The Rivoli opened with a platform stage in 1917. In 1926 it was remodeled by Publix, better stage space was allocated, and stage revues were introduced as per this NY Times review of “A Kiss for Cinderella”.
“The new idea at the Rivoli is to have a John Murray Anderson revue in addition to the screen feature, and no real prologue. This theatre, which now is run by the Publix Theatres Corporation, has been remodeled so as to have more stage space. Mr. Anderson’s current production is hailed as "The Melting Pot,” in which the dancers of different nations, after giving their native performance, pass through the melting pot and emerge clad in glistening gold. There is too much of a contrast between this stage effort and the delicate charm of Barrie’s story."
Scott, just because bars close and liquor companies failed does not mean that drinking did not blossom among those stores that remained in the business. You could only get movies in one place.
Deflation came from the need to discount. Where people went out to dinner less, they went to movies more as they were good value for money. Theatres that discounted or added value boomed in attendance. Although restaurants failed to draw at lower prices, movie attendance went up when lower prices were introduced as people saw them as better value for money than eating out, dancing, plays and other leisure activities.
Most theatre closings came from financially marginal locations that were unable to discount in order to allow their cash strapped audiences to grow. Those theatres without sound equipment failed almost immediately as people would not risk valuable cash on an inferior night out. This affected many small town locations in particular that had never bothered to upgrade.
Studio bankrupcies were caused by their failures to get loans. Those studios that self-financed their movies made a killing at the box office especially if they had stars like Chaplin, The Marx Bros. or Mae West in their stables and could churn out the product into their own theatres.
You will find that the general drop in attendance and revenue came from small town and under capitalized venues shutting down and leaving people with no where to go or ill-advised over-blown venues that should never have been built. If you operated in a town with 500 people, discounting could not grow your audience and you were doomed.
Although no business operates in a vacuum, movie revenues were hurt more by simple credit failures than any audience reluctance.
In the big cities like New York, Chicago and Los Angeles they barely hurt at all and were breaking all-time records by the end of 1933.
movie 534, a major reason movies ran all summer in the ‘70s was that we had a serious product shortage and we often had nothing to replace them with. Distributor contracts dictated minimum play weeks so that box office stinkers like “A BRIDGE TOO FAR” stuck around for months to unwarranted hold-overs. The best one could do is put a wall down the middle of the auditorium and double your chances of getting the occasional hit.
The “old” days you are referring to caused awkward twinning and therefore the destruction of many movie palaces.
That Vin Diesel movie just had the biggest opening so far this year and has grossed over 122 million in two weeks. Those are summer blockbuster results for a B action movie. “Hannah Montana” did 41 million last weekend. Not bad for an extended TV show.
The numbers are very healthy, although apparently not in all markets.
Moviegoing suffered less than most other industries during the depression. Part of the drop in ticket sales was the result of deflation, theatre closures, and studio bankruptcies, which had little to do with people’s desire to attend. Demand was actually up but theatres that had not converted to sound and those studios without deep pockets went under since financing was not available. Small town operators with finite audiences hurt even more than the big cities since they operated with tighter margins and were therefore more reluctant to discount prices. In the bigger cities the unemployed found extra leisure time for cheap entertainment and still had many theatre choices. As a result the remaining theatres boomed.
If you close the only theatre in town, attendance will have to drop.
The Southern Premiere usually included any area south of Washington D.C. and east of Texas. Movies were rushed to Miami in order to catch New Yorkers on vacation or take advantage of celebrities in the area who could attend gala events.
“THE GREATEST STORY EVER TOLD” was advertised as a SOUTHERN WORLD PREMIERE which really makes you wonder where the SOUTHERN WORLD really starts.
The Rivoli opened with a platform stage in 1917. In 1926 it was remodeled by Publix, better stage space was allocated, and stage revues were introduced as per this NY Times review of “A Kiss for Cinderella”.
“The new idea at the Rivoli is to have a John Murray Anderson revue in addition to the screen feature, and no real prologue. This theatre, which now is run by the Publix Theatres Corporation, has been remodeled so as to have more stage space. Mr. Anderson’s current production is hailed as "The Melting Pot,” in which the dancers of different nations, after giving their native performance, pass through the melting pot and emerge clad in glistening gold. There is too much of a contrast between this stage effort and the delicate charm of Barrie’s story."
Charles Chaplin in person, 1916.
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Scott, just because bars close and liquor companies failed does not mean that drinking did not blossom among those stores that remained in the business. You could only get movies in one place.
Deflation came from the need to discount. Where people went out to dinner less, they went to movies more as they were good value for money. Theatres that discounted or added value boomed in attendance. Although restaurants failed to draw at lower prices, movie attendance went up when lower prices were introduced as people saw them as better value for money than eating out, dancing, plays and other leisure activities.
Most theatre closings came from financially marginal locations that were unable to discount in order to allow their cash strapped audiences to grow. Those theatres without sound equipment failed almost immediately as people would not risk valuable cash on an inferior night out. This affected many small town locations in particular that had never bothered to upgrade.
Studio bankrupcies were caused by their failures to get loans. Those studios that self-financed their movies made a killing at the box office especially if they had stars like Chaplin, The Marx Bros. or Mae West in their stables and could churn out the product into their own theatres.
You will find that the general drop in attendance and revenue came from small town and under capitalized venues shutting down and leaving people with no where to go or ill-advised over-blown venues that should never have been built. If you operated in a town with 500 people, discounting could not grow your audience and you were doomed.
Although no business operates in a vacuum, movie revenues were hurt more by simple credit failures than any audience reluctance.
In the big cities like New York, Chicago and Los Angeles they barely hurt at all and were breaking all-time records by the end of 1933.
movie 534, a major reason movies ran all summer in the ‘70s was that we had a serious product shortage and we often had nothing to replace them with. Distributor contracts dictated minimum play weeks so that box office stinkers like “A BRIDGE TOO FAR” stuck around for months to unwarranted hold-overs. The best one could do is put a wall down the middle of the auditorium and double your chances of getting the occasional hit.
The “old” days you are referring to caused awkward twinning and therefore the destruction of many movie palaces.
The Granada around 1969/1970.
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Cinerama in Miami.
http://cinematreasures.org/news/20931_0_1_0_C/
Cinerama in Miami.
http://cinematreasures.org/news/20931_0_1_0_C/
Cinerama in Miami.
http://cinematreasures.org/news/20931_0_1_0_C/
That Vin Diesel movie just had the biggest opening so far this year and has grossed over 122 million in two weeks. Those are summer blockbuster results for a B action movie. “Hannah Montana” did 41 million last weekend. Not bad for an extended TV show.
The numbers are very healthy, although apparently not in all markets.
1962 ad for the remodeled North Miami.
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Here is an article on the Hialeah when it operated as the Hialeah Art and showed nudie movies.
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Scott, Ziggy, that is not totally accurate.
Moviegoing suffered less than most other industries during the depression. Part of the drop in ticket sales was the result of deflation, theatre closures, and studio bankruptcies, which had little to do with people’s desire to attend. Demand was actually up but theatres that had not converted to sound and those studios without deep pockets went under since financing was not available. Small town operators with finite audiences hurt even more than the big cities since they operated with tighter margins and were therefore more reluctant to discount prices. In the bigger cities the unemployed found extra leisure time for cheap entertainment and still had many theatre choices. As a result the remaining theatres boomed.
If you close the only theatre in town, attendance will have to drop.
The Roosevelt
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The Florida
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The Sheridan
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Some Miami Cinerama ads here:
http://www.flickr.com/photos/25725093@N07/
The Southern Premiere usually included any area south of Washington D.C. and east of Texas. Movies were rushed to Miami in order to catch New Yorkers on vacation or take advantage of celebrities in the area who could attend gala events.
“THE GREATEST STORY EVER TOLD” was advertised as a SOUTHERN WORLD PREMIERE which really makes you wonder where the SOUTHERN WORLD really starts.
The Avon 7 and the Frisco.
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The glamorous Frisco during happier times:
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Here is the image I posted on the Houston page by mistake.
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1982 exterior image.
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A 1986 image.
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Last try. I don’t understand why this is happening.
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Whoops!
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Geez!
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As the Walter Reade Waverly.
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As the United Artists twin.
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The 34th St. East.
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