The GAUMONT STATE theatre is one of the largest if not quite the grandest in the world, and is best seen in this vintage photo from the excellent British site of Louis Barfe: View link
I was hoping an Englishman would add this theatre to the CT site (though Ross did as well as an American probably could in adapting from Allen Eyle’s book), since he would likely have the most intimate and wonderful memories of the 4800-seat theatre with room for 500 more standees according to the wonderful reminiscence by Allan House in “Marquee” magazine of the Theatre Historical Society of Oct. 1969, pages 4 and 5 concerning his days working there in the 40s. Among many interesting details he says: “The proscenium was a gorgeous arch, 60 ft. wide by 75 ft. high, masked by the pelmet [lambrequin], or Grand Drape [a sequence of ten dark velour swags separated by galloons terminated by six-foot-long tassels, the whole of which formed an arc above the lambrequin of gold satin underneath it which was in 30% fullness], to a height of 40 ft. We used a black velvet frame to reduce the opening to accommodate our scenery, which never looked better. The screen in use at this time was fifty feet wide, as they still used the Magnascopic projector at least once during a performance, but of course was usually masked down to standard size. The house curtain, whose fringe alone was ten feet high [!], was in gold satin, and weighed three tons. It few apart at two controlled speeds at the touch of a button, requiring two stagehands to keep under control when persons were on the stage, for on one occasion it caught a dancer off guard and smashed him into the proscenium! Behind this was the silver contour curtain, which could be swept up into any desired swag or frame at the touch of a button, the design set on a peg-board arrangement in the prompt-corner [a la RADIO CITY MUSIC HALL]. When the theatre was first opened, there were a dozen complete sets of drapes made, velvet on one side, lined with a contrasting slipper-satin. Each panel was wired internally so that they could be swagged in any manner by attaching ropes to the necessary wire. Only about three of these sets were still in the theatre when I was there, others having been loaned out or mislaid.”
“The switchboard seemed to be a city-block long, but the principal lighting feature I remember was the overhead battens, in the usual four-colour circuits, but each with a long drum arranged so that, by remote control, the drum would revolve and replace each of the four circuits with four different colours! There were no stage mechanics [elevator sections], as it was a solid slab due to underground springs, but I saw pictures of a complete band-stand flown from the grid, masked in front to look like a cloud.” He goes on to describe the “Prompt Corner” as having switches to control the curtains, the Orchestra Lift, the once rising pipe organ console on its turntable, as well as phones to all parts of the theatre, and even “a red phone that had been an open line to New York during the ‘Golden Era’s’ heyday.” Much more information is in his article, but just these excerpts serve to demonstrate that not all the great movie palaces were in the USA! The photos on the Barfe site: http://easyweb.easynet.co.uk/~lfbarfe (select CINEMAS, and then GAUMONT STATE) will help anyone appreciate this, one of the world-class theatres still among us, if only as a bingo hall, as the photos show it to be today. Interestingly, the interior photo shows the organ console at extreme house right in the pit, but it looks like nothing so much as one of Wurlitzer’s ‘Spanish’ themed cabinets, though the auditorium is a restrained neo-classical in theme.
This place should be relabeled as the TIMES CINEMA/TANS-LUX THEATER so that it appears in the Tranx-Lux list, even though there are no more true Trans-Lux rear projection cinemas in existance. It was once a true Trans-Lux franchise as the excellent history by Cory Jacbson makes clear. More information is on the HISTORY page of the TIMES CINEMA at: www.TimesCinema.com
The Wagner Electric Sign Co. did a great job repairing the fabulous Marquee and Vertical Sign of the FOX-OAKLAND, and it is a joy to see such fine regard by a city to recreate the night time excitement that such signage brought to our streets in days past. I must note, however, that the slang term ‘blade’ that some are using for the Vertical Sign is not appropriate, and diminishes the stature of such sign artistry and the history of our theatres. It was coined by someone ignorant of the fact that the word ‘vertical’ can be a noun, as well as an adjective. Let us call such vertical signs by their correct industry and architectural term: VERTICALS, as validated by the authorities at the Theatre Historical Soc. of America since 1969.
The THEATRE HISTORICAL SOCIETY does indeed have the largest collection of photos of theatres, but it is not cross-indexed by such sub topics as ‘what is on a theatre’s marquee’, as far as I know. It may help you more to look to the producer of the 1952 film which was the Stanley Kramer Productions Co., but it is apparently out of business, so now you must go to the current owner of the copyright, which is listed in the Combined Credits at: http://www.imdb.com/title/tt0044706/combined
The firm listed: Republic Pictures Corp., a corporation of the United States, MAY have some promotional materials inherited from the Kramer Productions, but that is uncertain this many years after original release when they might have kept such photos for publicity. In any case, such a photo of a theatre marquee with a specific title is not likely to be found, except by sheer good fortune. About all you can do is ask for theatre facade/marquee photos from the year 1952 and hope a source has them cross indexed by year.
The Internet Movie Data Base can direct you to more “professional details” by clicking on their “IMDb-Pro Professional Details” link at the top of a page, and likely they can give you the address of Republic Pictures. You might also contact the Library of Congress which has a vast photos collection, but again, it is unlikely that they are indexed by theatres having the title of HIGH NOON on their marquees, but you can always ask. It may take them some time to locate any such photo for you. Go to: http://www.LOC.gov
As a last resort, there are, of course, many places that can use computer or photographic methods to replace the title shown on a marquee photo and replace it with “High Noon,” the degree of verisimilitude varying with the amount you are prepared to pay for this ‘retouching.’
Best Wishes, Jim Rankin, member THSA since 1976
P.S. Just last night, the American Film Institute declared the High Noon theme song (“Do Not Forsake Me”) to be one of the top ten movie songs of all time, for whatever that is worth.
The previous link photo shows the facade’s vertical fluting to virtually identical to that on the SHERMAN theatre of 1935 in Milwaukee. Wonder if the TEANECK/CEDAR also had neon tubing between the flutes?
Jake, you mention the “inverted roof” of the former LAKE AIR; could you e
xplain just what you mean? The single small photo of the facade at: View link
doesn’t seem to help much at showing what you mean; seams like a standard flat roof from what one can see there.
While the VALENCIA was not Eberson’s greatest work, it still stands as one of the largest and nicest former movie palaces in the nation, and when I saw the modern color photos of it on page 188 of David Naylor’s “American Picture Palaces: The Architecture of Fantasy” I was intrigued to see the draped plaster figures of ladies inside niches forming the vault of the proscenium arch, but horrified by the treatment of the giant chandelier then suspended directly above the balcony rail, just as though it were hanging in nothingness from the ‘sky.’ They may not use the little electric ‘stars’ anymore, but the very least they could have done when installing the scaffolding to drape the figures and hang the chandelier, was to paint on the ceiling an angel with his hand outstretched to appear to be holding up the chandelier!! Without this little touch, the huge fixture just falsifies the interior. Church or not, they could do something as small as this to retain some of the imagination of the artists who conceived the place. By the way, Naylor’s book can sometimes be obtained at www.Amazon.com or via Inter-Library Loan at most libraries.
The first comment here describes the GRANADA’s land owner as a “land banker” which implies that he was somehow keeping something valuable in store for the benefit of the city. Nothing could be further from the truth! Cities can create ‘land banks’ due to expected expansion, but individuals are simply SPECULATORS, people who buy any land hoping its vlaue will rise so as to be able to sell it later at a large profit. They characteristically put nothing at zll into the land, so that they can rape it for the maximum profit. In a country where 99% of the people really worship money, this is considered normal. Remember that Wolf creature who did this with the UPTOWN and was profiled in “Chicago” magazine? Sad, sad!
Like Lou Rugani, I too have heard the Genesee described as ‘Sullivanespue,’ but it is obviuosly baroque if one views the original architect’s intent on the blueprints reproduced on the web site listed in a previous comment. One look at the blueprint of the facade shows an Italianate influence in the design, even if it is now shorn of its gable peaks and finials as the photo seems to indicate. The AUDITORIUM THEATER in Chicago has truly ‘Sullivanesque’ ornament, since he designed it. He also proposed such a design for the predecessor of Milwaukee’s PABST, but it never came to be.
A recent article in a Los Angeles site describes the Japanese-themed theatre, the LINDA LEA, in some detail and makes good reading here on its page at CT: /theaters/3493/
Turns out that this CT page’s account of the Los Angeles LINDA LEA THEATRE, is one of but three that once graced that city in Japanese style: /theaters/3493/
This article about the LINDA LEA THEATRE appears on this site: View link
Since the article may be removed at any time, it is reproduced here:
COMING SOON TO THE LINDA LEA
Encore Performance in the Works for Historic Main Street Theater
by Kathryn Maese
The Linda Lea Theatre has been closed for nearly 30 years, but for its former patrons, memories of Sunday afternoons spent watching the latest samurai drama churned out by the Toei film company are as vivid as ever.
The Linda Lea Theatre at 251 S. Main St., which once screened Japanese films, has been closed since the 1980s. Photo by Gary Leonard.
In its heyday in the 1960s, the Linda Lea at 251 S. Main St. was one of only three theaters in Los Angeles to screen Japanese language films. But like the economy, the theater eventually fell on hard times, and was shuttered in the ‘80s.
Now, a faded plastic marquee with pastel renderings of a geisha and butterflies flitting among bamboo branches reminds passersby of the once vibrant movie house.
But like any good plot twist, the curtain may rise once again thanks to a new cast of characters. The Grace family, which owns the Metropolitan News Company and bought the theater in the mid-‘80s for storage, is looking for a new owner or long-term operator to bring the 7,700-square-foot space back to life.
To bolster the effort, the Little Tokyo Service Center Community Development Corp. (LTSC) plans to apply this summer for grants from the California Cultural and Historical Endowment to help launch a $1.5 million renovation of the space.
“[Jo-Ann] Grace expressed her desire to renovate it as opposed to having someone buy the property from her just to pave over it and landbank it,” said Ron Fong, who is spearheading the project for LTSC. “We see the theater as a longtime cultural community resource. We’d love to help bring it back, but we don’t see ourselves as an arts programmer.”
Sandy Bleifer, a broker whose firm Downtown Enterprises is listing the property, said the LTSC’s involvement in the project provides a “unique window of opportunity” to restore the Linda Lea, since most theater operators cannot afford costly historic renovations.
“The owner has always wanted to bring that theater into the life of the community,” Bleifer said. “It would cost so much for power to use the theater and most groups can’t pay rent. If we can get tenant improvements at no cost to the owner, then we have an operating theater and a place where events can take place.”
As part of the deal, the new owner or tenant would be required to offer film screenings, theater productions or community events at least once a week, most likely on Tuesday or Wednesday, and one weekend a quarter. Bleifer said the LTSC would oversee programming.
So far, the LTSC has received several inquiries from potential operators, and Bleifer said she is considering holding a competition for proposals.
Across the street, Inshallah Gallery owner Kjell Hagen has eyed the theater for some time. Hagen opened his gallery five years ago, and has slowly built momentum for a Downtown arts community. Last month, the city granted Hagen and partner Nic Cha Kim permission to create Gallery Row, a 26-block area along Main and Spring between Second and Ninth streets.
As part of an effort to continue the neighborhood’s growth, Hagen said he plans to submit a proposal to screen independent films in the space, with theater performances several times a year.
“We would show all different types of films, without boundaries,” he said. “We would make the theater into a sort of collapsible accordion stage. In the concessions stand, instead of selling traditional candies and popcorn, we would have Japanese sweets and edamame. We also want to serve Japanese beer and sake.”
Curb Appeal
The renewed interest in restoring the Linda Lea is part of a larger restoration occurring on the block. The theater lies at the entry point to Gallery Row, and is surrounded by new loft and condo buildings, the soon to open Little Tokyo Branch Library, and the former St. Vibiana’s Cathedral, which is being converted into apartments and a performing arts venue. The Smell nightclub is in the alley directly behind the theater.
“This project dovetails nicely and is in the ideal location,” Bleifer said. “It weaves together the surrounding districts like Little Tokyo, the Civic Center and Historic Core rather than balkanizing them.”
The Linda Lea, built in the mid-‘20s, is one of only two theaters left along Main Street (the other is the Regent Theatre). At the time, Main Street boasted nearly 20 small to medium theaters, ranging in size from the 248-seat Novelty to the 2,100-seat Hippodrome. Most of the larger, more ornate movie palaces are two blocks away on Broadway.
The theater’s white facade is covered with grime, and iron gates close off the ticket windows. Cracked signs with missing letters announce the schedule for long-gone matinee and evening showings. Inside, stained stucco walls are hung with iron wall sconces that once cast a glow on the 500-seat space. Though the original chairs were removed long ago, stacks of old metal seats Bleifer salvaged from the Orpheum Theatre await restoration. Upstairs, the whine of the projector is quiet, as is the “crying room” where mothers tried to shush restless children.
“There’s an interesting combination of historical layers here,” Bleifer said. “It’s not just that this theater was built in the ‘20s when there was a boom in this area, but it has an important social element where Japanese films were screened.”
page 1, 6/7/04
As one of the few Japanese-themed theatres in the nation, this venue is of interest alone; let us hope it finds a sympathetic restorer/operator. There was also a color photo of the main facade along with the above article.
P.S. Miss Cecily, you also do not have any contact information on your Personal Profile page here, when one clicks on your name, as of today. If you click on the Edit Profile link at the very top, you can insert your E-mail address or other contact data by which Warren can contact you. The developers of this site have gone to some lengths to make those Membership List Personal Profile pages resistant to automatic data harvesting by professional spamers, so the risk of listing such E-mails there is small. Many posters here do not list any contact information, and that is counterproductive to the results the seek.
If Warren cannot help find the records of the Columbia Amusement Co. circuit of vaudeville, then it is likely that the Theatre Historical Society of America can direct you to those who can. Contact their Ex. Director via his link on their site: www.HistoricTheatres.org If you know of specific theatres at which they may have performed, such venues may have an archive of some playbills or other memorbiiia, as may the libraries in the towns in which they performed. I know that the 1895 PABST THEATER in Milwaukee does, since I was once Archivist/Historian there.
Actually, in literate Spanish it would be pronounced: pah-TAY-oh. Odd pronounciation of theatre names is certainly not unique to Chicago, with perhaps the most famous being the East Coast chain of LOEW’S being pronounced: low-EES, rather than the correct “lows” (the ‘E’ was silent). One theatre in Milwaukee, the UIHLEIN caused so much confusion to out-of-towners not used to such German names, that it was renamed the ALHAMBRA, though it bore no resemblance to that famed Spanish palace! The proper pronunciation of the family name Uihlein is: EEE-line. As regards the venerable PATIO, we must remember that in the 20s, Spanish was little know outside of our southern border areas and California, and patios were a feature of the yet-to-come ranch houses of the 50s..
No doubt any of the 3,500 some sites may well be able to direct you to the photos you seek, if indeed, any were preserved. You might also do well to trace the descendants of the brothers via their death notices and often relatives will still have photo albums. It is a long search in this case, but a local genealogist should be able to help you. And by all means, do contact the Theatre Historical Soc. as mentioned in a previous post; they have many thousands of documents or can direct you to other sources such as the Hoblitzelle Theatre Collections in Texas. You will want to search for things outside of actual glossy photos too; often the only preserved photos occur in the Inaugural (opening-day) programmes of theatres they built, or sometimes in newspaper stories about them and their theatres, as well as in industry magazines such as EXHIBITORS' HERALD, etc. Most of these are not indexed, but you could pay someone to page through the bound volumes or microfilmed copies at a library (ask local library to order the microfilms on Inter-library loan). Do not give up early; prominent men, especially architects, were often photographed; it is even possible that the American Institute of Architects (www.aia.org) will have a photo in their archive, or in trade magazines such as ARCHITECTURAL RECORD. Historical societies and local history divisions of libraries in Kansas City and surrounding areas may well have records of them. Best Wishes, Jim Rankin, member Theatre Historical Soc. since 1976.
BryanB is kind to point out the dilemma facing the venerable AVALON in Milwaukee, but I am afraid that things do not look good. The owner, who has been refused a beer/liquor/cabaret license by the city, has now demolished the box office (no great loss) and has removed the theatre’s name sign atop the marquee, and the attraction boards now mention to call a phone number to reserve future office space. The crux of the matter hangs on parking – or the lack of it – since there is no parking lot available nearby. These days, Americans are not accustomed to walking more than a block to anywhere, and without nearby parking, there is too much danger of careless patrons making loud, disruptive behavior down sleepy side streets as they search for their cars parked in front of neighbor’s houses, and if drink were served, the patrons would be all the more boozed and un-neighborly! I feel for the theatre, but I also sympathize with the neighbors, even though I do not live in that area.
The Wisconsin Trust’s mention of the Soldiers' Home Historic District is relevant to lovers of theatres, since its most notable structure threatened with loss is the historic 1881 WARD MEMORIAL THEATRE on the 150 acres of the Veterans' Administration grounds, which was founded in 1869 as the National Home for Volunteer and Disabled Soldiers of the Civil War. This federal enclave on the border of Milwaukee is run entirely by the federal government, but they claim not to have funds to maintain or repair to again working status this unusual old theatre. It was originally lit by kerosene lanterns (!) but was largely rebuilt into the 1,000-seater with a balcony and six boxes that it is today. There is a large stage with modern lighting, a huge stained glass mural of Gen. Sherman on one wall, and even wire form hat racks under each black leather seat to hold the old high-domed military hats of generations ago. It is tucked away inside the large park-like campus with no great parking nearby and public transportation some six blocks away on their property line at National Ave., so it is not easily accessible for the public. Unless a ‘sugar daddy’ comes along, I fear that this Victorian gothic style structure with its interior sylvan murals painted on the oak woodwork-framed walls, will eventually be demolished. At one time it furnished gratis performances by celebrities traveling on the train that goes through the property towards Milwaukee, for the inmates of the domicilaries that still occupy some of the land. Today, it is idle, what with TV being the primary source of entertainment for the veterans residing there.
Bill of South Bend is among the many who do not understand that listing on the National Register of Historic Places does NOT prevent demolition of a structure, but merely puts up impediments to ALTERING the EXTERIOR of a building. The owner may still demolish, and alter the INTERIOR in any way that the local codes allow. The National Register was intended to merely point out to those wishing to designate a priority for local and state preservation funds, a way to identify the most deserving. No American laws prevent an owner from ultimately doing with his property as he wishes within local zoning laws and building codes, for to do other than this would be to seize private property without due compensation under due process of law, something forbidden by the US constitution. I am all for saving any venue of value, as opposed to crating more parking lots or the like, but one must remember that it is someone else’s property, and unless we are willing to buy it (assuming it is actually for sale), we cannot expect to dictate how such private property is used, as long as that use is within law. Some municipalities have put enormous burdens upon private property owners in order to stop demolition of a site by misusing Eminent Domain statues to seize or restrict the owner of the property, but such moves have always been ultimately overturned by the courts after expensive litigation by the owners. Yes, greedy developers who will demolish anything for a quick buck and the conniving politicians who serve them cause all of us to groan in disgust, but America is based upon free enterprise, where sometimes it is the enterprise of those with the most political clout who prevail. Still, IF there is real financial interest willing to purchase a site, often the owners will listen to enough money! So, if we cannot put our money where our mouth is, we cannot unduly criticize the owners who must pay taxes and upkeep on a property that is not making them much. Remember, landlords are not philanthropists or preservationists, but businessmen who must make a profit or perish, just as any other business. The Europeans willingly spend tax dollars to save their landmarks, but that is not the pattern in this country where money is GOD and KING.
Mr. Kurt Kramer did not leave an E-mail address, but it is hoped that he found the historic information regarding the LOEW’S STATE THEATRE in Eureka as he had hoped. In case he did not, the best bet to find records is to go to the nearest historical society and the largest public and school/university libraries. These are often repositories of local records, in addition to the Building Inspection records of the local municipality, of course. The county Register of Deeds will need the legal description of the land to locate deeds, covenants, and ancillary records, though their office can usually convert the street address to legal description. Also, the State Historic Preservation Officer in Sacramento may well be able to direct him to other sources, and he would do well to contact the Ex. Director of the Theatre Historical Soc. of America for any records regarding the theatre or the architects, at: www.HistoricTheatres.org Best Wishes!
The GAUMONT STATE theatre is one of the largest if not quite the grandest in the world, and is best seen in this vintage photo from the excellent British site of Louis Barfe: View link
I was hoping an Englishman would add this theatre to the CT site (though Ross did as well as an American probably could in adapting from Allen Eyle’s book), since he would likely have the most intimate and wonderful memories of the 4800-seat theatre with room for 500 more standees according to the wonderful reminiscence by Allan House in “Marquee” magazine of the Theatre Historical Society of Oct. 1969, pages 4 and 5 concerning his days working there in the 40s. Among many interesting details he says: “The proscenium was a gorgeous arch, 60 ft. wide by 75 ft. high, masked by the pelmet [lambrequin], or Grand Drape [a sequence of ten dark velour swags separated by galloons terminated by six-foot-long tassels, the whole of which formed an arc above the lambrequin of gold satin underneath it which was in 30% fullness], to a height of 40 ft. We used a black velvet frame to reduce the opening to accommodate our scenery, which never looked better. The screen in use at this time was fifty feet wide, as they still used the Magnascopic projector at least once during a performance, but of course was usually masked down to standard size. The house curtain, whose fringe alone was ten feet high [!], was in gold satin, and weighed three tons. It few apart at two controlled speeds at the touch of a button, requiring two stagehands to keep under control when persons were on the stage, for on one occasion it caught a dancer off guard and smashed him into the proscenium! Behind this was the silver contour curtain, which could be swept up into any desired swag or frame at the touch of a button, the design set on a peg-board arrangement in the prompt-corner [a la RADIO CITY MUSIC HALL]. When the theatre was first opened, there were a dozen complete sets of drapes made, velvet on one side, lined with a contrasting slipper-satin. Each panel was wired internally so that they could be swagged in any manner by attaching ropes to the necessary wire. Only about three of these sets were still in the theatre when I was there, others having been loaned out or mislaid.”
“The switchboard seemed to be a city-block long, but the principal lighting feature I remember was the overhead battens, in the usual four-colour circuits, but each with a long drum arranged so that, by remote control, the drum would revolve and replace each of the four circuits with four different colours! There were no stage mechanics [elevator sections], as it was a solid slab due to underground springs, but I saw pictures of a complete band-stand flown from the grid, masked in front to look like a cloud.” He goes on to describe the “Prompt Corner” as having switches to control the curtains, the Orchestra Lift, the once rising pipe organ console on its turntable, as well as phones to all parts of the theatre, and even “a red phone that had been an open line to New York during the ‘Golden Era’s’ heyday.” Much more information is in his article, but just these excerpts serve to demonstrate that not all the great movie palaces were in the USA! The photos on the Barfe site: http://easyweb.easynet.co.uk/~lfbarfe (select CINEMAS, and then GAUMONT STATE) will help anyone appreciate this, one of the world-class theatres still among us, if only as a bingo hall, as the photos show it to be today. Interestingly, the interior photo shows the organ console at extreme house right in the pit, but it looks like nothing so much as one of Wurlitzer’s ‘Spanish’ themed cabinets, though the auditorium is a restrained neo-classical in theme.
This place should be relabeled as the TIMES CINEMA/TANS-LUX THEATER so that it appears in the Tranx-Lux list, even though there are no more true Trans-Lux rear projection cinemas in existance. It was once a true Trans-Lux franchise as the excellent history by Cory Jacbson makes clear. More information is on the HISTORY page of the TIMES CINEMA at: www.TimesCinema.com
The Wagner Electric Sign Co. did a great job repairing the fabulous Marquee and Vertical Sign of the FOX-OAKLAND, and it is a joy to see such fine regard by a city to recreate the night time excitement that such signage brought to our streets in days past. I must note, however, that the slang term ‘blade’ that some are using for the Vertical Sign is not appropriate, and diminishes the stature of such sign artistry and the history of our theatres. It was coined by someone ignorant of the fact that the word ‘vertical’ can be a noun, as well as an adjective. Let us call such vertical signs by their correct industry and architectural term: VERTICALS, as validated by the authorities at the Theatre Historical Soc. of America since 1969.
The THEATRE HISTORICAL SOCIETY does indeed have the largest collection of photos of theatres, but it is not cross-indexed by such sub topics as ‘what is on a theatre’s marquee’, as far as I know. It may help you more to look to the producer of the 1952 film which was the Stanley Kramer Productions Co., but it is apparently out of business, so now you must go to the current owner of the copyright, which is listed in the Combined Credits at: http://www.imdb.com/title/tt0044706/combined
The firm listed: Republic Pictures Corp., a corporation of the United States, MAY have some promotional materials inherited from the Kramer Productions, but that is uncertain this many years after original release when they might have kept such photos for publicity. In any case, such a photo of a theatre marquee with a specific title is not likely to be found, except by sheer good fortune. About all you can do is ask for theatre facade/marquee photos from the year 1952 and hope a source has them cross indexed by year.
The Internet Movie Data Base can direct you to more “professional details” by clicking on their “IMDb-Pro Professional Details” link at the top of a page, and likely they can give you the address of Republic Pictures. You might also contact the Library of Congress which has a vast photos collection, but again, it is unlikely that they are indexed by theatres having the title of HIGH NOON on their marquees, but you can always ask. It may take them some time to locate any such photo for you. Go to: http://www.LOC.gov
As a last resort, there are, of course, many places that can use computer or photographic methods to replace the title shown on a marquee photo and replace it with “High Noon,” the degree of verisimilitude varying with the amount you are prepared to pay for this ‘retouching.’
Best Wishes, Jim Rankin, member THSA since 1976
P.S. Just last night, the American Film Institute declared the High Noon theme song (“Do Not Forsake Me”) to be one of the top ten movie songs of all time, for whatever that is worth.
If you learn anything more about this theatre, please let Jim know at
The previous link photo shows the facade’s vertical fluting to virtually identical to that on the SHERMAN theatre of 1935 in Milwaukee. Wonder if the TEANECK/CEDAR also had neon tubing between the flutes?
Jake, you mention the “inverted roof” of the former LAKE AIR; could you e
xplain just what you mean? The single small photo of the facade at: View link
doesn’t seem to help much at showing what you mean; seams like a standard flat roof from what one can see there.
While the VALENCIA was not Eberson’s greatest work, it still stands as one of the largest and nicest former movie palaces in the nation, and when I saw the modern color photos of it on page 188 of David Naylor’s “American Picture Palaces: The Architecture of Fantasy” I was intrigued to see the draped plaster figures of ladies inside niches forming the vault of the proscenium arch, but horrified by the treatment of the giant chandelier then suspended directly above the balcony rail, just as though it were hanging in nothingness from the ‘sky.’ They may not use the little electric ‘stars’ anymore, but the very least they could have done when installing the scaffolding to drape the figures and hang the chandelier, was to paint on the ceiling an angel with his hand outstretched to appear to be holding up the chandelier!! Without this little touch, the huge fixture just falsifies the interior. Church or not, they could do something as small as this to retain some of the imagination of the artists who conceived the place. By the way, Naylor’s book can sometimes be obtained at www.Amazon.com or via Inter-Library Loan at most libraries.
The first comment here describes the GRANADA’s land owner as a “land banker” which implies that he was somehow keeping something valuable in store for the benefit of the city. Nothing could be further from the truth! Cities can create ‘land banks’ due to expected expansion, but individuals are simply SPECULATORS, people who buy any land hoping its vlaue will rise so as to be able to sell it later at a large profit. They characteristically put nothing at zll into the land, so that they can rape it for the maximum profit. In a country where 99% of the people really worship money, this is considered normal. Remember that Wolf creature who did this with the UPTOWN and was profiled in “Chicago” magazine? Sad, sad!
Like Lou Rugani, I too have heard the Genesee described as ‘Sullivanespue,’ but it is obviuosly baroque if one views the original architect’s intent on the blueprints reproduced on the web site listed in a previous comment. One look at the blueprint of the facade shows an Italianate influence in the design, even if it is now shorn of its gable peaks and finials as the photo seems to indicate. The AUDITORIUM THEATER in Chicago has truly ‘Sullivanesque’ ornament, since he designed it. He also proposed such a design for the predecessor of Milwaukee’s PABST, but it never came to be.
Please let me know of anything you learn of this theatre:
A recent article in a Los Angeles site describes the Japanese-themed theatre, the LINDA LEA, in some detail and makes good reading here on its page at CT: /theaters/3493/
Turns out that this CT page’s account of the Los Angeles LINDA LEA THEATRE, is one of but three that once graced that city in Japanese style: /theaters/3493/
This article about the LINDA LEA THEATRE appears on this site: View link
Since the article may be removed at any time, it is reproduced here:
COMING SOON TO THE LINDA LEA
Encore Performance in the Works for Historic Main Street Theater
by Kathryn Maese
The Linda Lea Theatre has been closed for nearly 30 years, but for its former patrons, memories of Sunday afternoons spent watching the latest samurai drama churned out by the Toei film company are as vivid as ever.
The Linda Lea Theatre at 251 S. Main St., which once screened Japanese films, has been closed since the 1980s. Photo by Gary Leonard.
In its heyday in the 1960s, the Linda Lea at 251 S. Main St. was one of only three theaters in Los Angeles to screen Japanese language films. But like the economy, the theater eventually fell on hard times, and was shuttered in the ‘80s.
Now, a faded plastic marquee with pastel renderings of a geisha and butterflies flitting among bamboo branches reminds passersby of the once vibrant movie house.
But like any good plot twist, the curtain may rise once again thanks to a new cast of characters. The Grace family, which owns the Metropolitan News Company and bought the theater in the mid-‘80s for storage, is looking for a new owner or long-term operator to bring the 7,700-square-foot space back to life.
To bolster the effort, the Little Tokyo Service Center Community Development Corp. (LTSC) plans to apply this summer for grants from the California Cultural and Historical Endowment to help launch a $1.5 million renovation of the space.
“[Jo-Ann] Grace expressed her desire to renovate it as opposed to having someone buy the property from her just to pave over it and landbank it,” said Ron Fong, who is spearheading the project for LTSC. “We see the theater as a longtime cultural community resource. We’d love to help bring it back, but we don’t see ourselves as an arts programmer.”
Sandy Bleifer, a broker whose firm Downtown Enterprises is listing the property, said the LTSC’s involvement in the project provides a “unique window of opportunity” to restore the Linda Lea, since most theater operators cannot afford costly historic renovations.
“The owner has always wanted to bring that theater into the life of the community,” Bleifer said. “It would cost so much for power to use the theater and most groups can’t pay rent. If we can get tenant improvements at no cost to the owner, then we have an operating theater and a place where events can take place.”
As part of the deal, the new owner or tenant would be required to offer film screenings, theater productions or community events at least once a week, most likely on Tuesday or Wednesday, and one weekend a quarter. Bleifer said the LTSC would oversee programming.
So far, the LTSC has received several inquiries from potential operators, and Bleifer said she is considering holding a competition for proposals.
Across the street, Inshallah Gallery owner Kjell Hagen has eyed the theater for some time. Hagen opened his gallery five years ago, and has slowly built momentum for a Downtown arts community. Last month, the city granted Hagen and partner Nic Cha Kim permission to create Gallery Row, a 26-block area along Main and Spring between Second and Ninth streets.
As part of an effort to continue the neighborhood’s growth, Hagen said he plans to submit a proposal to screen independent films in the space, with theater performances several times a year.
“We would show all different types of films, without boundaries,” he said. “We would make the theater into a sort of collapsible accordion stage. In the concessions stand, instead of selling traditional candies and popcorn, we would have Japanese sweets and edamame. We also want to serve Japanese beer and sake.”
Curb Appeal
The renewed interest in restoring the Linda Lea is part of a larger restoration occurring on the block. The theater lies at the entry point to Gallery Row, and is surrounded by new loft and condo buildings, the soon to open Little Tokyo Branch Library, and the former St. Vibiana’s Cathedral, which is being converted into apartments and a performing arts venue. The Smell nightclub is in the alley directly behind the theater.
“This project dovetails nicely and is in the ideal location,” Bleifer said. “It weaves together the surrounding districts like Little Tokyo, the Civic Center and Historic Core rather than balkanizing them.”
The Linda Lea, built in the mid-‘20s, is one of only two theaters left along Main Street (the other is the Regent Theatre). At the time, Main Street boasted nearly 20 small to medium theaters, ranging in size from the 248-seat Novelty to the 2,100-seat Hippodrome. Most of the larger, more ornate movie palaces are two blocks away on Broadway.
The theater’s white facade is covered with grime, and iron gates close off the ticket windows. Cracked signs with missing letters announce the schedule for long-gone matinee and evening showings. Inside, stained stucco walls are hung with iron wall sconces that once cast a glow on the 500-seat space. Though the original chairs were removed long ago, stacks of old metal seats Bleifer salvaged from the Orpheum Theatre await restoration. Upstairs, the whine of the projector is quiet, as is the “crying room” where mothers tried to shush restless children.
“There’s an interesting combination of historical layers here,” Bleifer said. “It’s not just that this theater was built in the ‘20s when there was a boom in this area, but it has an important social element where Japanese films were screened.”
page 1, 6/7/04
As one of the few Japanese-themed theatres in the nation, this venue is of interest alone; let us hope it finds a sympathetic restorer/operator. There was also a color photo of the main facade along with the above article.
Lou Rugani of Kenosha relates the sad news that the refurbishment of the GENOA has stalled due to a failed partnership of the owners.
If you learn anything more about this theatre, please let me know:
Trolleyguy is right; mea culpa.
P.S. Miss Cecily, you also do not have any contact information on your Personal Profile page here, when one clicks on your name, as of today. If you click on the Edit Profile link at the very top, you can insert your E-mail address or other contact data by which Warren can contact you. The developers of this site have gone to some lengths to make those Membership List Personal Profile pages resistant to automatic data harvesting by professional spamers, so the risk of listing such E-mails there is small. Many posters here do not list any contact information, and that is counterproductive to the results the seek.
If Warren cannot help find the records of the Columbia Amusement Co. circuit of vaudeville, then it is likely that the Theatre Historical Society of America can direct you to those who can. Contact their Ex. Director via his link on their site: www.HistoricTheatres.org If you know of specific theatres at which they may have performed, such venues may have an archive of some playbills or other memorbiiia, as may the libraries in the towns in which they performed. I know that the 1895 PABST THEATER in Milwaukee does, since I was once Archivist/Historian there.
Actually, in literate Spanish it would be pronounced: pah-TAY-oh. Odd pronounciation of theatre names is certainly not unique to Chicago, with perhaps the most famous being the East Coast chain of LOEW’S being pronounced: low-EES, rather than the correct “lows” (the ‘E’ was silent). One theatre in Milwaukee, the UIHLEIN caused so much confusion to out-of-towners not used to such German names, that it was renamed the ALHAMBRA, though it bore no resemblance to that famed Spanish palace! The proper pronunciation of the family name Uihlein is: EEE-line. As regards the venerable PATIO, we must remember that in the 20s, Spanish was little know outside of our southern border areas and California, and patios were a feature of the yet-to-come ranch houses of the 50s..
A simple search on Google using ‘boller brothers’ as the search term brought up a number of sites such as:
http://www.umkc.edu/whmckc/Collections/IKC065.HTM
View link
http://www.musicfortsmith.org/bollertable.html
No doubt any of the 3,500 some sites may well be able to direct you to the photos you seek, if indeed, any were preserved. You might also do well to trace the descendants of the brothers via their death notices and often relatives will still have photo albums. It is a long search in this case, but a local genealogist should be able to help you. And by all means, do contact the Theatre Historical Soc. as mentioned in a previous post; they have many thousands of documents or can direct you to other sources such as the Hoblitzelle Theatre Collections in Texas. You will want to search for things outside of actual glossy photos too; often the only preserved photos occur in the Inaugural (opening-day) programmes of theatres they built, or sometimes in newspaper stories about them and their theatres, as well as in industry magazines such as EXHIBITORS' HERALD, etc. Most of these are not indexed, but you could pay someone to page through the bound volumes or microfilmed copies at a library (ask local library to order the microfilms on Inter-library loan). Do not give up early; prominent men, especially architects, were often photographed; it is even possible that the American Institute of Architects (www.aia.org) will have a photo in their archive, or in trade magazines such as ARCHITECTURAL RECORD. Historical societies and local history divisions of libraries in Kansas City and surrounding areas may well have records of them. Best Wishes, Jim Rankin, member Theatre Historical Soc. since 1976.
BryanB is kind to point out the dilemma facing the venerable AVALON in Milwaukee, but I am afraid that things do not look good. The owner, who has been refused a beer/liquor/cabaret license by the city, has now demolished the box office (no great loss) and has removed the theatre’s name sign atop the marquee, and the attraction boards now mention to call a phone number to reserve future office space. The crux of the matter hangs on parking – or the lack of it – since there is no parking lot available nearby. These days, Americans are not accustomed to walking more than a block to anywhere, and without nearby parking, there is too much danger of careless patrons making loud, disruptive behavior down sleepy side streets as they search for their cars parked in front of neighbor’s houses, and if drink were served, the patrons would be all the more boozed and un-neighborly! I feel for the theatre, but I also sympathize with the neighbors, even though I do not live in that area.
The Wisconsin Trust’s mention of the Soldiers' Home Historic District is relevant to lovers of theatres, since its most notable structure threatened with loss is the historic 1881 WARD MEMORIAL THEATRE on the 150 acres of the Veterans' Administration grounds, which was founded in 1869 as the National Home for Volunteer and Disabled Soldiers of the Civil War. This federal enclave on the border of Milwaukee is run entirely by the federal government, but they claim not to have funds to maintain or repair to again working status this unusual old theatre. It was originally lit by kerosene lanterns (!) but was largely rebuilt into the 1,000-seater with a balcony and six boxes that it is today. There is a large stage with modern lighting, a huge stained glass mural of Gen. Sherman on one wall, and even wire form hat racks under each black leather seat to hold the old high-domed military hats of generations ago. It is tucked away inside the large park-like campus with no great parking nearby and public transportation some six blocks away on their property line at National Ave., so it is not easily accessible for the public. Unless a ‘sugar daddy’ comes along, I fear that this Victorian gothic style structure with its interior sylvan murals painted on the oak woodwork-framed walls, will eventually be demolished. At one time it furnished gratis performances by celebrities traveling on the train that goes through the property towards Milwaukee, for the inmates of the domicilaries that still occupy some of the land. Today, it is idle, what with TV being the primary source of entertainment for the veterans residing there.
Here is a short article I wrote that may be of some help: http://www.cinematour.com/article.php?id=3
Bill of South Bend is among the many who do not understand that listing on the National Register of Historic Places does NOT prevent demolition of a structure, but merely puts up impediments to ALTERING the EXTERIOR of a building. The owner may still demolish, and alter the INTERIOR in any way that the local codes allow. The National Register was intended to merely point out to those wishing to designate a priority for local and state preservation funds, a way to identify the most deserving. No American laws prevent an owner from ultimately doing with his property as he wishes within local zoning laws and building codes, for to do other than this would be to seize private property without due compensation under due process of law, something forbidden by the US constitution. I am all for saving any venue of value, as opposed to crating more parking lots or the like, but one must remember that it is someone else’s property, and unless we are willing to buy it (assuming it is actually for sale), we cannot expect to dictate how such private property is used, as long as that use is within law. Some municipalities have put enormous burdens upon private property owners in order to stop demolition of a site by misusing Eminent Domain statues to seize or restrict the owner of the property, but such moves have always been ultimately overturned by the courts after expensive litigation by the owners. Yes, greedy developers who will demolish anything for a quick buck and the conniving politicians who serve them cause all of us to groan in disgust, but America is based upon free enterprise, where sometimes it is the enterprise of those with the most political clout who prevail. Still, IF there is real financial interest willing to purchase a site, often the owners will listen to enough money! So, if we cannot put our money where our mouth is, we cannot unduly criticize the owners who must pay taxes and upkeep on a property that is not making them much. Remember, landlords are not philanthropists or preservationists, but businessmen who must make a profit or perish, just as any other business. The Europeans willingly spend tax dollars to save their landmarks, but that is not the pattern in this country where money is GOD and KING.
Mr. Kurt Kramer did not leave an E-mail address, but it is hoped that he found the historic information regarding the LOEW’S STATE THEATRE in Eureka as he had hoped. In case he did not, the best bet to find records is to go to the nearest historical society and the largest public and school/university libraries. These are often repositories of local records, in addition to the Building Inspection records of the local municipality, of course. The county Register of Deeds will need the legal description of the land to locate deeds, covenants, and ancillary records, though their office can usually convert the street address to legal description. Also, the State Historic Preservation Officer in Sacramento may well be able to direct him to other sources, and he would do well to contact the Ex. Director of the Theatre Historical Soc. of America for any records regarding the theatre or the architects, at: www.HistoricTheatres.org Best Wishes!