0657 GMT November 19, 2019
Down the road from Central Park and across the street from the Plaza hotel, it attracted queues around the block as the go-to place to watch arthouse and foreign language films and was known for showing the same movie for months on end, theguardian.com reported.
Over 70 years later, even in the post-Netflix age, it remains a popular venue for film screenings and premieres. As the city’s last remaining single screen and the only movie theater with a functioning curtain, it has also become a rare relic of cinema’s heyday.
But now the future of the cinema hangs in the balance, according to industry insiders who warn it is at risk of imminent closure – with some saying it could close as early as this month.
City Cinemas, which runs the Paris Theater, and landlord Sheldon Solow, who owns the building, declined to comment on the claims. City Cinemas, which runs several theaters in New York, recently tweeted that it was “proud to operate” the cinema and that it would “continue to strive for ongoing operations at the Paris”. But Tom Bernard, co-president and co-founder of Sony Pictures Classics, which regularly showcases films at the venue, claims the rumors are true.
If the cinema closes, it will mark a blow for fans of the Paris, but also the overall health of New York’s cinema landscape, which has taken a knocking in recent years with the closures of the Lincoln Plaza and Sunshine Cinema last year, and the Ziegfeld, another single-screen cinema, in 2016.
Like many businesses in New York, cinemas are often on 10-year leases, putting them at the mercy of the cutthroat world of New York real estate.
It’s also bad news for makers of specialized and foreign films, for whom venues like the Paris give a platform and might not otherwise have been given a chance.
Theater historian Joe Rosenberg, who successfully campaigned for landmark designation for Radio City Music Hall and 35 Broadway theaters, said it is difficult for single-screen cinemas to survive because they depend on a distribution model that no longer exists.
In the past, art films would start in single-screen cinemas like the Paris, where they would play exclusively, before moving on to others if they were a success. Now, he says, distributors prefer multiplexes because they can show films on multiple screens, and give them a longer shelf life.
“So it starts off in a large auditorium and then when the audience falls it goes into a medium-sized auditorium and then the small auditorium, but it’s still played in the same place for three to four weeks,” said Rosenberg. “You can’t do that in a single screen cinema … As soon as numbers fall off they have to give up the film and bring in a new film.”
Architecturally he said the Paris, which has 586 seats, is “understated and beautiful” and from a time period that very few cinema theaters were built. The disappearance of the Paris, he said, would be “a loss from the old days”.
Going forward, he believes the future of films is certain, but that of cinemas is not. “Motion picture palaces were hurt by television, theater was hurt by talking pictures, Vaudeville was murdered by talking pictures. And now cinema is being hurt by streaming and Netflix,” he said.
Outside the Paris earlier this week, cinemagoers at an evening screening of Pavarotti were disappointed over its rumored closure.