that article is that although Mark Cuban champions distributor ownership of theatres in order to plays his VOD releases at his key Landmark theatres, he refuses to allow such IFC releases at those same theatres. This denies IFC access to some of the best grossing specialized theatres in the country for their similarly released VOD titles.
Therein lies the rub for this hypocrite’s position. He is trying to monopolize distribution and exhibition of independent films and destroying the market for everyone (including himself) as a result.
This is now the Cineworld O2.
http://www.cineworld.co.uk/news/210/detail
I agree with CWalczak on every point… except I saw the lame third sequel.
Jeff, are you thinking of the United (7829 NE Second Avenue)?
The zip code was 33147.
Apparently “Meet John Doe” could justify opening at both the Rivoli AND the Hollywood.
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Loews pretty much abandoned Brooklyn in the 80’s.
Loews not only played X-rated films, they were the first to introduce independent X-rated films to a major first-run market by opening “WITHOUT A STITCH” at the Manhattan State and Orpheum Theatres in 1970 to huge grosses, much to the chagrin of Jack Valenti, who called Loews management irresponsible. The Loews Orpheum/Cine then opened numerous x-rated films in the early seventies.
“The Sensual Male” and “Sexually Liberated Female” had a double feature twelve theatre break in February 1972. Released by mini-majors New World and Aquarius, Loews was hardly above showing them. The Gates was still advertised as a Loews during 1972 and Loews Georgetown also played several X titles during these years.
X-rated films did not become truly graphic until after “DEEP THROAT” was released that summer.
If you type in a current address,
3025 Sunny Isles Boulevard, 33160
You can actually see the twin auditoria and round lobby incorporated into the existing mall on this Bing map.
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Based on the bookings and the facade, these two photos on Brad Smith’s photobucket are of the RKO Coliseum in 1935.
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Could there be two of you looking?
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The DVD is available through Something Weird with “Sticks & Bones” on the same disc.
Mike, it was a separate chain operated out of Boston by a man named Elias M. Loew.
This theatre, along with the Colony on Miami Beach, hosted the local premieres of “Gone With the Wind”.
Selections include “Mary Poppins”, “The Godfather”, “Caddy Shack”…
If “Caddyshack” was such a classic would someone at least remember that this silly 1980 chuckle was a one word title.
This article appeared in the NYT on February 27, 1940.
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This intro needs to be adjusted. The New York opened in March 1940 on the site of the Geo. M. Cohan which had last showed movies in 1938.
That Boxoffice article states that “Tomorrow Is Too Late” was the first foreign film to open in a large Broadway house. Although by 1952 the upper east side art houses played most foreign titles, “Tomorrow is Too late” was hardly the first to open in a large Broadway theatre. In fact, most foreign titles opened there before the art house (sure-seater)explosion.
I should point out that although the Consent Decrees were passed in 1948, they have always been mostly ignored by distributors in major markets.
Simon, I will just give you one example.
In 1958-1959 the biggest and best theatre in the world was the Roxy in New York. In those years the top releases were Ben-Hur, The Ten Commandments, The Shaggy Dog, Auntie Mame, No Time for Sergeants, Some Like It Hot, The Vikings, Pillow Talk, Operation Petticoat and Solomon and Sheba.
How many of these opened at the Roxy?
None!
The Roxy was a Fox house and Fox had no big hits to provide. The Roxy was closed and demolished by 1960.
Many high-grossing independent theatres were driven out of business when the distributor owned a local flea-pit and would not provide product to the flagship house no matter how much they were willing to pay. The distributor closed the flea pit when TV came in and the town then had no theatre at all.
Lack of competition killed the market.
Thank Gerald.
I found a 1970 NYT article that explains when legit switched from 8:30pm-8:50pm shows to 7:30pm shows so that people would attend shows just after work. This followed a drop in attendance when Times square had, as AGR mentioned, a spree of muggings.
The start times were later compromised at 8:00pm after restaurants complained it was hurting their business. NYC art houses were booming then and ran all day anyway.
I think the ‘saturation’ press had more to do with how many markets opened at once rather than how many screens. In Florida, for example, some secondary markets like Pensacola and Fort Meyers would normally not open at the same time as Miami like they did for “JAWS”.
In South Florida “JAWS” opened in seven locations when the average release would have opened in twenty to thirty screens from West Palm Beach to South Miami.
In a rare and welcome move, today’s NYT ad promotes the Paris over the movie.
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Jerry did more to establish a nationwide network of porn cinemas than any pornographer could have ever imagined. His admitted mob connections leave his intentions open to speculation.
Interesting in that article is that although Mark Cuban champions distributor ownership of theatres in order to plays his VOD releases at his key Landmark theatres, he refuses to allow such IFC releases at those same theatres. This denies IFC access to some of the best grossing specialized theatres in the country for their similarly released VOD titles.
Therein lies the rub for this hypocrite’s position. He is trying to monopolize distribution and exhibition of independent films and destroying the market for everyone (including himself) as a result.
Another great catch-line…
By the way, after you see the picture, please don’t give away the ending.
It’s the only one we have.
Here is a November 1937 article about the activities of the Miami Ku Klux Klan:
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