Bob… there are scores (maybe hundreds) of theaters listed on this site that could hardly be considered “treasures.” Since the site’s database is basically maintained by its members, it seems to have become a repository for every single movie house (old or new, palatial or utilitarian) that we the users know to be (or to have been) in existence. This is the reasonable trade-off that one must accept for having the “Add Theaters” function available to all. Sure, it drives the database a bit off point, but I don’t think I’d want it any other way.
In any event, the 34th Street might be a great place – within the context of the modern megaplex era – to see a movie; with big screens, solid presentation, great sight lines and comfortable accommodations. While it certainly is not a “treasure” in the sense that many of the great old palaces were, it still might be a place worth treasuring when compared to some of the other god-awful dumps that have also been added to the site (see Movieworld in Douglaston or the dreadful but thankfully departed Cinema City 5 in Fresh Meadows).
I understand AMC always re-brands their acquired theaters, but there is still hope that the Loew’s name will live on in the 10 theaters that AMC had to sell off in order to win approval for the merger. This includes the Loew’s E-Walk on 42nd Street.
That’s right. The Marx Bros. flick was “Duck Soup” and the scene Woody is watching is the musical number the entire cast sings about going to war… “Oh Freedonia, Oh don’t you cry for me…”
I love Woody’s films… I just wish he would get more involved in the efforts to preserve the neighborhood theaters and revival houses that have lent their character to his movies over the years.
There was a sad article in the City section of this Sunday’s NY Times. Here’s a link to the online version – not sure how long it will be valid and you might have to sign up (it’s free) to take a look at this: View link
The building’s owner, Albert Bialek, declares the place “obsolete” as neighborhood theater, in the article. He has obtained permission from the City to gut the interior and doesn’t know what the future holds for the space. Here’s a key passage from the article:
“Mr. Bialek has been authorized by the Landmarks Preservation Commission to demolish the interior of the Metro, whose exterior was declared a landmark in 1989. He said he is considering leasing the space to a dinner theater, a restaurant or a store, or perhaps reopening it as a multiplex.”
Perhaps a some arrangement can be made whereby minimal interior alterations would be required. It seems the community simple did not support the theater – but whether that is a function of its “obsolescence” or, rather, poor programming choices is a matter for debate.
Hope you had a great sleep, Jeffrey. Actually, the Earle/Eagle is not on 37th Avenue but the parallel 37th Road (or Drive?) which runs into Roosevelt Ave near the the IRT’s station at 74th and Broadway. You can clearly see the theater from Roosevelt, where there is only a small triangular block that sits between it and the theater.
Thanks Al… Scanning through the titles, I might have only visited the Paris twice in the ‘80’s… far less than I would have thought. The only titles I can absolutely be sure about are “Fitzcarraldo” and “The Gift” – both within a few short months of each other. A foreign movie entitled “Bolero” – and, no, not the Bo Derek exploitation flick – had a limited release engagement in Manhattan around '83 or so and I thought I might have also seen that movie here, but perhaps it was the Plaza or one of the 57th street theaters.
At the very least, I plan on making it to the Ziegfeld to see “Ben Hur” and “West Side Story” – and might also take the kids in to see “Raiders of the Lost Ark” on the big screen. I’ve accepted that these will likely all be 35mm prints; I only continue to hope that they are pristine shape and are well cared for while in Clearview’s care.
Thanks Dave… you’ve done a tremendous job documenting the final days of this once great neighborhood cinema – from beloved upper east side fixture to vacant shell to forlorn parcel of rubble. A sad tale to be sure, but one that needed to be recorded nonetheless.
JohnG409… The Maltese Bippy, huh? I’ve always wondered if the success of Laugh-In did much to help that Rowan and Martin flick do much business. Do you recall if there was much of a crowd when you saw it?
Once again (as on the Beekman site) tremendous job, Al, getting these bookings posted. You’re almost up to my era with respect to Manhattan art house movie going — the ‘80’s. I look forward to your continued contributions here and elsewhere on the site!
Thanks Peter and Vincent. After realizing that I had posted a link to the excellent widescreen museum site a number of posts back, I availed myself of the information therein and have received a nice education on the rectification process associated with single strip Cinerama presentation. I really hope this policy continues at the Ziegfeld beyond the 5 weeks currently scheduled. I plan on seeing (finally!) “Ben Hur” and “West Side Story” on the big screen at the Ziegfeld (and will probably take the kids to experience the original “Raiders of the Lost Ark” as intended), but I look forward to a screening of “2001: A Space Odyssey” – if only my prayers would be answered.
Too bad, I was just thinking, that the Ziegfeld screen is so flat – pleasing as the size of the screen is from mid-center orchestra. I mean, I don’t recall any curvature at all. I assume that the 35mm prints that will likely be exhibited were intended for flat screens despite the aspect ratios. This may sound like a dumb question, but humor me: When original scope films were projected, was there an optical correction made in the print for the screen curvature or was the process controlled wholly by the anamorphic projector lens? I seem to recall from a DVD of “It’s a Mad Mad Mad Mad World” where several trims from the original cut were included as extra features and were shown in a distorted wide screen image that had been corrected for projection onto the deeply curved Cinerama screen. So, for single-strip Cinerama projection, the correction was obviously in the print itself… does the same hold for the widescreen processes behind “Ben Hur” and “West Side Story”?
Just to make sure we stay on topic (not!) I have to dig around my box of old magazines and such, where I believe I have a couple of local 1970’s TV Guides – inlcuding, I think, the 1975 or 76 Fall Preview issue. Unfortunately, that will necessitate me negotiating with my ex-wife to get at them!
MikeRa… the ad for the Broadway play “Miss Saigon” visible on the left side of the photo next to the Coca Cola display, places this photo no earlier than 1991 (which is when the show premiered at the Broadway Theater). I can’t make out the film titles on the marquee, though the one on the top (with the red lettering) looks like it lists “Bruce Willis” as a star.
This is the best cinematic news I’ve heard in quite a long time. 70mm would be a blast of whipped crime atop an already frosted cake. I wonder what the life expectancy of this programming will be beyond the weekend of the Academy Awards telecast.
Ha! I know you jest, Bob. Seriously, there is some kind of theatrical facility that was erected for the WWF restaurant that had originally occupied the space now leased by the HRC. I assume HRC is or was renovating (or more accurately “redecorating”) that facility to fit the new brand. Just so everyone is clear, we’re talking about a small amount of space on the ground level – basically the area below the reconstructed arch and marquee – with the vast majority of the restaurant and facilities located below ground. The foyer and auditorium that was the original Paramount Theater occupied a space behind the Paramount building which fronts Broadway (or 7th Ave depending on how technical you want to get) that ran from 43rd Street all the way to 44th and is now wholly occupied by the offices of the New York Times. The WWF/HRC space only occupies a portion of the area that used to be the Paramount entrance vestibule and lobby.
I remember when the film used to be played on Thanksgiving Day by WPIX channel 11 under the title “March of the Wooden Soldiers.” Just as sure as WOR channel 9 would play “King Kong” on the same day (and would run a few Godzilla movies on Friday for school kids who had the day off). Anyway, I believe there were 6 or 7 minutes edited from the original release print of “Babes in Toyland” in order to cater to the younger children exhibitors thought the film would attract. All of the edited sequences took place either in the Boogeymen’s underground lair or during their attack on Toyland. They include the song “Go to Sleep” that the Tom Tom character sings to Bo Peep as they are hiding in the cavern (replete with superimposed pixies who appear to sprinkle sleep-dust over the two characters) as well as some shots of the Boogeymen that were deemed too frightening for younger children.
The complete film was restored a few years back for DVD release.
The last time I had been in the Winter Garden was for “Beatlemania” back around 1977 or ‘78. “Not the Beatles, but an incredible simulation.” Wow, nearly 30 years ago… time flies when you’re having fun!
AliKaplan… Any idea which direction off that intersection the theater stood? There is a large Western Beef (I believe) on the north east corner of the intersection. I plan on getting out to southern Queens and western Nassau soon with my camera to photograph current and former theater buildings and sites – just waiting for some nice weather and a calendar free of plans! I never made it to this theater, but I lived in Laurelton during the ‘70’s and early '80’s and frequented a number of theaters near the Queens/Nassau border. Anyway, I’d like to expand my photographic coverage from my old haunts to include the former theaters of Springfield Gardens, Cambria Heights and Saint Albans.
Thanks Warren. And without a single square inch of the Victoria granted landmark designation, the developers are beholden to no one as to their vision of “preservation.”
Thanks for sharing that REndres. I saw some double features here back in the ‘80’s, but could not recall if there was an upper balcony. However, what the foreman told you about moving the more shallow top balcony into the location of the lower balcony, does explain why the space seems more open now then I recall. My freinds and I always had our favorite seating location in these theaters which was typically dead center orchestra, just a row or two back behind the lip of the balcony overhang. We tried sitting a row or two ahead of the balcony on occasion, but once felt the back of our heads pelted with popcorn and cany (and Lord knows what else) from some rowdies above and had to revise our plans.
Paul Bubny… I think that would be a very fair comparison regarding the Ziegfeld and Avery Fisher Hall. We as aesthete’s are disappointed that the Rivolis and Capitols and Strands have all been demolished and all we are left are pale architectural shadows like the Ziegfeld (and until recently, the Loew’s Astor Plaza). However, as pragmatists, we must acknowledge that there is much to be appreciated about the Ziegfled, particularly when compared to the alternatives that currently exist.
Fascinating point about Spielberg… He filmed his first 4 theatrical features in scope (“Sugarland Express”, “Jaws”, “Close Encounters…” and “1941”) as well as all three Indiana Jones movies. In the last 15 years, only “Hook”, “Minority Report” and “Munich” have been released in 2.35:1 ratio. And “Hook” might have been his last true anamorphic scope release since both “Minority Report” and “Munich” utilized the Super 35 process (based on RKO’s old Superscope) which utilizes a flat negative from which a widescreen image is carved during the transfer process. This process has come into favor in recent years because new prints can be struck using the full 1.37:1 negative aspect for T.V. and full-screen video release. There is fascinating information on various widescreen processes at the widescreen museum website… though I’m sure that’s not news to many on this site.
Bob… there are scores (maybe hundreds) of theaters listed on this site that could hardly be considered “treasures.” Since the site’s database is basically maintained by its members, it seems to have become a repository for every single movie house (old or new, palatial or utilitarian) that we the users know to be (or to have been) in existence. This is the reasonable trade-off that one must accept for having the “Add Theaters” function available to all. Sure, it drives the database a bit off point, but I don’t think I’d want it any other way.
In any event, the 34th Street might be a great place – within the context of the modern megaplex era – to see a movie; with big screens, solid presentation, great sight lines and comfortable accommodations. While it certainly is not a “treasure” in the sense that many of the great old palaces were, it still might be a place worth treasuring when compared to some of the other god-awful dumps that have also been added to the site (see Movieworld in Douglaston or the dreadful but thankfully departed Cinema City 5 in Fresh Meadows).
I understand AMC always re-brands their acquired theaters, but there is still hope that the Loew’s name will live on in the 10 theaters that AMC had to sell off in order to win approval for the merger. This includes the Loew’s E-Walk on 42nd Street.
When does the AMC/Loew’s merger close? Will the Loew’s website continue to function or will that all migrate to the AMC site?
That’s right. The Marx Bros. flick was “Duck Soup” and the scene Woody is watching is the musical number the entire cast sings about going to war… “Oh Freedonia, Oh don’t you cry for me…”
I love Woody’s films… I just wish he would get more involved in the efforts to preserve the neighborhood theaters and revival houses that have lent their character to his movies over the years.
There was a sad article in the City section of this Sunday’s NY Times. Here’s a link to the online version – not sure how long it will be valid and you might have to sign up (it’s free) to take a look at this: View link
The building’s owner, Albert Bialek, declares the place “obsolete” as neighborhood theater, in the article. He has obtained permission from the City to gut the interior and doesn’t know what the future holds for the space. Here’s a key passage from the article:
“Mr. Bialek has been authorized by the Landmarks Preservation Commission to demolish the interior of the Metro, whose exterior was declared a landmark in 1989. He said he is considering leasing the space to a dinner theater, a restaurant or a store, or perhaps reopening it as a multiplex.”
Perhaps a some arrangement can be made whereby minimal interior alterations would be required. It seems the community simple did not support the theater – but whether that is a function of its “obsolescence” or, rather, poor programming choices is a matter for debate.
Hope you had a great sleep, Jeffrey. Actually, the Earle/Eagle is not on 37th Avenue but the parallel 37th Road (or Drive?) which runs into Roosevelt Ave near the the IRT’s station at 74th and Broadway. You can clearly see the theater from Roosevelt, where there is only a small triangular block that sits between it and the theater.
Thanks Al… Scanning through the titles, I might have only visited the Paris twice in the ‘80’s… far less than I would have thought. The only titles I can absolutely be sure about are “Fitzcarraldo” and “The Gift” – both within a few short months of each other. A foreign movie entitled “Bolero” – and, no, not the Bo Derek exploitation flick – had a limited release engagement in Manhattan around '83 or so and I thought I might have also seen that movie here, but perhaps it was the Plaza or one of the 57th street theaters.
At the very least, I plan on making it to the Ziegfeld to see “Ben Hur” and “West Side Story” – and might also take the kids in to see “Raiders of the Lost Ark” on the big screen. I’ve accepted that these will likely all be 35mm prints; I only continue to hope that they are pristine shape and are well cared for while in Clearview’s care.
Thanks Dave… you’ve done a tremendous job documenting the final days of this once great neighborhood cinema – from beloved upper east side fixture to vacant shell to forlorn parcel of rubble. A sad tale to be sure, but one that needed to be recorded nonetheless.
JohnG409… The Maltese Bippy, huh? I’ve always wondered if the success of Laugh-In did much to help that Rowan and Martin flick do much business. Do you recall if there was much of a crowd when you saw it?
And don’t answer “You bet your sweet Bippy!”
Say goodnight, Dick.
Once again (as on the Beekman site) tremendous job, Al, getting these bookings posted. You’re almost up to my era with respect to Manhattan art house movie going — the ‘80’s. I look forward to your continued contributions here and elsewhere on the site!
Thanks Peter and Vincent. After realizing that I had posted a link to the excellent widescreen museum site a number of posts back, I availed myself of the information therein and have received a nice education on the rectification process associated with single strip Cinerama presentation. I really hope this policy continues at the Ziegfeld beyond the 5 weeks currently scheduled. I plan on seeing (finally!) “Ben Hur” and “West Side Story” on the big screen at the Ziegfeld (and will probably take the kids to experience the original “Raiders of the Lost Ark” as intended), but I look forward to a screening of “2001: A Space Odyssey” – if only my prayers would be answered.
Too bad, I was just thinking, that the Ziegfeld screen is so flat – pleasing as the size of the screen is from mid-center orchestra. I mean, I don’t recall any curvature at all. I assume that the 35mm prints that will likely be exhibited were intended for flat screens despite the aspect ratios. This may sound like a dumb question, but humor me: When original scope films were projected, was there an optical correction made in the print for the screen curvature or was the process controlled wholly by the anamorphic projector lens? I seem to recall from a DVD of “It’s a Mad Mad Mad Mad World” where several trims from the original cut were included as extra features and were shown in a distorted wide screen image that had been corrected for projection onto the deeply curved Cinerama screen. So, for single-strip Cinerama projection, the correction was obviously in the print itself… does the same hold for the widescreen processes behind “Ben Hur” and “West Side Story”?
Just to make sure we stay on topic (not!) I have to dig around my box of old magazines and such, where I believe I have a couple of local 1970’s TV Guides – inlcuding, I think, the 1975 or 76 Fall Preview issue. Unfortunately, that will necessitate me negotiating with my ex-wife to get at them!
MikeRa… the ad for the Broadway play “Miss Saigon” visible on the left side of the photo next to the Coca Cola display, places this photo no earlier than 1991 (which is when the show premiered at the Broadway Theater). I can’t make out the film titles on the marquee, though the one on the top (with the red lettering) looks like it lists “Bruce Willis” as a star.
This is the best cinematic news I’ve heard in quite a long time. 70mm would be a blast of whipped crime atop an already frosted cake. I wonder what the life expectancy of this programming will be beyond the weekend of the Academy Awards telecast.
Ha! I know you jest, Bob. Seriously, there is some kind of theatrical facility that was erected for the WWF restaurant that had originally occupied the space now leased by the HRC. I assume HRC is or was renovating (or more accurately “redecorating”) that facility to fit the new brand. Just so everyone is clear, we’re talking about a small amount of space on the ground level – basically the area below the reconstructed arch and marquee – with the vast majority of the restaurant and facilities located below ground. The foyer and auditorium that was the original Paramount Theater occupied a space behind the Paramount building which fronts Broadway (or 7th Ave depending on how technical you want to get) that ran from 43rd Street all the way to 44th and is now wholly occupied by the offices of the New York Times. The WWF/HRC space only occupies a portion of the area that used to be the Paramount entrance vestibule and lobby.
Thanks, Ali… Heading in that direction, is it on the left side or right side of the road?
I remember when the film used to be played on Thanksgiving Day by WPIX channel 11 under the title “March of the Wooden Soldiers.” Just as sure as WOR channel 9 would play “King Kong” on the same day (and would run a few Godzilla movies on Friday for school kids who had the day off). Anyway, I believe there were 6 or 7 minutes edited from the original release print of “Babes in Toyland” in order to cater to the younger children exhibitors thought the film would attract. All of the edited sequences took place either in the Boogeymen’s underground lair or during their attack on Toyland. They include the song “Go to Sleep” that the Tom Tom character sings to Bo Peep as they are hiding in the cavern (replete with superimposed pixies who appear to sprinkle sleep-dust over the two characters) as well as some shots of the Boogeymen that were deemed too frightening for younger children.
The complete film was restored a few years back for DVD release.
The last time I had been in the Winter Garden was for “Beatlemania” back around 1977 or ‘78. “Not the Beatles, but an incredible simulation.” Wow, nearly 30 years ago… time flies when you’re having fun!
AliKaplan… Any idea which direction off that intersection the theater stood? There is a large Western Beef (I believe) on the north east corner of the intersection. I plan on getting out to southern Queens and western Nassau soon with my camera to photograph current and former theater buildings and sites – just waiting for some nice weather and a calendar free of plans! I never made it to this theater, but I lived in Laurelton during the ‘70’s and early '80’s and frequented a number of theaters near the Queens/Nassau border. Anyway, I’d like to expand my photographic coverage from my old haunts to include the former theaters of Springfield Gardens, Cambria Heights and Saint Albans.
Bway… the 2nd link isn’t working.
Thanks Warren. And without a single square inch of the Victoria granted landmark designation, the developers are beholden to no one as to their vision of “preservation.”
Thanks for sharing that REndres. I saw some double features here back in the ‘80’s, but could not recall if there was an upper balcony. However, what the foreman told you about moving the more shallow top balcony into the location of the lower balcony, does explain why the space seems more open now then I recall. My freinds and I always had our favorite seating location in these theaters which was typically dead center orchestra, just a row or two back behind the lip of the balcony overhang. We tried sitting a row or two ahead of the balcony on occasion, but once felt the back of our heads pelted with popcorn and cany (and Lord knows what else) from some rowdies above and had to revise our plans.
Paul Bubny… I think that would be a very fair comparison regarding the Ziegfeld and Avery Fisher Hall. We as aesthete’s are disappointed that the Rivolis and Capitols and Strands have all been demolished and all we are left are pale architectural shadows like the Ziegfeld (and until recently, the Loew’s Astor Plaza). However, as pragmatists, we must acknowledge that there is much to be appreciated about the Ziegfled, particularly when compared to the alternatives that currently exist.
Fascinating point about Spielberg… He filmed his first 4 theatrical features in scope (“Sugarland Express”, “Jaws”, “Close Encounters…” and “1941”) as well as all three Indiana Jones movies. In the last 15 years, only “Hook”, “Minority Report” and “Munich” have been released in 2.35:1 ratio. And “Hook” might have been his last true anamorphic scope release since both “Minority Report” and “Munich” utilized the Super 35 process (based on RKO’s old Superscope) which utilizes a flat negative from which a widescreen image is carved during the transfer process. This process has come into favor in recent years because new prints can be struck using the full 1.37:1 negative aspect for T.V. and full-screen video release. There is fascinating information on various widescreen processes at the widescreen museum website… though I’m sure that’s not news to many on this site.