Sorry… Thought I entered a status of closed/demolished. The building that the Crystal Hall occupied was gutted by fire in 1923 and then completely demolished and built over in 1965.
I think you’re right, Joe. In the photo there is a vertical sign affixed to the center portion of the facade which featured a large and fanciful oval caricature of a rabbit to compliment the two carved bunnies found at either end of the upper facade.
Ah SeaBeacher… wandering a bit off topic to take a stroll down memory lane has been a topic of much debate on these pages! I happen to think that such musings – provided they don’t go too far astray – often provide good color and a nice sociological context within which folks who didn’t live in the area or attend a local theater might better appreciate the experiences shared by folks who were patrons. There are plenty of folks who share that philosophy – but beware those who might wag their figurative fingers and admonish you to stick to the facts and dates of legitimate theater research! Then tell them to go play in traffic! Heh heh… just kidding, naturally. I don’t want anyone run down by a bus.
I think the Rockville Centre would do very well with more mainstream fare than is currently programmed at the Malverne. It’s in a good location and from reports on this page, hadn’t really been wanting in attendance, even at the very end. The thing is that restrictive lease covenant that curtails hours of operation due to the small parking lot it shares with the Bank. I wonder if that’ll keep any larger chains away.
I searched the NYC Building Department records online and found the original C/O as well as two latter ones. The original is much too faded for me to read, but I do see one issued in 1978 (month and date too faint to make out) for the twinning of this theater on the 1st floor with max occupancy of 588 in one auditorium and 400 in the other. These figures usually pertain to fire codes and include standing areas so should not necessarily be read as actual seat counts. A projection booth and theater accessory use is noted on the 2nd floor mezzanine level. This is a final C/O, so, assuming the theater operated as a twin under temporary Certificates, I’d say we can safely say it was indeed already split by the time the XXX double feature advertised in my clipping was on the grind there.
In 1989, a new C/O is issued for the alteration of the ground floor into a store, with the mezzanine level now occupied by a mechanical equipment room. Electrical work had been filed in 1988 during rehab of property to use as a drug store.
The current owner of the property is listed as “Benson Theater LLC.” Approximate build date for the structure is circa 1920, judging by the record of Building Notices.
Flip-flops… when you say “right now they show cable TV projection…” are you referring to this theater? I thought it was closed! I know you also posted on the Fair Theater page, so perhaps you’re referring to that establishment – which is still open.
I love how the 1978 ad plays up the $2.50 admission – but if you look carefully, that’s for “senior citizens!” Gotta love that sort of pluck!!!
Flip-flops… these ads are for straight porn. Did the cinema ever make the switch to all-male features or was the content on-screen immaterial to the activities in the bathrooms? I know in Times Square, the films didn’t even have to be pornographic and there was still a fair amount of diverse sexual activity taking place within the confines of the theater!
Theaterat… the ad I posted is for a porn double feature at the Benson 2. This is not the Benson Twin? Did they call it “Benson 2” sort of like a “second act” for the theater during porn?
A few other B'klyn porn houses are listed in that clipping, although the Benson would revert to mainstream films before too long. Were both sides of the twin used for porn during this period?
Understood, Bway – and I really don’t want to carry on this conversation on the Kings' page – but suffice to say that there was a time when the authorities had the owner on the ropes and could have (had they chosen to do so) held him completely liable for restoring the elements that had been destroyed under his criminally careless and wanton watch. They let him off the hook far too easily and allowed the building to crumble further in the meanwhile.
I’ll leave it to him to comment further on these, but I think he’s unsure as to whether the missing lintels are intended to be replaced or if they are gone forever. Workers might be preparing the facade for the presumably cleaned and restored lintels to be re-installed. What is so frustrating is the lack of comment by the Church on exactly what the plans entail for exterior renovation.
Here’s a direct link to the article. As a Queens movie goer, I read this and – while being very happy to see progress being made with the Kings – wonder where were the local politicians to help save the RKO Keith’s when we needed them and the place had a fighting chance?!? Shame on the local pols in Flushing!
Thanks, Lost. According to that article, TV played the part of both villain and hero in the establishment of the Victory Lanes:
“Though the former Victory Theatre owner, Jack Benjamin , does not admit that TV forced his theatre to be shut down for a full year through last fall, [but] he does admit that TV has helped make bowling popular.”
The article goes on to state that Benjamin approached the owners of Interboro Theater Circuit about the idea the previous November, but it isn’t made clear if the Victory had been affiliated with the Interboro circuit or if Benjamin was merely reaching out to Interboro as partners in the new venture. The conversion resulted in 20 automatic pin-spotter lanes in the facility – 10 apiece on each floor. The construction of the second level is noted as being very expensive, extending “from the middle of the old theatre balcony, making it possible to leave 126 of the theater seats behind the lanes.” The former projection booth was converted into a league meeting room and the “grand marble staircase” remains from the old house connecting the two levels. Two similar impending conversions in Brooklyn are noted (though theaters are not specified) with opening dates set for the winter season.
From what is stated in this article, the closing of the Victory Theatre for motion picture exhibition can now be placed sometime in the Fall of 1956. Perhaps Warren’s information regarding a February 3rd, 1951, closing refers to the end of the theater’s Skouras administration and that Benjamin purchased the property from Skouras to be run independently before finally succombing in ‘56?
Bob Endres was RCMH head projectionist for many years. I realize that I left the word “projectionist” out of a sentence in my last post describing Bob’s job at the Hall.
Thanks for that reminder, William. So an engagement at the Dome doesn’t even warrant the expense to produce a rectified print? Harking to a discussion that occurred with Bob Endres on the Radio City page, one of the potential benefits of digital projection as the technology (and therefore the image resolution) gets better and better would be the ability to digitize classic films from restored elements and preserve them for easy exhibition in big screen revival houses across the country. Imagine going to the cinema for a revival of “My Fair Lady” or “Lawrence of Arabia” and knowing with certainty that you’ll be seeing a pristine print! The rectification process could be performed via digital manipulation of the image in the rare houses were a deeply curved screen still exists. In fact, digitial processing might also be used to correct the projector-lamp variations and seam distortions for three-strip Cinerama and produce an experience that looks even better than the original. Of course, digital still doesn’t produce as rich and satisfying an image as 70mm film at this point (and resolution deficiencies would certainly be magnified on a giant Cinerama screen), but according Bob – a respected veteran who was the RCMH head for many years – it’s getting very, very close.
In any event, an un-rectified 70mm print of “2001” would still play very nicely – I think – on a huge Imax screen.
Well… I need to embellish it a bit before publication. It’s not quite as wordy as my epic introduction to the Bay Terrace Sixplex – which is being serialized in Harper’s Bazaar, by the way. Thanks for the laugh, as usual, Lost.
I also should have surmised something was up, since I think Chelly had already taken over and renamed this the Cameo by 1964 when the first couple of “Olga” flicks made their NY (if not world) premiere here.
Hmph! How’d I miss that one? And who’d have thunk there were two films with that exact title?!? Oh well. My Chelly Wilson info is irrelavant to the story, but I hope you found it informative and germain to this theater anyway! LOL. If you’d like a copy of the full article in Adobe PDF format, just drop me an email through my profile.
The building still stands, per NYC records. The current structure is listed with an approximate build date of 1916 and the current occupant listed as Liberty Department Stores (the occupants of several theaters throughout the City, I believe). Also per City records, a marquee is still being maintained (or at least was as recently as 2004 when the last annual permit fee was paid). An C/O for altered use was issued in 1990 showing the 1st and 2nd story occupied by a flea market. Another C/0 dated 1998 shows further alteration to two stores on the 1st floor and a vacant 2nd floor.
Ha. Thanks for finding that one, Lost. I have a Times Select account, so I was able to open up the full article, which includes a grainy photocopy-quality image depicting the last few rows of the orchestra and the damaged underside of the balcony. According to the report, 19 people were slightly injured while the plater rained down on the last 7 rows. There were 120 patrons in attendance, with 40 of them in the balcony – which held firm. The article is indeed dated 2/14/46, but I think that is an error on the part of the Times online archivist based on the movie that was reported as playing at the time:
“At a tense moment in the shocker, ‘Dr. Terror’s House of Horrors,’ the plaster started coming away with a tearing noise. Most of the patrons up front barely heard it, or assumed it was part of the weird sound effects.”
As per imdb.com, that British horror flick was released in the U.S. on February 25, 1965. I find no other matching titles in the database. Assuming the incident took place in early 1965, this would be towards the end of the Squire’s existence as just another nabe. Not too long afterward, the theater would come under the ownership of Chelly Wilson, who would re-christen it as the Cameo and make the changeover to the sort of fetishistic-fringe sexploitation films (such as the “Olga” series) that would evolve into the hardcore pornography that was a staple on Eighth Avenue in the following decade. By 1967, Wilson owned the Cameo and the Tivoli (later Adonis) further up Eighth Ave and by 1970 would open the Capri, Eros and Eros II (later Venus) on the block of Eighth between 45th and 46th Streets) – all hardcore XXX grind houses.
Such lofty and noble ambitions back in 2002/2003. It’s not encouraging that Community Board memeber Nick Pennachio didn’t think the building “wasn’t that beautiful.” I’d love to have Nicholas Hirshon conduct an interview with the Pastor and ask her exactly what plans are for the building’s exterior and how they reconcile with initial designs to keep it largely intact.
Wow… A few bona fide 1970’s Times Square icons are appearing this year; porn stars Seka and Marylin Chambers plus the one and only Rudy Ray Moore! I’ll have to peruse this list more carefully when I get some time.
Yes. I thought I entered that as well, but I did have to go back and edit the description so I must have deleted it.
Sorry… Thought I entered a status of closed/demolished. The building that the Crystal Hall occupied was gutted by fire in 1923 and then completely demolished and built over in 1965.
I think you’re right, Joe. In the photo there is a vertical sign affixed to the center portion of the facade which featured a large and fanciful oval caricature of a rabbit to compliment the two carved bunnies found at either end of the upper facade.
Ah SeaBeacher… wandering a bit off topic to take a stroll down memory lane has been a topic of much debate on these pages! I happen to think that such musings – provided they don’t go too far astray – often provide good color and a nice sociological context within which folks who didn’t live in the area or attend a local theater might better appreciate the experiences shared by folks who were patrons. There are plenty of folks who share that philosophy – but beware those who might wag their figurative fingers and admonish you to stick to the facts and dates of legitimate theater research! Then tell them to go play in traffic! Heh heh… just kidding, naturally. I don’t want anyone run down by a bus.
I think the Rockville Centre would do very well with more mainstream fare than is currently programmed at the Malverne. It’s in a good location and from reports on this page, hadn’t really been wanting in attendance, even at the very end. The thing is that restrictive lease covenant that curtails hours of operation due to the small parking lot it shares with the Bank. I wonder if that’ll keep any larger chains away.
I searched the NYC Building Department records online and found the original C/O as well as two latter ones. The original is much too faded for me to read, but I do see one issued in 1978 (month and date too faint to make out) for the twinning of this theater on the 1st floor with max occupancy of 588 in one auditorium and 400 in the other. These figures usually pertain to fire codes and include standing areas so should not necessarily be read as actual seat counts. A projection booth and theater accessory use is noted on the 2nd floor mezzanine level. This is a final C/O, so, assuming the theater operated as a twin under temporary Certificates, I’d say we can safely say it was indeed already split by the time the XXX double feature advertised in my clipping was on the grind there.
In 1989, a new C/O is issued for the alteration of the ground floor into a store, with the mezzanine level now occupied by a mechanical equipment room. Electrical work had been filed in 1988 during rehab of property to use as a drug store.
The current owner of the property is listed as “Benson Theater LLC.” Approximate build date for the structure is circa 1920, judging by the record of Building Notices.
Shouldn’t this also have an AKA of “RKO Rockville Centre Twin” or “RKO Twin”?
Flip-flops… when you say “right now they show cable TV projection…” are you referring to this theater? I thought it was closed! I know you also posted on the Fair Theater page, so perhaps you’re referring to that establishment – which is still open.
A pair of ads from the late ‘70’s and early '80’s:
Dutch Treat – Daily News 1/25/78
Downstairs, Upstairs – Post 3/10/82
I love how the 1978 ad plays up the $2.50 admission – but if you look carefully, that’s for “senior citizens!” Gotta love that sort of pluck!!!
Flip-flops… these ads are for straight porn. Did the cinema ever make the switch to all-male features or was the content on-screen immaterial to the activities in the bathrooms? I know in Times Square, the films didn’t even have to be pornographic and there was still a fair amount of diverse sexual activity taking place within the confines of the theater!
Theaterat… the ad I posted is for a porn double feature at the Benson 2. This is not the Benson Twin? Did they call it “Benson 2” sort of like a “second act” for the theater during porn?
From the Daily News on January 28th, 1978:
Salon d' Amor
A few other B'klyn porn houses are listed in that clipping, although the Benson would revert to mainstream films before too long. Were both sides of the twin used for porn during this period?
Understood, Bway – and I really don’t want to carry on this conversation on the Kings' page – but suffice to say that there was a time when the authorities had the owner on the ropes and could have (had they chosen to do so) held him completely liable for restoring the elements that had been destroyed under his criminally careless and wanton watch. They let him off the hook far too easily and allowed the building to crumble further in the meanwhile.
Here are a pair of photos taken by Mike Perlman (our own NativeForestHiller) as he was passing by on a bus the other day:
Shot 1
Shot 2
I’ll leave it to him to comment further on these, but I think he’s unsure as to whether the missing lintels are intended to be replaced or if they are gone forever. Workers might be preparing the facade for the presumably cleaned and restored lintels to be re-installed. What is so frustrating is the lack of comment by the Church on exactly what the plans entail for exterior renovation.
Here’s a direct link to the article. As a Queens movie goer, I read this and – while being very happy to see progress being made with the Kings – wonder where were the local politicians to help save the RKO Keith’s when we needed them and the place had a fighting chance?!? Shame on the local pols in Flushing!
Thanks, Lost. According to that article, TV played the part of both villain and hero in the establishment of the Victory Lanes:
“Though the former Victory Theatre owner, Jack Benjamin , does not admit that TV forced his theatre to be shut down for a full year through last fall, [but] he does admit that TV has helped make bowling popular.”
The article goes on to state that Benjamin approached the owners of Interboro Theater Circuit about the idea the previous November, but it isn’t made clear if the Victory had been affiliated with the Interboro circuit or if Benjamin was merely reaching out to Interboro as partners in the new venture. The conversion resulted in 20 automatic pin-spotter lanes in the facility – 10 apiece on each floor. The construction of the second level is noted as being very expensive, extending “from the middle of the old theatre balcony, making it possible to leave 126 of the theater seats behind the lanes.” The former projection booth was converted into a league meeting room and the “grand marble staircase” remains from the old house connecting the two levels. Two similar impending conversions in Brooklyn are noted (though theaters are not specified) with opening dates set for the winter season.
From what is stated in this article, the closing of the Victory Theatre for motion picture exhibition can now be placed sometime in the Fall of 1956. Perhaps Warren’s information regarding a February 3rd, 1951, closing refers to the end of the theater’s Skouras administration and that Benjamin purchased the property from Skouras to be run independently before finally succombing in ‘56?
Bob Endres was RCMH head projectionist for many years. I realize that I left the word “projectionist” out of a sentence in my last post describing Bob’s job at the Hall.
Thanks for that reminder, William. So an engagement at the Dome doesn’t even warrant the expense to produce a rectified print? Harking to a discussion that occurred with Bob Endres on the Radio City page, one of the potential benefits of digital projection as the technology (and therefore the image resolution) gets better and better would be the ability to digitize classic films from restored elements and preserve them for easy exhibition in big screen revival houses across the country. Imagine going to the cinema for a revival of “My Fair Lady” or “Lawrence of Arabia” and knowing with certainty that you’ll be seeing a pristine print! The rectification process could be performed via digital manipulation of the image in the rare houses were a deeply curved screen still exists. In fact, digitial processing might also be used to correct the projector-lamp variations and seam distortions for three-strip Cinerama and produce an experience that looks even better than the original. Of course, digital still doesn’t produce as rich and satisfying an image as 70mm film at this point (and resolution deficiencies would certainly be magnified on a giant Cinerama screen), but according Bob – a respected veteran who was the RCMH head for many years – it’s getting very, very close.
In any event, an un-rectified 70mm print of “2001” would still play very nicely – I think – on a huge Imax screen.
Well… I need to embellish it a bit before publication. It’s not quite as wordy as my epic introduction to the Bay Terrace Sixplex – which is being serialized in Harper’s Bazaar, by the way. Thanks for the laugh, as usual, Lost.
I also should have surmised something was up, since I think Chelly had already taken over and renamed this the Cameo by 1964 when the first couple of “Olga” flicks made their NY (if not world) premiere here.
Hmph! How’d I miss that one? And who’d have thunk there were two films with that exact title?!? Oh well. My Chelly Wilson info is irrelavant to the story, but I hope you found it informative and germain to this theater anyway! LOL. If you’d like a copy of the full article in Adobe PDF format, just drop me an email through my profile.
The building still stands, per NYC records. The current structure is listed with an approximate build date of 1916 and the current occupant listed as Liberty Department Stores (the occupants of several theaters throughout the City, I believe). Also per City records, a marquee is still being maintained (or at least was as recently as 2004 when the last annual permit fee was paid). An C/O for altered use was issued in 1990 showing the 1st and 2nd story occupied by a flea market. Another C/0 dated 1998 shows further alteration to two stores on the 1st floor and a vacant 2nd floor.
Ha. Thanks for finding that one, Lost. I have a Times Select account, so I was able to open up the full article, which includes a grainy photocopy-quality image depicting the last few rows of the orchestra and the damaged underside of the balcony. According to the report, 19 people were slightly injured while the plater rained down on the last 7 rows. There were 120 patrons in attendance, with 40 of them in the balcony – which held firm. The article is indeed dated 2/14/46, but I think that is an error on the part of the Times online archivist based on the movie that was reported as playing at the time:
“At a tense moment in the shocker, ‘Dr. Terror’s House of Horrors,’ the plaster started coming away with a tearing noise. Most of the patrons up front barely heard it, or assumed it was part of the weird sound effects.”
As per imdb.com, that British horror flick was released in the U.S. on February 25, 1965. I find no other matching titles in the database. Assuming the incident took place in early 1965, this would be towards the end of the Squire’s existence as just another nabe. Not too long afterward, the theater would come under the ownership of Chelly Wilson, who would re-christen it as the Cameo and make the changeover to the sort of fetishistic-fringe sexploitation films (such as the “Olga” series) that would evolve into the hardcore pornography that was a staple on Eighth Avenue in the following decade. By 1967, Wilson owned the Cameo and the Tivoli (later Adonis) further up Eighth Ave and by 1970 would open the Capri, Eros and Eros II (later Venus) on the block of Eighth between 45th and 46th Streets) – all hardcore XXX grind houses.
They should show a fresh 70mm print of “2001” in an Imax theater, since there are no Cinerama houses left in the tri-state area!
Such lofty and noble ambitions back in 2002/2003. It’s not encouraging that Community Board memeber Nick Pennachio didn’t think the building “wasn’t that beautiful.” I’d love to have Nicholas Hirshon conduct an interview with the Pastor and ask her exactly what plans are for the building’s exterior and how they reconcile with initial designs to keep it largely intact.
Wow… A few bona fide 1970’s Times Square icons are appearing this year; porn stars Seka and Marylin Chambers plus the one and only Rudy Ray Moore! I’ll have to peruse this list more carefully when I get some time.