I drive by this theater with a fair degree of frequency – whenever I take the 59th Street Bridge home. I never see a crowd lined up outside, but the marquee is always lit. Last time I passed by about a week or so ago, they were playing the “Dragonball Z” movie, which – if you have pre-teen kids – is a very popular Japanese Anime cartoon show on TV. I assume they play it in the original Japanese, unlike the dubbed show my kids watch on TV.
If you’ve ever driven around the areas surrounding Flushing Meadows & Corona Park (where the World’s Fair grounds were) you will find a few architectural allusions to the great symbols of the Fair – the trylon and perisphere. Along 108th Street in Corona, just north of the LIE, there is a block of storefronts with apartments overhead that include a trylon and perisphere motif in the frieze below the 2nd story window line. There are other examples, but this comes first to mind.
What an absolute shame that the Chairman of the LPC could not see his way clear to endorse the designation of the Trylon for full committee review. I’ve been trying to remember the films I saw here at the Trylon over the years. I can remember seeing “Trading Places” here for the 2nd time (I believe I saw it first at the Sunrise Multiplex in Valley Stream) and can also recall seeing “Flashdance” here as well. Most memorable of all was a legitimate test-screening of Ron Howard’s “Gung Ho” at the Trylon just a few months before its general release. I rememeber a freind of mine had gotten the passes to attend and about 5 or 6 of us went. There was an announcement before the start of the movie that it was a work-in-progress in rough-cut form and that the sound mix was not yet completed (with certain effects missing and musical cues not finalized). We were asked to fill out some cards about what we liked and what we didn’t like. I didn’t see the film again when it was finally released, but I did catch it on cable and remember catching some of the changes that had been made based on our input (and presumably that of other test-screenings around the country).
The theater didn’t have a great big screen, that I recall, but it certainly had a charm that one only finds in a vintage neighborhood venue. I can’t recall the last film I saw there, but I do remember that the “coming soon” exterior display case to the right of the entrance doors featured an add for the Matthau-Lemmon “Odd Couple II” sequel… that would have been 1998.
That figures. Exactly what I’ve come to expect from our elected officials and their appointed stooges. And so another brick is mortared into my wall of civic cynicism.
So, Matt… Not sure if you’re still tracking this item, but I’m curious if all went as planned and you made the trek to some of the theaters suggested above?
And much of “Tron” was actually filmed in wide guage (as opposed to “Trek” and most other 70mm blow up engagements)! I remember coming into Times Square to see “Tron” here that summer and being blown away by the effects. I had already seen “Trek II” in Valley Stream so we didn’t make it a two-fer that day!
I recall it being XXX also, but I just found an old newspaper from December 1980 (I saved the papers the days after the killing of John Lennon) and there is an ad for a 2nd run of “The Blues Brothers” on a double bill with “The Jerk” – a pair I saw at the Sunrise Cinemas multplex in Valley Stream – and the lead theater in Manhattan is the Anco (listed as “Creative Cinema’s Anco” in the ad). I’ll scan the ad and post here when I get a chance.
Robert, thanks for those illuminating comments on MW and the differences in quality between 35mm and 70mm. I came of true moviegoing age in the ‘70’s and by then actual 70mm cinematography was pretty much a thing of the past, so I can’t say that I’ve really experienced a bona fide 70mm exhibition more than maybe once or twice in my life! Just about all of the 70mm presentations I did attend were premier engagement blow-ups from 35mm negatives. Is there a significant difference when the print is a 70mm blow up or was it primarily the multi-track audio advantages that elevated those engagements?
Thanks also for the info on Mad World. I agree with you 100% on honoring the filmmakers written instructions. It pains me to know that the resources have not been made available to afford you to proceed with a proper restoration of the original full length version of MW. Is it true that elements had been found that were allowed to decompose beyond salvagability due to a lack of proper funding? Where are the outraged Mad World fanatics who have some muscle in tinseltown?
But… I veer off thread. We now return to our regularly scheduled programming.
Robert Harris… that’s a sad thought, but one that I suspected was true. Still, I think we’d all gladly take solid 35mm prints with mutli track audio given a proper presentation with respect to intermission, house lights and curtain cues. I’d love to know what films do exist on viable large format prints – and would love to know that Clearview has an interest in tracking some of them down for future Classics series. I’ve never seen “It’s a Mad Mad Mad Mad World” on the large screen and would love to see the print that ran on the West Coast a couple of years back playing at the Ziegfeld – complete with police radio calls during intermission. Perhaps we’ll never see a complete premier-engagement version of IAMMMMW, but I’ll take the general release version in 70mm on a big screen for just once in my life.
Brilliant Robert… Thanks! That’s a double bill I might have seen at the old Times Square Theater! Well, I was a bit too young to have visited the Duece in ‘74, but I know those two films were still kicking around in the early '80’s on the bottom end of double and triple bills up and down the block. The Anco – I believe – was XXX during the time (and a bit too close to 8th Ave for my liking and that of my teenaged pals from Queens)!
Excellent points, Robert. I’m glad this site and thread has attracted your attention. I’m somewhat dismayed that Craig was not responsive to your calls – especially in light of how receptive he has been to others who have contacted him during this series. While the discount price was nice, I would easily have paid full price to see these great films properly presented at the Ziegfeld. And I would most certainly be prepared to pay a premium for a deluxe 70mm presentation.
Irv… I must take you to task on your suggestion to suppress any criticism about the Ziegfeld’s handling of this series, lest we frustrate them to the point that they abandon the concept entirely. As long as we are supporting the series by our paid attendance, we have a right to voice our praise or our grievances. I think the response from this board regarding the series has been overwhelmingly positive and appreciative. Our criticisms are offered constructively, for the most part, and I believe Clearview management has received them in that spirit. In fact, I would venture to say that our criticisms and suggestions have actually resulted in many improvements along the way.
If unquestioning patronage is what they really want with the Ziegfeld’s Classics series, without regard to satisfying audience expectations, better they should discontinue the policy altogether and leave such things to the devoted staff at the Loew’s Jersey or the Lafayette in Suffern. I don’t think that is what they are all about, however. I have a somewhat more optimistic outlook than Jack Theakston in this regard, and look forward to the series' ongoing success and improving quality.
Amen, RobertR. The last theater in the NYC area that looked like that was the UA Cinema 150 in Syosset, Long Island. It’s now a gym or something, but was going quite strong into the late ‘90’s.
Gary… you have to watch your language on this forum because of the diversity of membership. While I have no problem with a well chosen expletive here and there to drive home a point, not everyone shares that sort of tolerance. And I know that Patrick and Ross like to keep the language free from profanity out of respect to those who might be offended. Just a friendly word of advice.
It somewhat reminds me of what the old 42nd Street Apollo looked like when it was running concerts as The Academy back in the early ‘90’s. A uniform coat of flat paint was applied to the walls and ceiling and all the seats in the orchestra were removed and the floor leveled for general admission standing room. I think the Keith’s is a bit more ornate and larger than the Apollo was, however.
Thanks for sharing that, Alex, and apparently shedding some light on a little known and obviously short-lived legitimate revival for the former Tivoli before she was so unceremoniously swept out of the way in the name “progress.” I wonder if the distributors of the film four-walled the theater for their qualifying run? I wonder if we can find out more about this engagement (and possible others), as well as nailing down just exactly what the place was renamed during the time.
louieb… that wasn’t Elizabeth Taylor starring in “Gone With The Wind” with Clark Gable. It was Vivian Leigh. Unless you’re suggesting Gable and Taylor accompanied you and your parents to the show!
I wrote from ignorant assumption, Vito. Thanks for straightening me out on the point. If there is no cost involved, then perhaps suggesting the use of reels over the platter is a point worth pushing with management for future series.
It is troubling that there was a problem with the film and no one on staff was able to rectify the situation. Kudos to the audience members who were able to rise to the occasion and – just like in a corny disaster movie – help land the plane. That’s a nice story that brings a smile to most faces. No one has been happier than I over the fact that Clearview decided to book this program at the Ziegfeld – and then extend it for an additional 3 weeks. But I think Peter and Bob’s criticisms are valid. I hope that this incident doesn’t hinder the theater’s efforts to secure future 70mm prints.
I don’t think we’ll see Clearview go through the expense to switch back from platter to reel-to-reel, so we should probably shelve that argument and just try to encourage the Zeigfeld to concentrate on providing the highest quality presentations possible with what they have. A test run-through to check for the sort of audio sync and image stability issues reported above should be mandatory for a 70mm presentation, given the rarity of such an event and the higher level of audience expectation that comes along with it. The fact that there were several experienced projectionists on hand in the audience for that screening of “Lawrence” should signify to theater management that they are dealing with a very sophisticated patronage that is far more demanding than the usual multiplex crowd. Something tells me that they already have figured this out and are really rallying an effort to improve with each successive booking. I hope that trend continues with future “Classics” programming and that momentum is not lost during the run of “Ice Age 2” and whatever other mainsteam fodder that might follow.
Ken… the photos are wonderful! I was there a number of years back (before the Museum moved in and before they refurbished the marquee) and wandered around a bit – as you did – but at the time the upstairs was completely closed off and I didn’t have my camera in hand. You really captured the atmosphere of the old theater. In looking at your pictures, it looks even better cared for now than it was at the time I was last there. Thanks so much for sharing.
This is definitely the theater jmen2465 remembers. “Star Trek II” opened here in June of ‘82 and “Tron” opened here the following month. I know “Tron” played the State 2 upstairs in the former loge/balcony (hence the “ampitheater” style seating) which was open to the original ornate ceiling and upper side walls and proscenium arch. The former orchestra downstairs suffered a drop ceiling and curtains that obscured the entire perimeter of the theater, giving it the modern unadorned look jmen recalls. Time may have slightly altered jmen’s memories of the two auditoriums being side by side rather than up and down. However, I recall that the lobby was split left and right, with the stairs and escalators to the State 2 against the far right wall. I can’t explain why jmen recalls an organ still being in place at that time.
Alex… I’m a little confused. I thought this theater had shut its doors as a gay porn house in 1989 due to the machinations of William Zeckendorf who was trying to lure tenants into his Worldwide Plaza hi-rise on the adjacent block. Here is an article from the Times published in 1990:
If the link doesn’t work, here is a material passaage:
<< Directly north of Worldwide Plaza, on Eighth Avenue, between 50th and 51st Streets, is the blockfront that includes the former Adonis Theater, which showed gay pornographic films from 1975 until last year, when it was shut. The closing was engineered by Mr. Zeckendorf as part of his deal with the law firm of Cravath, Swaine & Moore, a major tenant in Worldwide Plaza, although the developer will not elaborate on how he did it. Repeated telephone calls to the theater operator were not returned.
Built as the Tivoli and opened in 1921, the 1,433-seat theater was perhaps the second largest single-screen cinema left in Manhattan, after Loews Astor Plaza, at Broadway and 44th Street. The building also has what may be the last open-air, roof-garden theater in Manhattan, according to Michael R. Miller, regional director of the Theatre Historical Society, although it has probably not been used since the advent of the talkies. The theater’s Renaissance-style facade, by Eisendrath & Horwitz, includes a large balcony, flanked by two-story Ionic columns.
‘'It’s an ugly, unattractive, eyesore,’‘ Mr. Zeckendorf said. ’‘We hope to replace it with a structure more in keeping with Worldwide Plaza.’‘ >>
I researched a bit more on the Times site and found a later article dated June 1995 that reports the demolition of the theater and mentions that Mr. Zeckendorf had finally succeeded in closing the theater (one assumes permanently) in January of 1994, “after years of manuevering.” This opens a door for the possibility that in a fight for its life, the theater’s management might have instituted a policy of showing straight films in a last ditch effort to prove its worthiness in the resurgent neighborhood. Here is a link to that article:
I believe there was another theater that picked up the “Adonis” moniker at some point further down 8th Ave in the ‘40’s across from the Cameo/Playpen Theater. Does that ring a bell with anyone?
This would be more appropriate to the Kieth’s site, but I just thought I’d add that while the Flea Market may only be in operation on Sunday (I seem to recall it operated in the foyer and lobby space), the theater is open whenever there are Bingo games being run in the former auditorium.
I went here a few times in the early to mid ‘80’s myself, bobby. I can’t remember the fast food joint you’re talking about. The only movie I can remember distinctly seeing here (upstairs) was the Stephen King adaptation “Christine”. It was playing on the top of a double bill with some awful horror film that I wanted to stay and watch, but my date didn’t. I worked in the area at Greenpoint Bank a few blocks to the south at the corner of Main and Sanford from 1991 to 1995 and the theater was already demolished by the time I started. Gloria’s was still there, but under different management and a pale shadow of its former glory. I wound up preferring Barone’s Pizzeria on the other side of Main. Remember Tony Avena’s little shoe-shine stand and key-cutting place under the LIRR trestle a block away from the Prospect? The railroad almost ran Avena out of his spot (which had been leased by his family for over 70 years) but he waged a public battle and won a below-market lease extension. He died, however, shortly thereafter, and the family eventually lost the location to a Chinese fast food joint.
Bobby… I assume you mean St. Joseph’s Hospital on 79th Ave around 158th Street. It’s just down the block from the where the Parsons Theater used to be (on the other side of Parsons Blvd) and still functioning. I remember that IHOP. Once it closed, I had to go all the way to Northern Blvd for a stack of their pancakes. Now you got me thinking trying to figure out the name of the place that took over that IHOP!
I wonder if it’s the print that the Ziegfeld played a couple of years back? How many 70mm prints could there be in the U.S.? And how many times could each of them have been screened since they were struck, given the dearth of proper facilities.
I drive by this theater with a fair degree of frequency – whenever I take the 59th Street Bridge home. I never see a crowd lined up outside, but the marquee is always lit. Last time I passed by about a week or so ago, they were playing the “Dragonball Z” movie, which – if you have pre-teen kids – is a very popular Japanese Anime cartoon show on TV. I assume they play it in the original Japanese, unlike the dubbed show my kids watch on TV.
If you’ve ever driven around the areas surrounding Flushing Meadows & Corona Park (where the World’s Fair grounds were) you will find a few architectural allusions to the great symbols of the Fair – the trylon and perisphere. Along 108th Street in Corona, just north of the LIE, there is a block of storefronts with apartments overhead that include a trylon and perisphere motif in the frieze below the 2nd story window line. There are other examples, but this comes first to mind.
What an absolute shame that the Chairman of the LPC could not see his way clear to endorse the designation of the Trylon for full committee review. I’ve been trying to remember the films I saw here at the Trylon over the years. I can remember seeing “Trading Places” here for the 2nd time (I believe I saw it first at the Sunrise Multiplex in Valley Stream) and can also recall seeing “Flashdance” here as well. Most memorable of all was a legitimate test-screening of Ron Howard’s “Gung Ho” at the Trylon just a few months before its general release. I rememeber a freind of mine had gotten the passes to attend and about 5 or 6 of us went. There was an announcement before the start of the movie that it was a work-in-progress in rough-cut form and that the sound mix was not yet completed (with certain effects missing and musical cues not finalized). We were asked to fill out some cards about what we liked and what we didn’t like. I didn’t see the film again when it was finally released, but I did catch it on cable and remember catching some of the changes that had been made based on our input (and presumably that of other test-screenings around the country).
The theater didn’t have a great big screen, that I recall, but it certainly had a charm that one only finds in a vintage neighborhood venue. I can’t recall the last film I saw there, but I do remember that the “coming soon” exterior display case to the right of the entrance doors featured an add for the Matthau-Lemmon “Odd Couple II” sequel… that would have been 1998.
That figures. Exactly what I’ve come to expect from our elected officials and their appointed stooges. And so another brick is mortared into my wall of civic cynicism.
So, Matt… Not sure if you’re still tracking this item, but I’m curious if all went as planned and you made the trek to some of the theaters suggested above?
And much of “Tron” was actually filmed in wide guage (as opposed to “Trek” and most other 70mm blow up engagements)! I remember coming into Times Square to see “Tron” here that summer and being blown away by the effects. I had already seen “Trek II” in Valley Stream so we didn’t make it a two-fer that day!
I recall it being XXX also, but I just found an old newspaper from December 1980 (I saved the papers the days after the killing of John Lennon) and there is an ad for a 2nd run of “The Blues Brothers” on a double bill with “The Jerk” – a pair I saw at the Sunrise Cinemas multplex in Valley Stream – and the lead theater in Manhattan is the Anco (listed as “Creative Cinema’s Anco” in the ad). I’ll scan the ad and post here when I get a chance.
Robert, thanks for those illuminating comments on MW and the differences in quality between 35mm and 70mm. I came of true moviegoing age in the ‘70’s and by then actual 70mm cinematography was pretty much a thing of the past, so I can’t say that I’ve really experienced a bona fide 70mm exhibition more than maybe once or twice in my life! Just about all of the 70mm presentations I did attend were premier engagement blow-ups from 35mm negatives. Is there a significant difference when the print is a 70mm blow up or was it primarily the multi-track audio advantages that elevated those engagements?
Thanks also for the info on Mad World. I agree with you 100% on honoring the filmmakers written instructions. It pains me to know that the resources have not been made available to afford you to proceed with a proper restoration of the original full length version of MW. Is it true that elements had been found that were allowed to decompose beyond salvagability due to a lack of proper funding? Where are the outraged Mad World fanatics who have some muscle in tinseltown?
But… I veer off thread. We now return to our regularly scheduled programming.
Robert Harris… that’s a sad thought, but one that I suspected was true. Still, I think we’d all gladly take solid 35mm prints with mutli track audio given a proper presentation with respect to intermission, house lights and curtain cues. I’d love to know what films do exist on viable large format prints – and would love to know that Clearview has an interest in tracking some of them down for future Classics series. I’ve never seen “It’s a Mad Mad Mad Mad World” on the large screen and would love to see the print that ran on the West Coast a couple of years back playing at the Ziegfeld – complete with police radio calls during intermission. Perhaps we’ll never see a complete premier-engagement version of IAMMMMW, but I’ll take the general release version in 70mm on a big screen for just once in my life.
Brilliant Robert… Thanks! That’s a double bill I might have seen at the old Times Square Theater! Well, I was a bit too young to have visited the Duece in ‘74, but I know those two films were still kicking around in the early '80’s on the bottom end of double and triple bills up and down the block. The Anco – I believe – was XXX during the time (and a bit too close to 8th Ave for my liking and that of my teenaged pals from Queens)!
Excellent points, Robert. I’m glad this site and thread has attracted your attention. I’m somewhat dismayed that Craig was not responsive to your calls – especially in light of how receptive he has been to others who have contacted him during this series. While the discount price was nice, I would easily have paid full price to see these great films properly presented at the Ziegfeld. And I would most certainly be prepared to pay a premium for a deluxe 70mm presentation.
Irv… I must take you to task on your suggestion to suppress any criticism about the Ziegfeld’s handling of this series, lest we frustrate them to the point that they abandon the concept entirely. As long as we are supporting the series by our paid attendance, we have a right to voice our praise or our grievances. I think the response from this board regarding the series has been overwhelmingly positive and appreciative. Our criticisms are offered constructively, for the most part, and I believe Clearview management has received them in that spirit. In fact, I would venture to say that our criticisms and suggestions have actually resulted in many improvements along the way.
If unquestioning patronage is what they really want with the Ziegfeld’s Classics series, without regard to satisfying audience expectations, better they should discontinue the policy altogether and leave such things to the devoted staff at the Loew’s Jersey or the Lafayette in Suffern. I don’t think that is what they are all about, however. I have a somewhat more optimistic outlook than Jack Theakston in this regard, and look forward to the series' ongoing success and improving quality.
Amen, RobertR. The last theater in the NYC area that looked like that was the UA Cinema 150 in Syosset, Long Island. It’s now a gym or something, but was going quite strong into the late ‘90’s.
Gary… you have to watch your language on this forum because of the diversity of membership. While I have no problem with a well chosen expletive here and there to drive home a point, not everyone shares that sort of tolerance. And I know that Patrick and Ross like to keep the language free from profanity out of respect to those who might be offended. Just a friendly word of advice.
It somewhat reminds me of what the old 42nd Street Apollo looked like when it was running concerts as The Academy back in the early ‘90’s. A uniform coat of flat paint was applied to the walls and ceiling and all the seats in the orchestra were removed and the floor leveled for general admission standing room. I think the Keith’s is a bit more ornate and larger than the Apollo was, however.
That’s it! Thanks folks.
Thanks for sharing that, Alex, and apparently shedding some light on a little known and obviously short-lived legitimate revival for the former Tivoli before she was so unceremoniously swept out of the way in the name “progress.” I wonder if the distributors of the film four-walled the theater for their qualifying run? I wonder if we can find out more about this engagement (and possible others), as well as nailing down just exactly what the place was renamed during the time.
louieb… that wasn’t Elizabeth Taylor starring in “Gone With The Wind” with Clark Gable. It was Vivian Leigh. Unless you’re suggesting Gable and Taylor accompanied you and your parents to the show!
I wrote from ignorant assumption, Vito. Thanks for straightening me out on the point. If there is no cost involved, then perhaps suggesting the use of reels over the platter is a point worth pushing with management for future series.
It is troubling that there was a problem with the film and no one on staff was able to rectify the situation. Kudos to the audience members who were able to rise to the occasion and – just like in a corny disaster movie – help land the plane. That’s a nice story that brings a smile to most faces. No one has been happier than I over the fact that Clearview decided to book this program at the Ziegfeld – and then extend it for an additional 3 weeks. But I think Peter and Bob’s criticisms are valid. I hope that this incident doesn’t hinder the theater’s efforts to secure future 70mm prints.
I don’t think we’ll see Clearview go through the expense to switch back from platter to reel-to-reel, so we should probably shelve that argument and just try to encourage the Zeigfeld to concentrate on providing the highest quality presentations possible with what they have. A test run-through to check for the sort of audio sync and image stability issues reported above should be mandatory for a 70mm presentation, given the rarity of such an event and the higher level of audience expectation that comes along with it. The fact that there were several experienced projectionists on hand in the audience for that screening of “Lawrence” should signify to theater management that they are dealing with a very sophisticated patronage that is far more demanding than the usual multiplex crowd. Something tells me that they already have figured this out and are really rallying an effort to improve with each successive booking. I hope that trend continues with future “Classics” programming and that momentum is not lost during the run of “Ice Age 2” and whatever other mainsteam fodder that might follow.
Ken… the photos are wonderful! I was there a number of years back (before the Museum moved in and before they refurbished the marquee) and wandered around a bit – as you did – but at the time the upstairs was completely closed off and I didn’t have my camera in hand. You really captured the atmosphere of the old theater. In looking at your pictures, it looks even better cared for now than it was at the time I was last there. Thanks so much for sharing.
This is definitely the theater jmen2465 remembers. “Star Trek II” opened here in June of ‘82 and “Tron” opened here the following month. I know “Tron” played the State 2 upstairs in the former loge/balcony (hence the “ampitheater” style seating) which was open to the original ornate ceiling and upper side walls and proscenium arch. The former orchestra downstairs suffered a drop ceiling and curtains that obscured the entire perimeter of the theater, giving it the modern unadorned look jmen recalls. Time may have slightly altered jmen’s memories of the two auditoriums being side by side rather than up and down. However, I recall that the lobby was split left and right, with the stairs and escalators to the State 2 against the far right wall. I can’t explain why jmen recalls an organ still being in place at that time.
Alex… I’m a little confused. I thought this theater had shut its doors as a gay porn house in 1989 due to the machinations of William Zeckendorf who was trying to lure tenants into his Worldwide Plaza hi-rise on the adjacent block. Here is an article from the Times published in 1990:
View link
If the link doesn’t work, here is a material passaage:
<< Directly north of Worldwide Plaza, on Eighth Avenue, between 50th and 51st Streets, is the blockfront that includes the former Adonis Theater, which showed gay pornographic films from 1975 until last year, when it was shut. The closing was engineered by Mr. Zeckendorf as part of his deal with the law firm of Cravath, Swaine & Moore, a major tenant in Worldwide Plaza, although the developer will not elaborate on how he did it. Repeated telephone calls to the theater operator were not returned.
Built as the Tivoli and opened in 1921, the 1,433-seat theater was perhaps the second largest single-screen cinema left in Manhattan, after Loews Astor Plaza, at Broadway and 44th Street. The building also has what may be the last open-air, roof-garden theater in Manhattan, according to Michael R. Miller, regional director of the Theatre Historical Society, although it has probably not been used since the advent of the talkies. The theater’s Renaissance-style facade, by Eisendrath & Horwitz, includes a large balcony, flanked by two-story Ionic columns.
‘'It’s an ugly, unattractive, eyesore,’‘ Mr. Zeckendorf said. ’‘We hope to replace it with a structure more in keeping with Worldwide Plaza.’‘ >>
I researched a bit more on the Times site and found a later article dated June 1995 that reports the demolition of the theater and mentions that Mr. Zeckendorf had finally succeeded in closing the theater (one assumes permanently) in January of 1994, “after years of manuevering.” This opens a door for the possibility that in a fight for its life, the theater’s management might have instituted a policy of showing straight films in a last ditch effort to prove its worthiness in the resurgent neighborhood. Here is a link to that article:
View link
I believe there was another theater that picked up the “Adonis” moniker at some point further down 8th Ave in the ‘40’s across from the Cameo/Playpen Theater. Does that ring a bell with anyone?
This would be more appropriate to the Kieth’s site, but I just thought I’d add that while the Flea Market may only be in operation on Sunday (I seem to recall it operated in the foyer and lobby space), the theater is open whenever there are Bingo games being run in the former auditorium.
I went here a few times in the early to mid ‘80’s myself, bobby. I can’t remember the fast food joint you’re talking about. The only movie I can remember distinctly seeing here (upstairs) was the Stephen King adaptation “Christine”. It was playing on the top of a double bill with some awful horror film that I wanted to stay and watch, but my date didn’t. I worked in the area at Greenpoint Bank a few blocks to the south at the corner of Main and Sanford from 1991 to 1995 and the theater was already demolished by the time I started. Gloria’s was still there, but under different management and a pale shadow of its former glory. I wound up preferring Barone’s Pizzeria on the other side of Main. Remember Tony Avena’s little shoe-shine stand and key-cutting place under the LIRR trestle a block away from the Prospect? The railroad almost ran Avena out of his spot (which had been leased by his family for over 70 years) but he waged a public battle and won a below-market lease extension. He died, however, shortly thereafter, and the family eventually lost the location to a Chinese fast food joint.
Bobby… I assume you mean St. Joseph’s Hospital on 79th Ave around 158th Street. It’s just down the block from the where the Parsons Theater used to be (on the other side of Parsons Blvd) and still functioning. I remember that IHOP. Once it closed, I had to go all the way to Northern Blvd for a stack of their pancakes. Now you got me thinking trying to figure out the name of the place that took over that IHOP!
I wonder if it’s the print that the Ziegfeld played a couple of years back? How many 70mm prints could there be in the U.S.? And how many times could each of them have been screened since they were struck, given the dearth of proper facilities.