David, the Rialto 2 had an entrance on 42nd street and was in the basement of this same theatre. Once inside you could go from one to the other without being harassed. There is no reason to remove the 42nd street photos since this was basically a twin with two boxoffices and two entrances until Cineplex Odeon mothballed the fully remodelled twin two due to subway noise.
Perhaps posting a movie premiere Trump did NOT attend may be more worthy. He was a Ziegfeld regular with a pregnant Marla Maples while still married to Ivana. I saw him there many times when my office was there.
My mistake on “FORUM”. Did not Road Show, at least not in NY. There in an issue between not recouping costs and “disappointing” runs. Some films like “CLEOPATRA” were labeled flops although they eventually showed a profit.
“The Lion In Winter”, “A Funny Thing Happened…”, “Can-Can”, “How the West Was Won”, and “Mutiny on the Bounty” all ran under 44 weeks first run on Road Show. Define “successes”.
It sounds like they didn’t have a house nut guarantee and simply broke the contract and waited to be sued. Under Walter Reade, when the Ziegfeld couldn’t get an extended house nut deal or a new film, they also closed. Most first run film contracts included a minimum number of showings per week.
bigjoe, there was usually an advance payment made by the theatre with a promise for a minimum run of x weeks. If the box office dropped below a certain point, the distributor guaranteed to keep paying the pre-agreed overhead costs (“house nut”) to stay on screen or the theatre could pull the film if the distributor did not want to keep paying. In Manhattan, even non-roadshow films were often handled this way. Many long runs at the Ziegfeld were subsidized by the distributor just to stay on screen long after they were profitable.
Thank you, buddy.
David, although the marquee was next door I believe the theatre was upstairs and shared the same address as the Pussycat.
David, the Rialto 2 had an entrance on 42nd street and was in the basement of this same theatre. Once inside you could go from one to the other without being harassed. There is no reason to remove the 42nd street photos since this was basically a twin with two boxoffices and two entrances until Cineplex Odeon mothballed the fully remodelled twin two due to subway noise.
You saw it at the Rivoli?
Movies were about fifteen minutes long in 1910. No theatre was ever built for that. As bigjoe has often been told, Regency and Rialto are the answer.
What kind of theatre closes during summer for conversions? They obviously do not need 15 screens.
Perhaps posting a movie premiere Trump did NOT attend may be more worthy. He was a Ziegfeld regular with a pregnant Marla Maples while still married to Ivana. I saw him there many times when my office was there.
This is now called the Tribeca Grand.
Cineworld bought Regal.
moviebuff82, the Regal across the street is just as bad and I own stock in Cineworld.
What new logo signage? Nothing has been changed.
When I asked them how many screens were open (only eight movies in the listings), their nasty answer was “How many do you want open?”.
When I asked if this was an example of their customer service to a simple question, they blocked me.
There were some other missteps in that range such as “CHEYENNE AUTUMN” and “THE HALLELUJAH TRAIL”.
“HALF A SIXPENCE” ran for 11 weeks as a Road Show at the Criterion.
My mistake on “FORUM”. Did not Road Show, at least not in NY. There in an issue between not recouping costs and “disappointing” runs. Some films like “CLEOPATRA” were labeled flops although they eventually showed a profit.
“The Lion In Winter”, “A Funny Thing Happened…”, “Can-Can”, “How the West Was Won”, and “Mutiny on the Bounty” all ran under 44 weeks first run on Road Show. Define “successes”.
And this series.
http://cinematreasures.org/blog/2008/9/9/remembering-cinerama
bigjoe, I think the Broadway run was supported by church groups traveling to town from all over the country.
I think the site you are looking for is based on Michael Coate’s excellent research.
https://www.in70mm.com/news/2018/story/index.htm
It sounds like they didn’t have a house nut guarantee and simply broke the contract and waited to be sued. Under Walter Reade, when the Ziegfeld couldn’t get an extended house nut deal or a new film, they also closed. Most first run film contracts included a minimum number of showings per week.
bigjoe, there was usually an advance payment made by the theatre with a promise for a minimum run of x weeks. If the box office dropped below a certain point, the distributor guaranteed to keep paying the pre-agreed overhead costs (“house nut”) to stay on screen or the theatre could pull the film if the distributor did not want to keep paying. In Manhattan, even non-roadshow films were often handled this way. Many long runs at the Ziegfeld were subsidized by the distributor just to stay on screen long after they were profitable.
Another lift and switch project.
https://rew-online.com/2019/04/developer-ready-to-lift-and-tuck-old-theater-in-bold-move-to-create-times-square-star/?fbclid=IwAR3OHLde0xy6i3zsD6-N-nk2CO9Rqa2m_hTUAOIdZh4IrDL6vOhTY9Hsu_Y
Manager/Projectionist Patrick Church wrote a book with details on his days at this theatre. It is called THE SMALLEST SHOW ON EARTH.
bigjoe, the ads you’re seeing are for the New Plaza.
http://cinematreasures.org/theaters/7894
I am not sure what you are upset about. We seem to agree that documentation on these cinemas is possibly gone forever. I think that is sad.
And my DVD blu ray of “SOLO” seemed to be filmed through Clam Chowder.