Also see: Imperial / United Artists / Market St. Cinema - demolition and salvage
Opened: December 22, 1912 as Grauman's Imperial by the father and son team David and Sid Grauman. It was on the south side of the street, opposite Jones St. The Graumans had earlier operated (among other ventures) the theatre later called the Crest -- they were calling it Grauman's. In this lovely 1913 shot the theatre is running "The Power of Silence" with the bonus of "The Great Pla Trio with a
Tettrazini Equal." Thanks
to John Bosko for sharing the photo from his collection on the BAHT Facebook page.
Note the "Grauman's Imperial" in the art glass above
the entrance. By 1918 or so it was covered on the outside after the
Grauman clan moved south and the theatre was under different management. The art glass was hidden by paint and stucco for 80+ years. It's been restored and now resides in the lobby of the condo building that replaced the theatre. Head to the bottom of the demolition and salvage page for photos.
Architects: Cunningham and Polito designed the building.
A 1931 remodel for United Artists was by the firm of Walker & Eisen associated with Clifford A. Balch. Gary Parks has plans for that remodel in his collection. See 15 additional images from the blueprints down at the bottom of the page.
Seating: Perhaps 1,600 originally. 1,200 is a later number. Down to 1,100 after reseating in 1959.
Organ: WurliTzer Style 185, 2 Manuals, 7 Ranks - not installed until 1919.
The San Francisco Call issue of December 19, 1912 gave the new theatre a writeup noting:
"Something new in the way of theatrical ventures will be launched next Sunday with the opening of Grauman's Imperial theater, Seventh and Market streets. San Francisco has had vaudeville theaters and vaudeville theaters but the Imperial will give local theatregoers their first opportunity to witness entertainment of the English music hall type..."
The page from the Call can be viewed on the Library of Congress website.
The ad that appeared the San Francisco Call issue of December 22, 1912, the theatre's opening night. The page can be viewed on the Library of Congress website. In the paper's "Faces and Scenes in This Week's Attractions at the Playhouses" column on the same page it was noted:
"...A NEW PLAYHOUSE WILL OPEN -- Three new events will tend to make this week -- reputed to be in theatrical circles the dullest of the year -- a memorable holiday season. One is the Christmas present of a new playhouse to amusement loving San Francisco, Grauman's Imperial theater...."
Page 29 of the Call's issue on the theatre's opening day also had this report in their "Many Attractions For Christmas Week" roundup of local theatre offerings:
"Imperial Theater -- Added to the city's holiday attractions will be a notable one of the opening of a new theater -- Grauman's Imperial, in Market street near Seventh. It is in the nature of a Christmas gift to amusement loving San Francisco. Not only does the new Grauman house add a $200,000 playhouse to the city's galaxy of theaters, but the management promises that the attractions therein housed will be of a novel and high class nature. The motto of the management will be 'something new, and always excellent.'
"For the opening, a program of 'tabloid opera.' together with the biggest photoplay releases available from American and European film manufacturers has been arranged. The leading artists in the operatic offerings are from New York with Hammerstein reputations. O.N. Walsh and Mlle. Rand are the bright stars of the organization which will present excerpts from the latest operatic and musical comedy successes. 'The Last Performance' and 'A Marriage of Convenience' are the titles of two of the film dramas that will be presented tonight when Grauman's theater is opened.
"What should set a new standard for popular priced vaudeville in San Francisco seems assured in the opening of the new Imperial. Manager D.J. Grauman is already reaching out for the best talent that money can get and this winter promises the engagement of the biggest operatic stars in the country. The color scheme of the theater is blue and gold, but must be seen to be appreciated. A large promenade balcony is one of the features. The auditorium will seat 1,600 people. The prices will be 15 cents and 25 cents. Three performances will be given daily."
The page is on the Library of Congress website.
An article from the December 23, 1912 issue of the San Francisco Call. It's a rare view of the original look of the proscenium. Thanks to Michael Thomas Angelo for finding the item for a post on the BAHT Facebook page.
A March 30, 1913 ad located by Jack Tillmany. He comments: "Movies were in their infancy and live vaudeville was the major attraction, soon to be tossed aside in favor of feature films, musically enhanced by Gino Severi and the Imperial Orchestra."
A lantern slide advertising the films of Gilbert M. Anderson, better known as Broncho Billy Anderson. Thanks to David Kiehn, archivist at the Niles Essanay Silent Film Museum, for sharing the item from their collection. In 1914 Anderson decided to get into the theatre business and built the Gaiety Theatre on O'Farrell St. across from the Orpheum (a house later known as the Union Square) to house musical revues. It wasn't a successful investment for him. Gary Parks comments:
"Note that the sunburst design between the words 'Grauman's' and 'Imperial' is a copy of the animated lightbulb sunburst which topped the theatre’s swing-out sign at the time of its opening. I do not know if the sculpted female caryatids were actually ornament in the theatre—I tend to think not, as they are Neoclassical, and not Art Nouveau, which was the style of the theatre as first built. Likely they’re taken from photos in an architectural pattern book."
A card advertising the 1916 release "Unprotected." Thanks to Glenn Koch for sharing the item from his collection for a post on the BAHT Facebook page.
The rear of the card for "Unprotected."
After the Graumans left for southern California their name was covered over on the signage and it was just called the Imperial from 1916 to 1929. The Graumans had sold their interest to Wobber Brothers, who also operated the California Theatre. Soon both houses were being operated by Herbert Rothchild, who then built the Granada, a house that opened in 1921.
Jack Partington, later of the "flying stages" system of stage lifts, had been working for the Graumans. A February 13, 1926 article in Exhibitors Herald that discussed his move to the Metropolitan Theatre in Los Angeles. Thanks to Bob Foreman for finding the article on Internet Archive. The Herald noted:
"In 1912 Partington became associated with D. J. and Sid Grauman at the Imperial theatre, San Francisco. Later the management of the theatre was turned over to him. After the Graumans sold the Imperial to Wobber Brothers and it was merged with the California theatre, Partington was placed in charge of both houses. When the Rothschild [sic] interests took over the two houses and built the Granada, Partington was given charge of the three theatres. This position he held until his transfer to Los Angeles."
One of the Wobbers (but no mention of a brother) is discussed in "H. Wobber - Film Pioneer,"
a June 13, 1965 Examiner obituary of Herman Wobber. Thanks to Jack Tillmany for locating it. The article mentions the management of the Imperial, but not the California. Also of interest is the mention of Wobber operating the Unique Theatre, one of the first on Market
after the 1906 earthquake and fire. The article seems to
suffer from a lack of fact checking.
We had a bit of a translation issue in this 1919 ad for "The Miracle Man" that appeared in the October 17, 1919 issue of L'Italia, an Italian language newspaper. Thanks to Art Siegel for locating this via the website of the California Digital Newspaper Collection.
The Imperial had a stage fire in 1922. An item in the April 22 Moving Picture World noted that along with a stage rebuild they were enlarging the orchestra pit. They also noted that Gino Severi and his orchestra were returning to the theatre after a stint at the Granada.
This
cover for the program at the Imperial, California and Granada was for the week of October 28, 1922. At the
time, the three theatres were under the management of Herbert Rothchild with Paramount also in there with an ownership stake. Later Paramount Publix took over the operation of the three theatres. The program is on Calisphere from the Museum of Performance and Design Performing Arts
Library.
The theatre was the Premier from August 1929 to 1931 and the United Artists beginning May 28, 1931. The opening attraction was Chaplin's "City Lights."
A May 28, 1931 ad for the renamed theatre.
A May 28, 1931 newspaper story about the reopening. Thanks to TJ Fisher for locating the ad and article for a post on the BAHT Facebook page. He notes that Examiner writer Lloyd S. Thompson commented: "The old Imperial, always one of the most comfortable and satisfying of the town's picture houses, has come into its own in worthy style."
In the 40s and 50s it was a Blumenfeld circuit house. In April 1959 with the run of "Some Like It Hot" Metropolitan Theatres took over and gave the place a remodel including 70mm equipment, new seating, and a 50' screen. Later they replaced the vertical sign. Jack Tillmany comments:
"By the late 1950s, time, along with an estimated half million
customers each year for over 45 years, had taken its toll and a much
needed facelift, costing a reported $250,000, was given top priority by
its new owner, Metropolitan Theatres Inc., of which Sherrill C. Corwin
was president. The venerable vertical which had always spelled out the
full name 'United Artists,' was soon replaced by a more modern version, which
simply called it what everybody called it, 'UA.'
"But the new marquee
maintained the complete, fully spelled out name, a polite nod to its
heritage. Inside, new, more comfortable, and better spaced seating
reduced its capacity from 1,200 to 1,100, and a larger, wider, fifty foot
screen was ready to welcome 70mm projection. In April 1959, the premiere
of 'Some Like It Hot' opened a new era that was to bring even greater
popularity to this historic site and further brighten San Francisco’s
Great White Way, as Market Street was then popularly called."
A July 15, 1959 article from the trade
magazine Motion Picture Exhibitor detailing the makeover the theatre received from
Metropolitan Theatres. It's from the Jack Tillmany collection. He comments:
"It was the era of roadshow films, prestigious and popular titles many
of which are today considered the classics of their era, fifty years
later. All seats were numbered, reserved, and purchased in advance. 'West
Side Story' opened in December 1961, and ran 46 weeks; it was
immediately followed by 'Lawrence of Arabia,' which opened in January
1963, and ran 47 weeks; 'The Sound of Music' opened 18 March 1965 and ran
92 weeks until 22 December 1966, the second longest run of any film in one
theatre in San Francisco history, topped only by 'Around the World in 80
Days,' which ran 94 weeks 1956-1958 at the Coronet."
Loew's took over, calling it Loew's, on October 15, 1969. This drawing was done by Heath & Co. for a potential new look. It didn't get executed in this elaborate a fashion. Michael Thomas Angelo found this on eBay for a post on the Facebook page San Francisco Remembered.
With Loew's coming in that was the end of the reserved seat format. General Cinema got it July 13, 1972 and ran it until perhaps 1978 calling it the Market St. Cinema. It kept that name after General Cinema left and it morphed into an adult entertainment venue.
While it was a porno venue the theatre occasionally had concerts promoted by Ken Friedman, a gentleman who later went into the restaurant business. This 1979 poster is from the collection of Alissa A Welsch. As a comment to a 1970 photo of the theatre on the BAHT Facebook page she says:
"I worked at The Market Street Cinema when Ken Friedman produced shows there in the early 80s. I was a stagehand and backstage manger. Some of the shows we did were: New Order/Simple Minds, Grace Jones, The English Beat, William S. Burroughs, The Go-Gos, Chris Burden...to name a few."
A 1981 poster for shows at the theatre from the collection of Alissa A Welsch. She comments: "This one was during Ken's tenure, then the theater owners got greedy and Ken moved on. The MSC tried to book a few shows then the returned to porn."
More early 80s concerts. The poster is from the collection of Alissa A Welsch.
Grace Jones at the Market St. Cinema. Thanks to Alissa A Welsch for sharing these items from her collection. Robert Cambra commented on the BAHT page:
"Oh yeah! I attended the Burroughs / Anderson / Giorno performance and the Wall of Voodoo/Suburban Lawns/Bush Tetras one (if I remember that correctly). Very fond memories of an exciting music period. I remember the Grace Jones and Go-Gos performances—I passed by the theatre as the Go-Gos show was getting out but, sadly, did not attend those."
Alissa added:
"I worked all those shows. I spent an evening babysitting William Burroughs. The backstage/hospitality was opposite the men's bathroom and he would panhandle quarters for the condom machine and turn them into water balloons. Burroughs was a junkie back then and my job was spending my time watching him. It was surreal." Bobby Clic commented that he saw DOA at the theatre in 1982 or 83. Alissa noted: "That was after Ken. They wanted too much money and he said good-bye."
The theatre was later remodeled with a warren of "adult entertainment" rooms built out on the main floor and onto the stage. The balcony was just used for peepshow booths.
Status: It closed in 2013 and was demolished in 2016.
Interior views:
A shot by Morton & Co. taken on May 26, 1917 that's in the Glenn Koch collection. Thanks to Glenn for sharing it on the BAHT Facebook page where he noted: "I love the Fleur-de-Lys theater curtain." Robert Lannon speculated about the band:
"Wild guess here...May 26....Decoration Day 1917 was the 28th, a Monday....WW I was ongoing, yet 'Decoration Day' had strong significance then...possibly sailors and a US Marine band from a Navy ship home ported in SF. Treasure Island wouldn't have a band until the late 1930's, it was an all black band, sometimes called Shipmates of Rhythm...they were specially recruited to be the base band."
Gary Parks commented:
"Great photo! Interesting to see the detailing of the woodwork on the edge of the orchestra pit. There are rows of little leaf-like elements tightly packed together on the carved cornices. Right away, I realized that a very similar molding existed among the plaster decoration on the Imperial's original lobby ceiling--which was long hidden by later remodels. When the theatre was torn down and our salvage crew rescued the facade stained glass window, we also saved a number of fragments of plaster. The one below is very similar to the details of the wood carving in the photo. These leaf-like (cobra-like, as one of our salvage crew commented) were in a row, all around the lobby ceiling, along with several other ornamental patterns."
A July 1922 look toward the stage from the rear of the main floor. The photo is from the collection of Ed Stout. Thanks to Jack Tillmany for making it available. A smaller version is on the San Francisco Public Library website and also appeared on a 2013 Curbed SF story about the Imperial's history.
A March 1958 look to the screen showing the effects of the United Artists remodel of 1931. The photo is one in the Jack Tillmany collection that he obtained from Tom B'hend.
The rear of the house in March 1958. The Metropolitan Theatres remodel was to come in 1959. Thanks to Jack Tillmany for the photo. It's another that he obtained from Tom B'hend.
Part of the main floor in April 1959, after the remodel. It's a photo in the Jack Tillmany collection.
A view down from the balcony c.2010 showing most of the theatre intact with much of the 1931 Walker & Eisen/Clifford Balch look still evident. We're looking down on the top of the warren of rooms built for "adult entertainment." Thanks to Michael Blythe, who posted the photo on Cinema Treasures. The image comes from Season 7, Episode 15 of Ghost Adventures.
Another shot from the Ghost Adventures episode. Thanks to Michael Blythe for the screenshot.
A look to the rear of the balcony c.2014. Thanks to William David French, Jr. for the screenshot from the show Travel.
More exterior views:
The theatre under construction in October 1912. It's a shot by John Henry Mentz. Thanks to Art Siegel for locating it in the SFMTA Photo Archive, their #UO3696. Postings on the fence for the week of October 6 include the Keene Trio at the Pantages and the Suwanee River Minstrels at the Portola.
A detail from the October 1912 photo.
A closer look at the the plasterwork above the entrance. Thanks, Art!
A late 1912 or early 1913 look at the theatre that appeared in the February 1913 issue of Architect and Engineer, in an ad for Medusa brand Portland Cement, The ad noted that the exterior of the Imperial was finished with their product -- "Absolutely Permanent Results." Well, it held up for over 100 years. It's on Internet Archive.
An early view that appeared as part of a newspaper story. Note the "All Seats 10 cents" sign above the marquee. Thanks to Kurt Wahlner for spotting it on eBay. Visit Kurt's exhaustively researched site GraumansChinese.org.
An article about the theatre that appeared in the December 5, 1914 issue of Moving Picture World. Thanks to Bob Ristelhueber for finding it for a post on the BAHT Facebook page.
A closer look at the Moving Picture World photo. They're running "The Making of Bobby Burnit" Bessie Bariscale and "Burning Daylight" with Hobart Bosworth, both September 1914 releases.
A 1919 photo from the Jack Tillmany collection. He comments: "Sunday 7 September 1919, crowds line up for the 'The Miracle Man,' the film that brought Lon Chaney to the attention of the public, soon to become one of the legendary Hollywood stars of the 1920s in such films as 'The Hunchback of Notre Dame' and 'Phantom of the Opera.' Jaywalking, as you can see here, was already established as a Market Street tradition."
"The Miracle Man" was an August 1919 release based on a play by George M. Cohan and a novel by Robert Hobart Davis. Note the upper part of the sign just said "The" after the Graumans had left. Gary Parks adds: "And note: just peeking above the marquee, the stained glass words, Grauman's Imperial have been painted over."
It's October 23, 1919 and we're looking east on Market from 7th. On the marquee: "Cecil B. DeMille Presents his Latest Achievement 'Male and Female.'" Thanks to Bob Ristelhueber for finding the photo in the SFMTA Photography Department & Archives for a post on the BAHT Facebook page.
A detail from the 1919 SFMTA photo. Thanks to Jack Tillmany for providing it.
"White and Unmarried" at the theatre in 1921. It's a photo that appeared in the August 6, 1921 issue of Moving Picture World. It's on Internet Archive. The copy with the photo: "A Roth and Partington Marquise Display - Faces and Trademarks Put over Tom Meighan - The Imperial Theatre, San Francisco, made Tom Meighan's face back up the Paramount-Artcraft trade marks on the marquise during the run of 'White and Unmarried.' Three 24 sheets were cut up to get these face cutouts but it was a good investment as it capitalizes on Meighan's popularity as nothing else could. It does not matter in what sized letters the star's name appears, a single portrait, large enough to be seen, will sell to greater advantage, and the Imperial got them up, down and across the street, so there was no escaping..."
Erich von Stroheim's "Foolish Wives" played the theatre in March 1922. Thanks to Glenn Koch for this image taken from a negative he spotted for sale online.
A detail from the 1922 image Glenn found. That's the Imperial Grill this side of the theatre. It's not known who the gentleman in the street might be.
The marquee during the 1922 run of "Foolish Wives." It's a photo from the Jack Tillmany collection.
A billboard for "Foolish Wives" along with 24 sheet displays for the Portola and the Granada in March 1922. This unique trade magazine shot comes from the Jack Tillmany collection.
A July 1922 view of the Imperial running a re-release of "The Delicious Little Devil" with Mae Murray and Rudolph Valentino. The photo from the Ed Stout collection appears on the San Francisco Public Library website as a donation from Jack Tillmany. They have it dated 1919, the year of the film's initial release. Jack notes: "This mid-1922 re-release was because of the popularity of Rudolph Valentino, following 'Four Horsemen of the Apocalypse' -- and then he was the star of 1921's big hit "The Sheik."
An August 1922 ad for the Imperial during the run of "Blood and Sand" with Rudolph Valentino. Thanks to Roxy Miraválle for the find.
An August 1925 parade celebrating "Greater Movie Season" passes the Egyptian and Imperial. The Imperial is running "Don Q Son of Zorro" with Douglas Fairbanks. It's a shot from three minutes and forty seconds of Fox Movietone News outtakes in the collection of the University of South Carolina. Thanks to Bob Ristelhueber for locating it for a post on the BAHT Facebook page.
A September 1925 photo from the Jack Tillmany collection.
A September 1925 photo looking east on Market with "Pony Express" having arrived at the Imperial. The Egyptian Theatre just beyond, later known as the Guild, is playing "Rugged Water." The photo appears with Mark Ellinger's Up From The Deep article about mid-Market area architecture. He credits it to the San Francisco Public Library.
A detail of the previous photo from Jack Tillmany's collection. He hopes the jaywalkers made it.
"Pony Express" was a big hit. Thanks to Jack Tillmany for this September 21, 1925 ad from Exhibitors Trade Review.
A June 1926 trade magazine photo from the Jack Tillmany collection. Gary Parks comments: "I'm thinking that it was as early as this incarnation that the stained glass was given its two-sided coat of really thick and goopy paint. They wouldn't want any of the backside of this sign to show through the window. Then perhaps the second, darker coat was put on when it became the Premier."
Sound comes to the theatre during its eighteen month tenure as the Premier. This rare photo of the theatre during that 1929-1931 period appears on the Open SF History Project website courtesy of a private collector. Note the art glass in the arch above the marquee has been covered over. Buster Keaton in "Doughboys," an MGM sound film, was an August 1930 release. "The Dawn Trail" with Buck Jones was a November 1930 western from Columbia.
Jack Tillmany comments: "'Doughboys' opened at the Fox in September 1930 and there's no mention of it anywhere else in the Chronicle until it showed up at El Capitan in November 1930. Looks like the Premier just picked it up to fill in while waiting for something better to come along, but didn't even advertise its wares in the Chronicle. At least that answers the question as to what an MGM film was doing on the South Side of Market Street!"
After a remodel by the firms of Walker & Eisen and Clifford Balch, the theatre reopened as the United Artists on May 28, 1931. Thanks to Jack Tillmany for the photo from his collection. He comments:
"The formal reopening as the United Artists established the identity by which it’s best remembered, and enjoyed its finest days, months, and years. The former Premier, nee Imperial, reopened with a new rectangular marquee that only lasted about 6 years. Here's their opening attraction: 'City Lights.' Yes, that's a sliver of the Egyptian marquee on the extreme left, playing a Jean Hersholt film."
"The formal reopening as the United Artists established the identity by which it’s best remembered, and enjoyed its finest days, months, and years. The former Premier, nee Imperial, reopened with a new rectangular marquee that only lasted about 6 years. Here's their opening attraction: 'City Lights.' Yes, that's a sliver of the Egyptian marquee on the extreme left, playing a Jean Hersholt film."
An April 25, 1937 photo from the Jack Tillmany collection. The Egyptian Theatre (later renamed the Studio, Guild and Pussycat) is hidden behind the Jones Street Cable Car Shuttle.
Through a window we can see part of the marquee advertising a James
Cagney film.
.
A detail from the 1937 photo. Jack comments: "Just a few months later, after less than 7 years in use, this marquee was replaced by the one below which remained through all its name and policy changes until it got zapped in the name of Market Street Beautification in its sad last days as Market Street Cinema."
An April 1938 photo from the Jack Tillmany collection. Note the interesting "set-back" layout on the marquee with the lower lines each indented a bit from the position of the one above. Thanks, Jack!
A November 1938 view with the UA running "The Cowboy and the Lady." The photo, courtesy of a private collector, appears on the Open SF History Project website.
A 1939 photo from the Jack Tillmany collection showing a billboard for "Four Feathers" at the United Artists. The trolley is headed south on Mission St. Jack comments:
"Once upon a time all the major first run venues and even some of the nabes, such as New Mission and New Fillmore, promoted their films with colorful 24-sheet billboards, maintained by Foster & Kleiser, at high visibility locations all over the City, in the days when there was an abundance of such vacant lots, which, before they were 'developed,' provided no other source of revenue for their owners. Here's one such, on the east side of Mission at Ney, just south of the Alemany Blvd. viaduct, in August 1939 announcing the premiere of 'Four Feathers' at the United Artists. Rail service on Line #14 out Mission from the Ferry to Daly City ended in January 1949."
"6040 Unreserved Seats Every Day....Everyone Knows - Just the BIG PICTURES play SINGLE FEATURE." Chaplin's "The Great Dictator" premiered at the UA on November 12, 1940. Thanks to Jack Tillmany for finding this ad and a review in the November 13, 1940 Chronicle. It's on Newsbank.The film was back for a return engagement in 1941.
A May 2, 1941 parade for a three day Chinese Rice Bowl party. The UA was running "The Great Dictator." Next door at the Egyptian (later called the Studio and the Guild) it was "Panama Lady" with Lucille Ball and Allan Lane along with "Renegade Trail" with William Boyd, both 1939 releases. It's one of many photos from the Chronicle archives that was included in Bob Bragman's 2017 SF Gate story "In 1953 'outsiders' were invited to SF Chinese New Year Parade - 140,000 showed up." The Rice Bowl festivities were detailed in a front page article in the May 2 Chronicle. Thanks to Jack Tillmany for dating the image.
"Lydia" with Merle Oberon at the United Artists in November 1941. It's a photo from the Jack Tillmany collection.
A look east on Market in October 1943 with the theatre running "Johnny Come Lately" with James Cagney along with "Yanks Ahoy." Over on the left is the Granada/Paramount. Thanks to Jack Tillmany for dating the photo. He notes that the Paramount's vertical was probably not lit due to WWII blackout regulations. The photo was featured in a September 18, 2015 S.F. Weekly article outlining the efforts of the organization Old SF to get the Library's historic photographs collection on a searchable map.
"The Outlaw" arrives at the United Artists in 1946 with a line wrapping around the corner onto 7th St. It's a Jack Tillmany collection photo. He comments:
"My favorite UA photo! The history of this infamous film has been told and retold. The more theatres were threatened not to show it, and audiences warned not to see it, at the risk of eternal damnation by the Catholic Church and other self righteous protectors of public morals, the greater arose the interest in it, the inevitable curiosity about it, and quite naturally, the demand to see it.
"More than once theatres that tried to show it were immediately shut down by local authorities in the name of public decency. It was probably the most effective sales campaign in the history of movies. Here you see the result at the United Artists. After a couple of false starts, cut short the previous April which only added fuel to the fire when it was successfully lit, it finally opened 29 May 1946, simultaneously at the United Artists, Esquire, and Tivoli, and this photo was taken 3 weeks later, 16 June 1946.
"The UA and Esquire opened their doors at 8AM, the Tivoli at 10AM. The last show of the evening began after 11PM. It ran until August at the UA, then continued at the Tivoli for 3 more weeks. Watch it today on Turner Classic Movies, or pick up the DVD and you'll no doubt wonder what all the excitement was about."
Looking east at a crowd for "The Outlaw." Thanks to John Bosko for the photo from his collection, a post on the BAHT Facebook page. Note the marquee for the Guild Theatre on the left, here called the Studio.
A July 1946 "Outlaw" shot taken by Waldemar Sievers that appears on the Open SF History Project site. The street was decorated for a July 21 Shriners parade.
A 1946 trade magazine ad from the Jack Tillmany collection. He comments: "'The Jolson Story' was one of 1946's most popular films. Al Jolson was still alive, and dubbed his own singing voice, while Larry Parks acted his role onscreen. In San Francisco and Oakland, Blumenfeld Theatres had the first run franchise on the output from Columbia Pictures, and played the game for all it was worth. This ad appeared in the trade journals and says it all.
"As you can see, it opened in SF simultaneously at Blumenfeld's United Artists/Esquire/Tivoli, and in Oakland at his Roxie. Note the neon marquee letters still in use at the Roxie, who took over the Paramount's inventory when they abandoned them a few years earlier, thus guaranteeing them an ample supply despite the inevitable breakage that was their waterloo elsewhere by the end of the 1930s."
A detail from the trade magazine ad for "The Jolson Story." It was a post from Cinema Treasures contributor Dallas Movie Theaters on the site's page about the theatre, which they list as the Market Street Cinema.
Jack Tillmany comments: "The United Artists was operated in the 1940s and into the 1950s by the Blumenfeld family, who also controlled the Orpheum, the Esquire and the Tivoli in downtown San Francisco, as well as the T&D and Roxie in downtown Oakland, and sites in Berkeley, and other nearby communities. The United Artists, along with the Orpheum, became their 'flagship' as they were once called, relegating less important films to the Esquire and Tivoli. But if the potential audience for a popular attraction, such as 'The Jolson Story,' in 1946, was considered to be more than than one theatre could handle, it was shown simultaneously at the United Artists, Esquire and Tivoli, and did not disappoint, as shown here."
A February 1947 photo from the Jack Tillmany collection. He notes that the signage of the Round Up Theatre (later renamed the Centre) is hiding behind that Anglo Bank sign.
An August 1947 photo by Waldemar Sievers appearing on the Open SF History Project site.
The United Artists running "Hollow Triumph" with Paul Henreid and Joan Bennett in September 1948. We get a bit of the vertical for the Centre Theatre and the readerboard for the Guild (the former Egyptian Theatre) right behind the UA signage. The photo appears on a Bold Italic page of Market St. views from 1920-1956 in the San Francisco Public Library collection.
June 4, 1949, the first day of Muni's first electric bus service on Market St. The Bob Campbell photo for the Chronicle has us looking west for views of the Centre, United Artists and Embassy verticals. Thanks to Ernie Manzo Jr. for spotting the photo.
A superb August 1949 view with the Granada/ Paramount over on the left. And note a bit of the vertical for the Centre Theatre peeking out beyond the UA sign. At the UA: "The Great Dan Patch" with Dennis O'Keefe and Gail Russell. Thanks to Phil Davies for his photo on the Facebook page San Francisco Remembered.
A February 1954 photo from the Jack Tillmany collection. The UA was running "Paratrooper" with Alan Ladd and Leo Genn. The black crepe on the cable car signifies its final run. In a post on the Market Street Railway Facebook page Jack commented: "California Cable Railroad Company Jones Street shuttle, operating under Muni banner as Line 63 since 13 January 1952, makes its farewell run 6 February 1954."
He adds: "The Dennis O'Keefe co-feature
was Sam Katzman's trashy 'Drums of
Tahiti,' which had been filmed in 3D, but turned out so poorly, Columbia
only released it in the conventional 2D version." The photo can also be seen on the Open SF History Project site and on the "Today's Cable Car System - Andrew Smith Hallidie's Legacy" page from the Cable Car Museum.
An October 7, 1954 look east toward 7th St. by an unknown photographer. Thanks to Jack Tillmany for spotting this one on the Open SF History Project website. He notes that the Embassy is running "On the Waterfront" with Marlon Brando.
An October 3, 1955 shot by Nat Farbman for Life. Thanks to Jack Tillmany for dating it. The United Artists is running David Lean's "Summertime." At the Paramount the night of the photo it was Kirk Douglas in "Ulysses" plus a sneak preview. The photo appears with Peter Hartlaub's April 14, 2019 Chronicle story "The birth of a Market Street cinema district: Celebrities, crack dens and a coda." Thanks to Bob Ristelhueber for spotting the article. The photo popped up again in "Happy birthday, S.F.!," an April 15, 2021 Chronicle piece.
A 1957 look east toward the United Artists (formerly the Imperial) with the Centre Theatre just beyond. The photo is part of the terrific selection of Market St. photos on the French blog San Francisco Pictures. The photo has also been seen on the Facebook page San Francisco Remembered.
A July 1957 view with the United Artists running "The Pride and the Passion." The photo by the Morton-Waters Co. from the SCRAP Negatives Collection appears on the Open SF History Project website. Thanks to Jack Tillmany for spotting it.
A 50s parade view looking east on Market toward 7th St. with the UA beyond. Thanks to Chris Ellinger for posting the photo on the Facebook page Vintage San Francisco.
A March 1958 photo from the Jack Tillmany collection.
An August 1958 photo from the Jack Tillmany collection.
A photo taken April 4, 1959 photo taken on the occasion of the theatre's reopening after the big remodel by Metropolitan Theatres. It's from the Jack Tillmany collection.
A 1959 postcard view from the Jack Tillmany collection looking east on Market toward the UA. The card appears on the Cinema Tour page for the Market St. Cinema.
A 1959 postcard view from the Jack Tillmany collection looking east on Market toward the UA. The card appears on the Cinema Tour page for the Market St. Cinema.
"Jungle Cat" at the United Artists. They got all the big films. It was a summer 1960 release. It's a photo by street photographer Joseph Selle. For more about the strange career of this photographer and his business Fox Movie Flash, see the page on the website of Andrew Eskind about the collection of his photos. There's also a May 2017 Chronicle article on Selle by Carl Nolte: "Photographer shot slices of life on SF streets." Thanks to Jack Tillmany for the photo.
A shot by street photographer Joseph Selle. Thanks to Jack Tillmany for providing the photo. "Inherit the Wind" was a November 1960 release.
Stanley Kubrick's "Spartacus" was a winter 1960 release. The photo is by Joseph Selle and appears here via Jack Tillmany.
A 1961 or 1962 view east from footage appearing 8 minutes into Rick Prelinger's compilation "Lost Landscapes 2021 - Earth, Fire, Air Water: California Infrastructures." The program is on YouTube from The Long Now Foundation. Thanks to John Hough for cleaning up the image. "West Side Story" was at the United Artists. It opened in December 1961 for a 46 week reserved seat engagement.
"West Side Story" at the United Artists and "La Dolce Vita" at the Guild. Thanks to Jack Tillmany for spotting this August 1962 shot by an unknown photographer on the Open SF History Project site.
A photo taken in 1963 during the 70mm roadshow run of "Lawrence of Arabia," which opened in January. It's from the Jack Tillmany collection. Note the replacement vertical that Metropolitan Theatres installed.
A 1964 view with the theatre running "Tom Jones," an October 1963 release. Note the signage up for "Becket" The vertical for the Centre Theatre is beyond the UA. Thanks to Chris Treadway for finding the photo for a post on the BAHT Facebook page.
A 1964 Alan J. Canterbury photo in the San Francisco Public Library collection. "New Summer policy: Continuous Performances." The film was a March release.
A September 1964 photo from the Sean Ault collection. Thanks, Sean! And thanks to Jack Tillmany for dating the photo. He explains the process:
"The Guild came to the rescue! Well... at least it HELPED. Steve Reeves
in 'The Last Days of Pompeii' is at the Guild. That one premiered at the
UA in July 1960, later became a popular grind attraction on Market
Street, and the Guild was running it in September 1964. On the UA marquee it looks like a 'No Seats Reserved' 'Now at Popular Prices' engagement, not unusual for them. They picked up the popular prices/continuous performance run of
'Cleopatra' after finishing up with 'Becket' and had repainted the red
facade in August 1964. The '..ON' on the UA marquee would have been the tail end of 'Richard Burton.' They were just wrapping up 'Cleo' when the Guild played 'The Last Days of Pompeii.' So that makes it September 1964."
"The Sound of Music" was in the 7th month of its 92 week run when this photo was taken. Thanks to Janet Morazán for sharing this shot of her father on the San Francisco Remembered Facebook page. The 70mm reserved seat engagement opened March 18, 1965 and ran until December 22, 1966.
A postcard view from the Jack Tillmany collection. He dates this one as 1966 as "The Sound of Music" is playing at the United Artists and the Granada/Paramount has been demolished. Inside the letters of the UA vertical note we can see a bit of the sign for the Centre Theatre just beyond. Thanks to Matt Spero for some work on the image.
A very religious July 1967 photo from the Jack Tillmany collection. He comments: "The UA is six months into the much heralded film version of 'The Bible,' which replaced the two year run of 'Sound of Music' the previous December, and had kept the wickets turning, many suspect, due in no small way to that nude mural of Michael Parks as Adam, with the usual knee raised just enough to attract attention but not trouble; and the Guild is once again running the re-release of 'The Ten Commandments' which also enjoyed renewed popularity the previous year. Wedged between these 2 Cathedrals of Holy Writ, the Centre politely offers an alternate view, 'Flesh and Lace' and 'Nudes-a-Rama.' Decisions! Decisions!"
It's 1968 and we're looking east -- that's the Centre Theatre just beyond the UA. The photo is part of the terrific selection of Market St. photos on the blog San Francisco Pictures.
A very religious July 1967 photo from the Jack Tillmany collection. He comments: "The UA is six months into the much heralded film version of 'The Bible,' which replaced the two year run of 'Sound of Music' the previous December, and had kept the wickets turning, many suspect, due in no small way to that nude mural of Michael Parks as Adam, with the usual knee raised just enough to attract attention but not trouble; and the Guild is once again running the re-release of 'The Ten Commandments' which also enjoyed renewed popularity the previous year. Wedged between these 2 Cathedrals of Holy Writ, the Centre politely offers an alternate view, 'Flesh and Lace' and 'Nudes-a-Rama.' Decisions! Decisions!"
It's 1968 and we're looking east -- that's the Centre Theatre just beyond the UA. The photo is part of the terrific selection of Market St. photos on the blog San Francisco Pictures.
The March 1969 run of "Where Eagles Dare." Thanks to Jack Tillmany for sharing this photo taken by Tom Gray that's in his collection. It was included in a post on the BAHT Facebook page.
Another March 1969 photo by Tom Gray from the Jack Tillmany collection. Jack comments:
"But the times, they were a-changin’, and the UA’s days as a film emporium were numbered. On 15 October 1969, it was sold to the Loew’s conglomerate, who immediately renamed it Loew's, abandoned the reserved seat format, and converted it to a more contemporary pop culture, where it became a haven for the new breed of immensely popular Kung Fu films and their legions of enthusiasts."
An April 1970 photo from the Sean Ault collection. Down the street the former United Artists, renamed Loew's in 1969, was running "Halls of Anger" and the Guild had "Without a Stitch." Thanks, Sean!
A closer look at the new Loew's signage during the run of "Halls of Anger." It's an April 1970 photo by Tom Gray from the Jack Tillmany collection.
A closer look at the new Loew's signage during the run of "Halls of Anger." It's an April 1970 photo by Tom Gray from the Jack Tillmany collection.
A July 1971 photo from the Sean Ault collection. Loew's had "Attack at Noon Sunday," a 1970 Japanese film originally titled "Hakuchû no shûgeki," along with "Naked Angels." Up next for the theatre: Charlton Heston in "The Omega Man." To the left we get a bit of the Centre Theatre's vertical. Over behind the bus the the Guild is seen with "Klute" on the marquee. Thanks, Sean!
"Dirty Harry" premieres at Loew's on December 21, 1971. Thanks to Bob Ristelhueber posting this screenshot on the BAHT Facebook page. It was from the KPIX news coverage of the event.
Jack Tillmany comments: "Less than four years later, Loew’s walked away from it and took their name with them. As of 13 July 1972, it became known as the Market Street Cinema, and for the next forty years operated as such, rolling with the times, which is what survival on Market Street is all about."
"Dirty Harry" premieres at Loew's on December 21, 1971. Thanks to Bob Ristelhueber posting this screenshot on the BAHT Facebook page. It was from the KPIX news coverage of the event.
Jack Tillmany comments: "Less than four years later, Loew’s walked away from it and took their name with them. As of 13 July 1972, it became known as the Market Street Cinema, and for the next forty years operated as such, rolling with the times, which is what survival on Market Street is all about."
A May 1973 photo by Tom Gray that's in the Jack Tillmany collection. The bill was "The Soul of Nigger Charley" and "Barbarella."
Running later in 1973, still a General Cinema operation, with "Battle of the Amazons," a November release, along with "Dillinger." Thanks to Dave Hunter for sharing this photo he took.
A March 1982 look at the theatre as the Market St. Cinema. General Cinema had taken over Loew's California operations in 1972. The photo comes from Jay Allen Sanford's 2010 "Pussycat Theaters: The Inside Story History," an article on Blogspot that was originally done for the San Diego Reader. The photo can also be seen in the American Classic Images collection.
A March 1986 view of the Pussycat (former Egyptian/Guild), the Centre Theatre (originally the Roundup) and the Market St. Cinema. The photo comes from Jay Allen Sanford's 2010 article on the Pussycat chain.
A c.1996 photo by Carol Highsmith in the Library of Congress collection. Thanks to Bob Ristelhueber for finding the shot for a post on the BAHT Facebook page.
Thanks to Randy Fosbergh for this c.1996 view of the theatre long after Loew's and General Cinema had left town.
A March 1982 look at the theatre as the Market St. Cinema. General Cinema had taken over Loew's California operations in 1972. The photo comes from Jay Allen Sanford's 2010 "Pussycat Theaters: The Inside Story History," an article on Blogspot that was originally done for the San Diego Reader. The photo can also be seen in the American Classic Images collection.
Thanks to the now-vanished American Classic Images website for this May 1984 view.
A March 1986 view of the Pussycat (former Egyptian/Guild), the Centre Theatre (originally the Roundup) and the Market St. Cinema. The photo comes from Jay Allen Sanford's 2010 article on the Pussycat chain.
A photo of the theatre from Bill Gabel on Cinema Treasures. Here we still have the General Cinema paint job on the facade.
Thanks to Sean Ault for sharing this 1988 photo from his collection.
A c.1996 photo by Carol Highsmith in the Library of Congress collection. Thanks to Bob Ristelhueber for finding the shot for a post on the BAHT Facebook page.
Thanks to Randy Fosbergh for this c.1996 view of the theatre long after Loew's and General Cinema had left town.
A 1997 foggy day at Market and McAllister. Thanks to Ray Morse for sharing this photo he took on the San Francisco Remembered Facebook page.
A 2009 look at the theatre by Maltphoto that was once on Flickr but seems to have vanished from that site.
Thanks to Bob Ristelhueber for this 2012 look across a busy Market St. toward the theatre. The photo, taken during the October 31 World Series parade, is one of three shots he added as comments to his post of a 1914 article about the theatre on the BAHT Facebook page.
A 2009 look at the theatre by Maltphoto that was once on Flickr but seems to have vanished from that site.
Thanks to Bob Ristelhueber for this 2012 look across a busy Market St. toward the theatre. The photo, taken during the October 31 World Series parade, is one of three shots he added as comments to his post of a 1914 article about the theatre on the BAHT Facebook page.
A c.2013 photo from the now-vanished site Design Web. Jack Tillmany comments: "The last chapter of its history is
well known to everyone. Sometime in February 2013, it shut down for the
last time, and, despite the inevitable message on the marquee, 'temporarily closed,' failed to reopen. Sic transit gloria mundi.
Well, this time it was for good. Thanks to Bob Ristelhueber for this January 2014 photo on the BAHT Facebook page.
Another look at the marquee in January 2014. Thanks to Bob Ristelhueber for the photo.
A peek down at the doomed building. Thanks to Michael Thomas Angelo for the photo. He had it as a post in 2014 on the Facebook page San Francisco Remembered.
Looking down Jones St. toward the facade. Photo: Bill Counter - January 1915
A closer look at the colorfully boarded up theatre. Photo: Bill Counter - January 1915
"Residential complex to replace century old theater on Market Street" was the headline for an October 22, 2015 Examiner story. They reported that the planning commission had unanimously approved demolition of the theatre for an 8 story apartment complex. The article alleged "Significant interior and exterior alterations have occurred since the structure was built, preventing the building from qualifying for the California Register of Historical Resources." It's a Kevin Kelleher photo for the Examiner.
The building's stagehouse on Stevenson St. Down in the next block there's a bit of the Strand showing off its new red paint job. Photo: Bill Counter - January 2015
Images from the 1931 Walker & Eisen / Clifford A. Balch plans for the remodel that turned it into the United Artists:
A title block from one of the sheets.
A facade elevation. Gary comments: "I see
that there may have been no intent to put the iconic UA 'Unity' and
'Artistry' relief panels on the facade. It could have been done—there’s
space for them, but it seems it was not the intent. Also, the facade
doesn’t have an ornamental spire for supporting the vertical. So even
if the Imperial’s facade had been completely chiseled off and plastered
over, as these drawings show, there still would have been all that
industrial looking structural steel holding the sign up—visible from the
street and looking tacky."
A detail from the center of the image. On the left, shown with dashed lines, is the original work to be removed or altered. On the right it's the new deco look that was proposed but not executed.
A different detail drawing of the facade ornament. On the left it's the space for a new vertical sign.
A detail of the top of one of the deco pilasters.
A section through the building.
A detail of the lobby end of the building from the section view. Note the ticket lobby area with the display cases just behind the facade. They're putting in a new ceiling to make it a single story space. Way above there's a note about the original ceiling: "Old work remains." On the the facade above the marquee see the dashed lines for ornament to be removed.
A closer look at the stage end of the section drawing.
"Remove boxes." It's a detail of the proscenium box area house right.
A closer look at the painted mural surrounded by new cast plaster ornament.
A view of the proscenium and its new deco treatment.
A main floor plan view.
The lower section of the balcony. On the right we get a look at the center vomitory, the lobby area at this level, and stairs down to the main floor. The theatre offices are to the right of the lobby.
The upper level of the balcony and the booth.
A plan of the revamped projection booth.
An elevation of the booth front wall. Are you ready for this? The three drawings at the top of the image are detailing the work required to build a cover for the booth's toilet.
Thanks, Gary!
Curbed SF had a June 2013 story "Let's Break Down the History of the Market St. Cinema." The January 2014 story "Mid-Market Porn Palace..." in San Francisco Business Times discussed the condo project that was destined for the theatre's site.
SocketSite also ran a January 2014 story about the condo project, calling the theatre a "prominent mid-Market porn complex." Hoodline had an October 2015 story about the owner getting permission to demolish the theatre. Also see the Cinema Treasures page on the Market St. Cinema.
More Sid and David Grauman adventures:
-- Unique Theatre, 1132 Market St. (1898-1906)
-- Maio Baio / Grauman's / Crest, 980 Market St. (c.1910)
-- Lyceum Theatre, 7th & Market (1904-1906)
-- National Theatre, Post and Steiner (1906 - ?)
-- Globe Theatre, 2753 Mission St. (1907 - ?)
-- Empress / Strand / St. Francis, 965 Market St. (1916- ?)
The Imperial / United Artists / Market St. Cinema pages: back to top - main page | demolition and salvage |
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