As in the music industry 45 records, the “B side” was a expected lesser hit that accompanied the “A side” meant to be the main hit. A “B” movie was designed to be the low-budget second film in a double feature. Once finished, the studio might release it as an “A” film if they felt it had enough potential. After first-run double features became rare, a “B” film usually referred to low budget exploitation films that played well at drive-ins and inner city grind houses.
Mike (saps) although I agree with your review of “STAR!” and Bigjoe’s taste in film, I must also admit that I thoroughly enjoyed the widescreen train-wreck that was the 1973 musical “LOST HORIZON” and often watch it again and again and would love to see a remastered print of the original mess. Sometimes our treasures are what they are.
Thank you for this, Joe. It is almost impossible these days to find the original versions of WOODSTOCK, STAR WARS (A New Hope), BLADE RUNNER or APOCALYPSE NOW. I recently saw THE CURRENT WAR, “The director’s cut” of a movie that was barely released. The original “cut” is nowhere to be found for a film from 2017. We are entering a new era of “LOST” films. Casualties of technology, audience indifference, artist’s ego, and in some cases, like MULAN, politics.
Bigjoe, “The intent of showing film” implies that feature length films would be the prime subject. That did not occur until 1906 in Australia. In the United States film showings were not continously a main subject until 1915 when the “THE BIRTH OF A NATION” made it popular.
I should also note that even the most pedestrian Steven Seagal or Jean-Claude Van Damme film would gross more on opening weekend at the National than any BACK THE FUTURE sequel in its entire run. And does anyone remember HIP HOP, SALSA and LAMBADA movies.
I don’t think any of these theatres avoided exploitation films. Their distributor alliances dictated the product. They all eventually played some low budget horror, Kung Fu, sexploitation or blaxploitation films.
It became a twin in 1982. The Jessica Lange “KING KONG” was a 1976 release. The food carts down the aisle were a Cineplex Odeon project that started in the early nineties. Are you talking about the original “KING KONG” as a revival?
Bailey Theatres, which operated the Sunrise Drive-In also owned several other locations in the south. The other locations appear to all be “negro theatres”, as they were then known. I suspect that may be the reason for the lack of mainstream advertising for the Sunrise. The change to Thunderbird may have been a change in policy or owner.
There seems to be some confusion between the Belmont and the West Forty-Eighth Street theatre, which apparently was across the street at 124 West 48th Street. It had previously been Uncle Sam’s Music Hall, which Robert Benchley reviewed in the January 27, 1940 New Yorker. He found their show offensive, “not one a father could take his children to”. He did admit his protest was somewhat “vitiated by the fact that the child in question was at the moment towering over me from a height of six foot two and was accompanied by his wife”.
Apparently undaunted, Uncle Sam’s continued on, and in the March 16th, 1940 Cue Magazine, advertised “She Gave Him All She Had”, and
suggested audiences “hiss the villain”. Nevertheless, on May 12,1940 Uncle Sam’s became the 48th Street Music Hall, and initiated a run of silent movies. Many stars attended the festivities on the opening night, Walter Huston, Madge Evans, Gertrude Lawrence, etc. The silents continued until May 26, 1941. At times the theatre had free admission, the bucks apparently being brought in by beer, liquor and food.
Richard O'Brien
rivest266, that ad is for the Avon on Love which I believe was the New Cinema Playhouse with a different entrance, and not this theatre.
http://cinematreasures.org/theaters/12992
One of the ads in the photo section, “RETURN OF THE DRAGON”, shows the indoor theatre listed as the “Copiague Indoor”.
As in the music industry 45 records, the “B side” was a expected lesser hit that accompanied the “A side” meant to be the main hit. A “B” movie was designed to be the low-budget second film in a double feature. Once finished, the studio might release it as an “A” film if they felt it had enough potential. After first-run double features became rare, a “B” film usually referred to low budget exploitation films that played well at drive-ins and inner city grind houses.
Mike (saps) although I agree with your review of “STAR!” and Bigjoe’s taste in film, I must also admit that I thoroughly enjoyed the widescreen train-wreck that was the 1973 musical “LOST HORIZON” and often watch it again and again and would love to see a remastered print of the original mess. Sometimes our treasures are what they are.
Thank you for this, Joe. It is almost impossible these days to find the original versions of WOODSTOCK, STAR WARS (A New Hope), BLADE RUNNER or APOCALYPSE NOW. I recently saw THE CURRENT WAR, “The director’s cut” of a movie that was barely released. The original “cut” is nowhere to be found for a film from 2017. We are entering a new era of “LOST” films. Casualties of technology, audience indifference, artist’s ego, and in some cases, like MULAN, politics.
If you skip forward 40 minutes into this video you can see a series of Havana cinemas in the 1950’s including the Riviera.
https://www.youtube.com/watch?v=OqWWsvIkUU8&feature=share&fbclid=IwAR3QlyvumVOzQb9p9DYwxNBQvd81SdHJw-bnTUKyUBdrAV7fVSMXs4zL-Pw
Bigjoe, “The intent of showing film” implies that feature length films would be the prime subject. That did not occur until 1906 in Australia. In the United States film showings were not continously a main subject until 1915 when the “THE BIRTH OF A NATION” made it popular.
Cinerama seating was 1552 and by Thanksgiving that year “WEST” was probably no longer selling out.
Don’t forget that seating was significantly reduced for Cinerama and people were probably still being seated during the Overture.
Do you know when he sold the Hi-way?
Thanks, Bigjoe. I had an office here for a few years during my Cineplex Odeon days.
It was a power station.
I should also note that even the most pedestrian Steven Seagal or Jean-Claude Van Damme film would gross more on opening weekend at the National than any BACK THE FUTURE sequel in its entire run. And does anyone remember HIP HOP, SALSA and LAMBADA movies.
I don’t think any of these theatres avoided exploitation films. Their distributor alliances dictated the product. They all eventually played some low budget horror, Kung Fu, sexploitation or blaxploitation films.
This became a Walter Reade location in October 1966.
It became a twin in 1982. The Jessica Lange “KING KONG” was a 1976 release. The food carts down the aisle were a Cineplex Odeon project that started in the early nineties. Are you talking about the original “KING KONG” as a revival?
Cinemark said they can profitably operate at 30-35% capacity. Which begs the question, why do all chains charge so much?
Bailey Theatres, which operated the Sunrise Drive-In also owned several other locations in the south. The other locations appear to all be “negro theatres”, as they were then known. I suspect that may be the reason for the lack of mainstream advertising for the Sunrise. The change to Thunderbird may have been a change in policy or owner.
Not here in tourist town. Not with Covid hospitalization cases at an all time high in Texas.
I am pretty sure also that this was the Sunrise, but I haven’t found solid proof.
Richardobrien seems to know.
Steven, that photo is from a theatre across the street (124 west 48th street) that showed movies in 1940. I don’t think it is listed here. Yet.
richardobrien on July 26, 2007 at 4:43 pm
There seems to be some confusion between the Belmont and the West Forty-Eighth Street theatre, which apparently was across the street at 124 West 48th Street. It had previously been Uncle Sam’s Music Hall, which Robert Benchley reviewed in the January 27, 1940 New Yorker. He found their show offensive, “not one a father could take his children to”. He did admit his protest was somewhat “vitiated by the fact that the child in question was at the moment towering over me from a height of six foot two and was accompanied by his wife”. Apparently undaunted, Uncle Sam’s continued on, and in the March 16th, 1940 Cue Magazine, advertised “She Gave Him All She Had”, and suggested audiences “hiss the villain”. Nevertheless, on May 12,1940 Uncle Sam’s became the 48th Street Music Hall, and initiated a run of silent movies. Many stars attended the festivities on the opening night, Walter Huston, Madge Evans, Gertrude Lawrence, etc. The silents continued until May 26, 1941. At times the theatre had free admission, the bucks apparently being brought in by beer, liquor and food. Richard O'Brien
Nice find! They sure look like the same building.
Steven, the windows above the 47th Street Cinema marquee you posted and the one over the Miami marquee sure do look similar.
Steven, why don’t you post them here? I don’t see an entry for that cinema yet and it may have been this location.