Also, while “Kiss Me, Stupid” was the first major American film rated C by the Legion of Decency since “Baby Doll,” a few years earlier, another American film “A Cold Wind in August” made the list. It played several weeks during its RI premiere at the Art Cinema in 1961. The theater even brought it back the following year for another engagement.
I did not like the Midland Cinema. Tucked inside the mall, it seemed more like a screening room than a theater. Still, I enjoyed tremendously the few films that I went there to see, including “Pauline at the Beach” and “Cries and Whispers.”
When the Four Seasons first opened, the theater announced that one of its two screens would show mostly foreign films, but the policy did not last. I saw “The Tenth Victim” when it opened there.
I always suspected a connection with the Avon. The films that played there were often booked at the Art at a later date, sometimes immediately afterwards. When “David & Lisa” ended its run at the Avon, the theater placed a newspaper ad showing a moving truck carrying the movie logo leaving the Avon and heading in the direction of the Art. The movie page was so much more fun to read in those days.
The agreement that forced the theater to withdraw “Kiss Me, Stupid” in 1964, had obviously ended by 1969 when it booked “Heironymus Merkin,” not only rated C-Condemned by the Catholic Legion of Decency, but also X by the ratings board. Of course, this was when the X rating was not yet synonymous with pornography.
When the theater was renamed the Ocean State in 1976 with the purpose of showing first run movies, I attended the opening of its first feature presentation “Murder By Death” and the film that followed that engagement, “King Kong.” I never really believed, however, that this policy would entice moviegoers downtown on a regular basis.
In the latter half of the sixties, the theater’s reputation as an art house began to diminish, at least in my mind. It would schedule more mainstream fare and fewer foreign films. One reason is likely the competition from other theaters like the Columbus Theater/Studio Cinema, the newly opened Four Seasons Cinemas in East Providence, and, years later, the Midland and Cinerama Theater.
I saw “Luther” at the Cable Car Cinema on a Sunday afternoon. Being the first to arrive, I had to wait a while for the theater to open. Few people attended the matinee. I enjoyed the movie, but not the experience of sitting on a big sofa in a theater. Furthermore, the film print was a poor one. It displayed lines throughout the movie which, at times, was rather annoying.
The Warwick Cinema rarely showed foreign language films. When “Marriage Italian Style” ended it run there, the movie then moved to the Art Cinema for several weeks. “Now in Providence!” said the ad.
I saw “The Graduate” the first Saturday after it opened at the Majestic. Having read the book, I was quite anxious to see it, too. I enjoyed the movie so much that I sat through it twice. After hearing me praise it so much, a classmate promptly rushed to see it. To my surprise, he was denied admission. “Adults Only!” and “No One Under 18 Admitted” were written on signs taped to the box office window. He did return a few days later with his older sister and her husband who purchased the tickets.
The demise of the Art Cinema. In July, 1973, the Art Cinema announced that it was closed for the summer. Yet, it did not reopen until November, 1973, under new management, and only four days a week, Thursday through Sunday. The program changed from soft core to black themed films such as “Superfly,” “Sounder,” Cleopatra Jones,“ and "Blackula.” Matinees on Saturday and Sunday featured children’s movies like “Willy Wonka,” “Puff N Snuff” or “Pippi Longstocking.” Advertising was reduced to the minimum, small block size without illustration, stating the film titles and show times. The theater struggled through this phase for four months until March, 1974, when it abruptly closed. This time, it remained closed for more than a year. It reopened in April, 1975, again under new management, showing hard core pornographic films. A new logo and flashy ads ran daily. It stayed open for business about films months. By the end of August, 1975, the ads vanished from the movie page, the theater having closed once more. It did not reopen.
(continued)
almost weekly. The theater did suspend its policy to bring back James Joyce’s “Ulysses,” this time for three weeks at popular prices. It even booked the obscure independent film “Dutchman” with Shirley Knight. But, they were exceptions. Its era as an art house had sadly ended.
The year 1967 was transitional for the Art Cinema. During the early months, it continued to show mostly foreign films or mainstream ones, among them, “Dear John,” “Loves of a Blonde,” “The Poppy is Also a Flower,” “The Game is Over,” even the surf film “The Endless Summer” direct from its engagement at the Avon. There was only an occasional nod to sensationalism (“Damaged Goods” starring Hollywood starlett Delores Faith!). By the end of May, however, the theater had apparently changed its policy, showing exploitation films a
That’s an accurate description of the theater, Gerald, which explains why I hardly ever went there to see movies. The only occasion that comes to mind was to see “Desperate Characters,” an obscure film with Shirley MacLaine, early seventies, I think.
The Garden City Cinema opened for business on Friday, December 22, 1967. There was a ribbon cutting ceremony, and refreshments were served, too. The feature presentation was Disney’s “The Jungle Book.”
I recall Woolworth’s and the supermarket. The Pancake House was also a short distance from the theater. The area began its decline in the late sixties, which might explain why the Art Cinema switched its program from quality films to soft core around that time.
When I used to go to the downtown theaters in the sixties, it was usually for a late morning or early afternoon show, and the balcony would be closed. I didn’t remember the two balconies at the Albee until I saw your photos.
When James Joyce’s “Ulysses” played the Art in 1967, it was promoted as a special event for three days only, with reserved seating. The newspaper ad even featured a coupon to fill out and mail for advance tickets.
Christmas Attractions at the Art Cinema. The following films opened on Christmas Day or one or two days later, except Christmas, 1959.
1958- Bitter Rice and Anna
1959- Theater closed. Re-opened Jan 15, 1960 with Mating Urge and
Chase Me, Charlie
1960- Make Mine Mink
1961- The Truth and Girl With a Suitcase
1962- Carry on Teacher and Doctor in Love
1963- The Sword in the Stone (also at the Avon)
1964- A Hard Day’s Night and Robin and the Seven Hoods
1965- Bambole
1966- 10:30 P.M. Summer and Mondo Cane
My most memorable evening at the Garden City Cinema was for a sneak preview of “The Omen.” Well, I hardly ever went to sneak previews, but this one starred Lee Remick, whom I liked, and I suspected that it would be a supernatural thriller. It certainly was. During one crucial scene, when everyone jumped, and some even screamed, there was dead silence until someone sighed and said “Jesus Christ!” The audience broke into a nervous laugh, and then resumed watching the movie. When it ended, as I was walking up the aisle to leave, I bumped into my cousin and his wife. They were as frightened as I was. We headed for the lobby where we were asked to fill out a survey. But, we were too shaken to do so.
The Italian Film Society of RI at the Cable Car Cinema? Well, then, Gerald, on behalf of all the foreign film connoisseurs, let me thank you for carrying on the tradition. The spirit of the Art Cinema lives! Then, at the Cable Car. Now, through your thoughtful commentary.
“Clarie’s Knee”! I haven’t thought of that movie since I first saw it. It must have been at the ELmwood, too. When “Two Women” ended its long run there, it moved to the Art, where it stayed multiple weeks, another hit for that struggling cinema. The newspaper ad used the emotive image of Sofia Loren in a torn dress kneeling and crying.
Thank you for the photo of the marquee. It brings back many fond memories. I will look at it often.
Also, while “Kiss Me, Stupid” was the first major American film rated C by the Legion of Decency since “Baby Doll,” a few years earlier, another American film “A Cold Wind in August” made the list. It played several weeks during its RI premiere at the Art Cinema in 1961. The theater even brought it back the following year for another engagement.
I did not like the Midland Cinema. Tucked inside the mall, it seemed more like a screening room than a theater. Still, I enjoyed tremendously the few films that I went there to see, including “Pauline at the Beach” and “Cries and Whispers.”
When the Four Seasons first opened, the theater announced that one of its two screens would show mostly foreign films, but the policy did not last. I saw “The Tenth Victim” when it opened there.
I always suspected a connection with the Avon. The films that played there were often booked at the Art at a later date, sometimes immediately afterwards. When “David & Lisa” ended its run at the Avon, the theater placed a newspaper ad showing a moving truck carrying the movie logo leaving the Avon and heading in the direction of the Art. The movie page was so much more fun to read in those days.
The agreement that forced the theater to withdraw “Kiss Me, Stupid” in 1964, had obviously ended by 1969 when it booked “Heironymus Merkin,” not only rated C-Condemned by the Catholic Legion of Decency, but also X by the ratings board. Of course, this was when the X rating was not yet synonymous with pornography.
When the theater was renamed the Ocean State in 1976 with the purpose of showing first run movies, I attended the opening of its first feature presentation “Murder By Death” and the film that followed that engagement, “King Kong.” I never really believed, however, that this policy would entice moviegoers downtown on a regular basis.
In the latter half of the sixties, the theater’s reputation as an art house began to diminish, at least in my mind. It would schedule more mainstream fare and fewer foreign films. One reason is likely the competition from other theaters like the Columbus Theater/Studio Cinema, the newly opened Four Seasons Cinemas in East Providence, and, years later, the Midland and Cinerama Theater.
I saw “Luther” at the Cable Car Cinema on a Sunday afternoon. Being the first to arrive, I had to wait a while for the theater to open. Few people attended the matinee. I enjoyed the movie, but not the experience of sitting on a big sofa in a theater. Furthermore, the film print was a poor one. It displayed lines throughout the movie which, at times, was rather annoying.
The Warwick Cinema rarely showed foreign language films. When “Marriage Italian Style” ended it run there, the movie then moved to the Art Cinema for several weeks. “Now in Providence!” said the ad.
I saw “The Graduate” the first Saturday after it opened at the Majestic. Having read the book, I was quite anxious to see it, too. I enjoyed the movie so much that I sat through it twice. After hearing me praise it so much, a classmate promptly rushed to see it. To my surprise, he was denied admission. “Adults Only!” and “No One Under 18 Admitted” were written on signs taped to the box office window. He did return a few days later with his older sister and her husband who purchased the tickets.
The demise of the Art Cinema. In July, 1973, the Art Cinema announced that it was closed for the summer. Yet, it did not reopen until November, 1973, under new management, and only four days a week, Thursday through Sunday. The program changed from soft core to black themed films such as “Superfly,” “Sounder,” Cleopatra Jones,“ and "Blackula.” Matinees on Saturday and Sunday featured children’s movies like “Willy Wonka,” “Puff N Snuff” or “Pippi Longstocking.” Advertising was reduced to the minimum, small block size without illustration, stating the film titles and show times. The theater struggled through this phase for four months until March, 1974, when it abruptly closed. This time, it remained closed for more than a year. It reopened in April, 1975, again under new management, showing hard core pornographic films. A new logo and flashy ads ran daily. It stayed open for business about films months. By the end of August, 1975, the ads vanished from the movie page, the theater having closed once more. It did not reopen.
(continued)
almost weekly. The theater did suspend its policy to bring back James Joyce’s “Ulysses,” this time for three weeks at popular prices. It even booked the obscure independent film “Dutchman” with Shirley Knight. But, they were exceptions. Its era as an art house had sadly ended.
The year 1967 was transitional for the Art Cinema. During the early months, it continued to show mostly foreign films or mainstream ones, among them, “Dear John,” “Loves of a Blonde,” “The Poppy is Also a Flower,” “The Game is Over,” even the surf film “The Endless Summer” direct from its engagement at the Avon. There was only an occasional nod to sensationalism (“Damaged Goods” starring Hollywood starlett Delores Faith!). By the end of May, however, the theater had apparently changed its policy, showing exploitation films a
That’s an accurate description of the theater, Gerald, which explains why I hardly ever went there to see movies. The only occasion that comes to mind was to see “Desperate Characters,” an obscure film with Shirley MacLaine, early seventies, I think.
The Garden City Cinema opened for business on Friday, December 22, 1967. There was a ribbon cutting ceremony, and refreshments were served, too. The feature presentation was Disney’s “The Jungle Book.”
I recall Woolworth’s and the supermarket. The Pancake House was also a short distance from the theater. The area began its decline in the late sixties, which might explain why the Art Cinema switched its program from quality films to soft core around that time.
When I used to go to the downtown theaters in the sixties, it was usually for a late morning or early afternoon show, and the balcony would be closed. I didn’t remember the two balconies at the Albee until I saw your photos.
When James Joyce’s “Ulysses” played the Art in 1967, it was promoted as a special event for three days only, with reserved seating. The newspaper ad even featured a coupon to fill out and mail for advance tickets.
Christmas Attractions at the Art Cinema. The following films opened on Christmas Day or one or two days later, except Christmas, 1959.
1958- Bitter Rice and Anna
1959- Theater closed. Re-opened Jan 15, 1960 with Mating Urge and
Chase Me, Charlie
1960- Make Mine Mink
1961- The Truth and Girl With a Suitcase
1962- Carry on Teacher and Doctor in Love
1963- The Sword in the Stone (also at the Avon)
1964- A Hard Day’s Night and Robin and the Seven Hoods
1965- Bambole
1966- 10:30 P.M. Summer and Mondo Cane
I was scared, too, watching “The Haunting” with Julie Harris when it first premiered in the sixties, but I don’t remember which theater it played.
My most memorable evening at the Garden City Cinema was for a sneak preview of “The Omen.” Well, I hardly ever went to sneak previews, but this one starred Lee Remick, whom I liked, and I suspected that it would be a supernatural thriller. It certainly was. During one crucial scene, when everyone jumped, and some even screamed, there was dead silence until someone sighed and said “Jesus Christ!” The audience broke into a nervous laugh, and then resumed watching the movie. When it ended, as I was walking up the aisle to leave, I bumped into my cousin and his wife. They were as frightened as I was. We headed for the lobby where we were asked to fill out a survey. But, we were too shaken to do so.
The Italian Film Society of RI at the Cable Car Cinema? Well, then, Gerald, on behalf of all the foreign film connoisseurs, let me thank you for carrying on the tradition. The spirit of the Art Cinema lives! Then, at the Cable Car. Now, through your thoughtful commentary.
I’d forgotton about that scene, really. What I do remember, though, is Burgess Meredith, making a fool of himself.
“Clarie’s Knee”! I haven’t thought of that movie since I first saw it. It must have been at the ELmwood, too. When “Two Women” ended its long run there, it moved to the Art, where it stayed multiple weeks, another hit for that struggling cinema. The newspaper ad used the emotive image of Sofia Loren in a torn dress kneeling and crying.