AMC Lincoln Square 13

1998 Broadway,
New York, NY 10023

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AMC Lincoln Square 13

On November 18, 1994, on the site of a demolished post office, the circuit then known by the Sony Theatres moniker introduced what immediately became the nation’s busiest multiplex at Broadway and W. 68th Street.

Construction of the Millennium Partners development known as Lincoln Square began on Manhattan’s Upper West Side in 1992. The $250 million mixed-use project, covering the block from Broadway to Columbus Avenue between W. 67th Street and W. 68th Street, was to rise 545 feet and encompass 800,000-square-feet. The developers took the unusual path of selling and leasing much of the complex’s space before construction had begun. Among the tenants of the 8-story commercial base, to be topped by a 38-story apartment tower, was Loews Theater Management Corporation. Plans for a nine-screen movie theatre with a traditional external box office and no inner lobby or unusual interiors were first conceived by Sony Pictures Entertainment Executive VP Lawrence Ruisi and Chairman Peter Guber. When Jim and Barrie Lawson-Loeks joined Loews/Sony Theatres as co-chairs in 1992, they envisioned a different complex, one that would include a mural-adorned lobby, movie palace ornamentation, indoor ticket selling stations, and more.

Sony Theatres Lincoln Square was designed by the firm of Gensler and Associates. The theatre’s lighting scheme was executed by Gallegos Lighting and the building’s 75' tall by 130' wide lobby mural was produced by EverGreene Painting Studios. (If ever gazing upon the mural, look, among the images from “Lawrence of Arabia”, “It Happened One Night”, and other classic films of Sony [Columbia] Pictures' past, for the embedded names of Sony/Loews executives of the era).

Upon its opening, the theatre totaled 3,046 seats and featured nine traditional exhibition auditoriums, each with a name and plaster/molded-fiberglass entrance paying homage to a grand movie palace of Loews' past. Among these were the Valencia, Kings, State, Capital, Paradise, and Jersey. The entry portals were designed as stylized representations of the old-time movie palaces. (The Paradise, for instance, has an Egyptian theme.) The grandest of the nine theatres bore the name “Loew’s”, since the circuit’s previous designation was, at the time, retired.

This premiere auditorium was modeled after the Thomas Lamb-designed Loew’s 72nd Street theatre (demolished in 1961) and reinterpreted that venue’s Thai-temple inspiration. The theatre featured a red and gold color scheme, handcarved designs atop gilded columns, a chandelier, a proscenium arch featuring elephants and palm trees, a gold show curtain, and a balcony. A two-minutes-long lighting pre-show was created by Patrick Gallegos, using equipment mounted on the balcony rail and footlights, to accompany a commissioned score by Jonathan Brielle. The auditorium housed 876 seats, a 65 feet wide by 26 feet tall screen, was 70mm capable, THX-certified, and opened with state of the art audio. Later, it featured Dolby Digital, SDDS 8-channel, and DTS.

Perhaps the facility’s most attention-grabbing feature was the Sony IMAX Theatre. Billed in advertisements of the time as “The 8-Story Wonder of the World”, the theatre featured 600 seats (not included in the nine-screen total cited above), the United States' largest theatrical screen measuring 100' by 80', and was reached by means of what was claimed to be the world’s largest free-standing escalator. It was the first IMAX theatre in the U.S. to be operated by a major exhibition circuit and also the first to exhibit 3-D films in the large screen format. The debut IMAX features were “The Last Buffalo”, which had previously been exhibited, and the premiere engagement of “Into the Deep”. On April 21, 1995, the theatre presented the first fictional IMAX film, “Wings of Courage”, starring Val Kilmer and Elizabeth McGovern and directed by Jean-Jacques Annaud. The film was the earliest to make use of the new IMAX 3-D Personal Sound Environment System. On October 20 of that year, “Across the Sea of Time” was presented, along with the ability for the audience to listen to the film in the language of their choosing via the four audio tracks available in their headsets. The IMAX theatre features a system by which, in a process lasting fewer than 40 minutes, each of the audience headsets is run through a fine mist of water and lens cleaning fluid between shows. Security panels sound alarms should a headset be mistakenly removed from the auditorium. In addition, the auditorium’s porthole glass is intentionally oversized, in order to allow the interested to pear into the projection booth, home to 7.5' wide film platters.

All of the building’s auditoriums, including 3 basement theatres added in early-1995 and originally intended to exhibit art house fare (a plan that was never executed), are reached via a ticket lobby featuring numerous automated ticketing kiosks and a Deco-inspired, 8-station box office at the end of a terrazzo floor with embedded brass stars (intended to be engraved with the names of stars visiting the theatre for premieres of their films). Patrons visiting one of the original 9 auditoriums enter an enormous concession lobby through an entryway replicating the gates of Sony Pictures Entertainment’s Culver City studio lot. Floor-to-ceiling structural columns are disguised as palm trees and large screens display trailers for upcoming attractions. A frieze features the names of Hollywood stars and encircles the space. The below-street-level auditoriums, which brought the facility’s total seat count to 4,144 (including IMAX), share a lobby showcasing a black-and-white mural paying homage to 1930’s Hollywood and an auxiliary concession stand. One of these auditoriums was originally equipped with joysticks for the age of interactive movies intended to be ushered in by 1995’s “Mr. Payback”. (The basement space was originally reserved for a neighboring tenant, Barnes & Noble.)

During its opening weekend in 1994, the Lincoln Square drew 33,000 paying customers and grossed more than $202,000 at the box office. The opening features were “Star Trek Generations” (generating $100,000), “The Professional” ($46,000), “Miracle on 34th Street” (1994), “The Lion King” (in the first weekend of a holiday-season re-release), and “The Swan Princess”. In the years since, Sony/Loews/Loews Cineplex Entertainment has striven to maintain the theatre’s technological preeminence. The premiere Loews auditorium is THX-certified. AMC now operates the theatre, having purchased the Loews Cineplex theatres. The seating capacity in 2018 was reduced to 3,254. In November 2019 the former Loew’s screen was renamed Dolby Cinema at AMC and the seating capacity was reduced from 876-seats down to 291-seats, giving a total seating capacity of 2,669.

Contributed by Damien Farley

Recent comments (view all 1,649 comments)

bigjoe59
bigjoe59 on July 1, 2020 at 7:18 pm

Hello-

to markp- many thanks for your reply. after I sent it the thought occurred to me that how worn or not a print might be after a long long roadshow had more to do with care the projectionist gave to the print and the projection equipment. the roadshow run of The Sound of Music at the Rivoli was even longer than Funny Girl’s at the Criterion. TSOM ran at the Rivoli from the first week of March 1965 to the last week of Sept. 1966.

hdtv267
hdtv267 on July 1, 2020 at 10:45 pm

since all this fascinating information pertains to showings at the Rivoli, shouldn’t those posts from 6/30 and 7/1 be on that page?

bigjoe59
bigjoe59 on July 1, 2020 at 10:59 pm

Hello-

since I get the impression markp works at this theater and he’s an expert on handling of film prints 70mm especially it seems totally appropriate to ask him about how long a film print 70MM or otherwise will last.

markp
markp on July 2, 2020 at 12:39 pm

bigjoe59, I can tell you that as recent as Dec 2017 to March 2018, I ran “Phantom Thread” here in 70MM 5 shows a day. When the print went back, Focus was amazed that it looked to be in the same condition it was when it was shipped. Im not saying Im perfect, cause Im not. Its just how I was taught to handle film. Its too bad theatres got rid of professionals in the late 90s/early 2000s and put kids in the booth. Thats what really gave digital the boost it needed.

moviebuff82
moviebuff82 on July 2, 2020 at 1:17 pm

Here’s a question for all of you…what was the first non-imax 70mm feature shown here during its first few years of operation?

Mark_L
Mark_L on July 2, 2020 at 9:22 pm

The 70mm list compiled by Coate/Kallay shows the first regular run of 70mm at Lincoln Square was THE MASTER in September, 2012.

moviebuff82
moviebuff82 on October 28, 2020 at 10:48 am

If this theater reopens soon could they show a 70mm print of Tenet in Imax?

hdtv267
hdtv267 on October 28, 2020 at 12:54 pm

it’s not going to re-open soon.

It’s a bad movie no matter what format it’s shown in.

Third wave of infections, a week before the election and this is what’s important?

bigjoe59
bigjoe59 on October 29, 2020 at 10:53 pm

Hello-

to hdtv267. in your reply to moviebuff82’s comment on wanting to see Tenet in this theater’s IMAX auditorium you say “ its a bad film no matter what format its shown in”. NYC movie theaters have been closed since Mon. 3/16. so might I ask where you saw Tenet?

Bill Huelbig
Bill Huelbig on October 30, 2020 at 12:55 am

New Jersey theaters are open, right across the Hudson River. I saw Tenet in Hoboken NJ on opening weekend in September. I agree that it was a bad movie, and even 70mm would not have helped.

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