Brooklyn Movie Theaters

Hey everyone, welcome back to *Brooklyn Echoes*, the podcast that keeps the borough’s legends and memories alive. I’m your host, Robert Henriksen.

Going to the movies in 1970s Brooklyn, New York, was a quintessential neighborhood experience that blended nostalgia, grit, and community vibes, set against the backdrop of a city grappling with economic challenges, crime, and urban decay. Many theaters were holdovers from earlier decades, often grand but aging venues that served as local hubs for entertainment before the rise of multiplexes and home video. Here’s a breakdown of what it typically involved, drawn from historical accounts and personal recollections.

### The Theaters Themselves

Brooklyn was dotted with independent and chain theaters, many built in the 1920s or earlier, that had adapted to the era by adding screens or hosting events beyond films. Popular spots included:

– **Loew’s Alpine Theatre** in Bay Ridge (opened 1921, expanded to two screens by 1976): A survivor where locals caught blockbusters like *Yellow Submarine* (1968) or *Return of the Jedi* (1983, though just into the ’80s). It was a go-to for families, with lines forming in the rain for big releases.

– **Dyker Theatre** (Bay Ridge, 1926–1977): Known for double bills, like a Christopher Lee Dracula film paired with Joan Crawford’s *Trog* in the late ’70s. It even displayed anti-“Pay TV” messages on its marquee, reflecting fears that cable would kill theaters.

– **Harbor Theatre** (Bay Ridge, 1935–1979): Closed with *Norma Rae* in ’79; earlier, it screened sci-fi like *Beneath the Planet of the Apes* (1970), evoking the era’s fascination with apocalyptic themes.

– **Fortway Theatre** (Bay Ridge, 1927): Became a triplex in the ’70s and doubled as a concert venue, hosting acts like Chuck Berry in 1972. Neighborhood theaters sometimes moonlighted for rock shows, with the Grateful Dead playing similar urban spots.

– **Brooklyn Heights Cinemas I & II**: A spot where kids could get into R-rated films like *The Exorcist* or *Jaws* with just a parental note, no adult required.

– **Loew’s Oriental** (Bensonhurst): A classic for Saturday afternoons, embodying the ritual of youth movie outings.

– Others like the Commodore in Williamsburg (demolished 2007) or the Kingsway added to the mix, often showing a mix of Hollywood hits, B-movies, and foreign flicks.

Independent cinemas across NYC, including Brooklyn influences like Spike Lee’s early works (*She’s Gotta Have It*, 1986, but rooted in ’70s vibes), fostered an underground scene. These were gritty sanctuaries for avant-garde, foreign, and experimental films, reflecting the city’s rebellion against Hollywood polish amid issues like homelessness and economic downturns. Brooklyn’s theaters mirrored this, emphasizing community over glamour.

### The Atmosphere and Logistics

Theaters often felt grand yet worn: elegant wood finishes, plush carpets (sticky from spilled soda), velvet curtains that dramatically parted, and balconies for a bird’s-eye view. Air conditioning was a big draw in humid summers, but smoking was rampant, creating hazy auditoriums—some had lounges for it. Most were single-screen or newly twinned, with double features common (e.g., a horror and sci-fi pairing). Tickets were cheap ($1–$5, including snacks), making it accessible for families or teens on allowances. No stadium seating, so legroom was tight, and views could be obstructed.

Ushers in uniforms patrolled with flashlights, shushing talkers or ejecting rowdies—audiences were generally polite, without cell phones or endless ads (just trailers). Projections used film reels, with occasional scratches or mid-reel switches; sound was basic mono or early stereo. Concessions were simple: fresh popcorn buttered on request, soda, candy—no gourmet options. Kids and teens often snuck in snacks, hopped between screens, or even snuck into theaters altogether for an all-day adventure.

In broader NYC (influencing Brooklyn), things could get wild, especially in edgier areas. Author Don Winslow, who worked in Times Square theaters, recalled chaos: brawls, knife fights, shootings, prostitution in closets, and even dead patrons left in seats or projectionists dying mid-show, delaying screenings amid boos. One incident involved hurling a disruptive viewer from a balcony during *High Anxiety*. Brooklyn’s spots were tamer but still reflected the era’s grit, with crime and decay seeping in.

### Social and Cultural Vibe

It was a social ritual—families bonding, kids feeling independent, teens on dates. Blockbusters like *Jaws*, *The Exorcist*, or *Star Wars* (1977) drew crowds, with lines and repeat viewings. Cult films sparked interactivity, like singing along or throwing props. For Brooklynites, it captured the borough’s working-class energy, from Bensonhurst matinees to Bay Ridge double features. The ’70s saw closures due to TV competition, but surviving theaters like Alpine (still open today as Brooklyn’s oldest) preserved that magic.

Overall, it was less polished than today—more communal, adventurous, and tied to the neighborhood’s pulse amid NYC’s turbulent decade.

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