The Chinese Theatre in Hollywood

The Chinese Theatre in Hollywood is the most famous movie theatre in the world. Millions of visitors flock here each year, most of them drawn by its legendary forecourt with its footprints of the stars. Yet the Chinese Theatre is also a fine place to see a movie in its own right, a spectacular movie palace with a unique history.

Grauman's Chinese Theatre opened over 70 years ago, with the 1927 debut of the original silent version of "King of Kings," produced by Cecil B. DeMille. Since then, the Chinese Theatre has been the site of more gala Hollywood movie premieres than any other theatre. (In 1939, for instance, over 10,000 spectators showed up for the world premiere of "The Wizard of Oz.)

And those big premieres are still being held at the Chinese on a regular basis. If you would like to watch the stars arrive in person on the red carpet at these premieres, just see my Calendar of Events page for the dates and times of upcoming premieres. Then show up early and wait (hint: wear comfortable shoes.)

Back in the 1940's, Grauman's Chinese Theatre also hosted the annual Academy Award ceremonies. And the theatre has appeared in quite a few movies itself, including the opening scene of 1952's beloved musical "Singing in the Rain," and at the climax of the recent action-adventure "Speed." More recently, it played a major role in the remake of the "Mighty Joe Young," in a scene where the giant gorilla climbs up the side of the theatre and perches atop its ornate roof.

It's been featured on TV sitcoms as well - remember the episode of "I Love Lucy" where Lucy stole the cement block bearing John Wayne's footprints? Or how about the episode of "The Beverly Hillbillies" where Jed and Jethro thought that the forecourt had been vandalized by the stars, and were caught trying to pave over the "evidence " with wet cement!

The Chinese Theatre was built by legendary showman Sid Grauman, the man who also built the nearby Egyptian Theatre and the Million Dollar Theatre on Broadway. Sid had a flair for the dramatic, and he was the one who came up with the idea of putting the stars' footprints in wet cement. Sid Grauman owned a one-third interest in the theatre, along with partners Mary Pickford and Douglas Fairbanks.

For a while, the theatre was renamed "Mann's Chinese Theatre" after it was purchased by Ted Mann in 1973, the owner of the Mann's Theatre chain (and husband of actress Rhonda Fleming). But fortunately, the landmark later regained its original name.

The ornate exterior of the theatre is almost as enticing as its celebrated forecourt. Resembling a giant, red Chinese pagoda, the theatre's architecture features a huge dragon snaking its way across the front, two stone lion-dogs guarding the main entrance, and the silhouettes of tiny dragons racing up and down the sides of the theatre's ornate, copper roof.

Outside, near the forecourt, you'll find that the fist business is thriving, with several booths set up hawking various guided bus tours of Hollywood, the movie stars' homes, and greater L.A. Two theatre gift shops offer the usual selection of touristy Tinseltown souvenirs, at outrageous prices. And it isn't unusual to see street performers (such as a Charlie Chaplin look-alike) milling with the crowd of tourists on the fabled forecourt.

And of course, for the price of a movie ticket, you can go inside and see the theatre's well-preserved interior as well.

You might suspect that after seven decades, the theatre's interior would be dilapidated, like many of the other older theatres in L.A. But in fact, the Chinese Theatre remains in surprisingly good condition. Its interior decor is a dazzling blur of exotic Asian motifs.

The lobby boasts elaborate wall murals depicting life in the Orient, bold red and gold columns, and a colossal, intricate Chinese chandelier. In the lobby's west wing is a glass case containing three wax figures (from the Hollywood Wax Museum) wearing authentic Chinese costumes from Cathay. The three female figures surround a now-empty chair that once held the wax likeness of actress Rhonda Fleming, wife of owner Ted Mann. Movie-makers used to consider it good luck to come to the theatre and touch these wax figures before embarking on a new film project.

Inside the vast auditorium, the 2,200 bright red seats and red carpeting are kept clean and in excellent condition. Overhead, a spectacular chandelier illuminates the center of a mammoth, ornate starburst, surrounded by a ring of dragons - which is, in turn, encircled by a ring of icons portraying scenes from Chinese drama. Smaller Oriental lamps glow at the sides of the auditorium, hanging between intricately-carved stone columns; black & white murals of trees and pagodas fill the spaces in between.

Turn around and look behind you in the theatre, and you'll discover that what would usually have been the balcony section was divided into four private opera boxes for visiting celebrities. Also, note the large number of assorted Asian statues, gongs, vases, shields, and friezes employed to add to the theatre's overall exotic ambiance. (My only complaint is that the interior lighting is kept so dim that it is difficult to appreciate all of the theatre's lavish detail.)

The Chinese Theatre may not be the best-preserved theatre in Hollywood - that honor would go to Disney's recently-restored El Capitan, across the street - but it is certainly in fine condition for a 70-year-old movie palace. And they've kept up with the times when it comes to movie technology, too: the theatre offers 70mm projection and a state-of-the-art THX sound system (which can actually be a little too loud at times).

But whether you plan to see a movie here or not, if you're going to make the pilgrimage to Hollywood, the Chinese Theatre is a must-see.

The famous courtyard is open free of charge to all visitors. You do not have to buy a ticket to a movie to view the forecourt and its footprints.

Update: On Jan 11, 2000, it was announced that the entire Mann's theatre chain, including GRAUMAN'S CHINESE Theatre, has been purchased by a partnership of Warner Bros and Paramount Studios (WF Cinema Holdings) after the Mann's theatre chain filed for bankruptcy protection last year. It was then that they changed the name back to the original "Grauman's Chinese Theatre."

But the biggest news is that the brand new Hollywood & Highland project has opened right next door to Grauman's Chinese. In fact, the spectacular new development takes up the entire block, from Orange to Highland, and essentially surrounds the historic theatre. The $600 million project includes the permanent home for the Academy Awards show (the Kodak Theatre), a grand ballroom for post-Oscar parties, restaurants, nightclubs, retail shops, a luxury hotel and parking for 3,000 cars. Six smaller, modern cinemas have been built next door (to the east of the existing theatre), and the main Chinese theatre has undergone a major renovation, removing the box office and some of the more recent signs, to return the theatre to the way it looked when it first opened.

Parking: Parking can be a real problem on Hollywood Blvd. There is some limited free street parking on the residential streets just south of the boulevard, such as Hawthorne. There is a one-hour limit on these streets, but not if you visit on Sunday. Parking is now available in the garage under the new Hollywood & Highland project (be sure to get your parking ticket validated, for a reduced fee) - enter on Orange Ave. There are also paid lots south of Hollywood Blvd (and east of Orange), and there is a paid parking lot on the west side of Highland, just south of Hollywood Boulevard.

(The outdoor courtyard is open 24 hours a day, but use common sense and come at a sensible hour.)

Also see the separate pages about the Chinese theatre forecourt, and the installation ceremonies where you can see the stars put their footprints in cement.

Grauman's Chinese Theatre to Be Sold to Producers Elie Samaha, Don Kushner

Everett Collection

UPDATED: Changes could be in store for the Hollywood landmark, with the new owners considering advertising opportunities, special events and product promotions as ways to increase revenue.

Grauman's Chinese Theatre, a Hollywood landmark and perhaps the most famous movie theater in the world, is being sold.

Controversial nightclub operator-turned-film producer Elie Samaha and producer Don Kushner are buying the theater from a joint venture of Warner Bros. and Viacom Inc. for an undisclosed price. The transaction is expected to close May 20. As part of the deal, the buyers will take over the long-term lease of the adjacent Mann Chinese 6 Theatre, which is housed in the Hollywood & Highland Center.
The famed theater, which is on local and national historic registries -- protecting it from demolition or significant alteration -- has long been home to some of Hollywood's biggest movie premieres. Mann Theatres, which is co-owned by Warner and Viacom, operates the theater and the Mann 6 multiplex.
Changes could be in store for the Chinese Theatre. The new owners are exploring ways to maximize "the real estate opportunity," said commercial real estate broker John Tronson, who has been informally consulting on the project for Samaha and Kushner, whose credits include Tron: Legacy and Monster.

Tronson, a Hollywood expert and principal at Ramsey-Shilling Commercial Real Estate Services, said that the new owners are considering advertising opportunities, special events and product promotions as ways to wring more revenue out of the property.

"They do movie premieres there, but that's all they really do in the way of events," said Tronson, who is consulting on the project along with Ramsey-Shilling CEO Chris Bonbright. "They could do a lot of other things there that would drive people who come and visit and see it."

Several Hollywood sources said they had heard that the new owners are considering turning the theater, which has 1,152 seats, into a nightclub. It's worth noting that Samaha has interests in two historic Hollywood Boulevard movie theaters that have recently been transformed into nightlife venues: the Fox Theatre and Vogue Theatre.

Leron Gubler, CEO of the Hollywood Chamber of Commerce, and Nicole Mihalka, a commercial real estate broker at Cushman & Wakefield, both said they had heard talk about the Chinese Theatre being converted to a nightclub. However, Tronson said he doesn't expect that to occur, adding that the new owners had not mentioned such a potential change to him.

"That would kill all the interest from people who are interested in coming there," Tronson said.
Samaha has a checkered history in the entertainment business. Before segueing into the movie business, he owned a dry cleaners operation -- called Celebrity Cleaners -- and several nightclubs, including a stake in the original Roxbury in Hollywood. Though he has produced films such as Heist, The Whole Nine Yards and The In-Laws, Samaha is best known for his high-profile legal battle with Intertainment Licensing over allegations that he committed fraud by distorting the budgets of films made by his Franchise Pictures.

Intertainment, a German company, accused Samaha of defrauding it out of $75 million, arguing that he kept multiple sets of books for his films. The years-long case was settled in 2006, with Samaha paying $3 million to Intertainment.
Samaha did not immediately return phone calls seeking comment.
Preservationists will be watching the new owners closely. Though the Chinese Theatre's placement on historic registries offers some protection, it is possible that the new owners could attempt to make changes to the property.

"Any renovation would need to comply with nationally recognized preservation standards. That's our primary concern -- the proper treatment of the historic building -- though it's always ideal to maintain a landmark's intended use," said Adrian Scott Fine, director of advocacy for the Los Angeles Conservancy, a nonprofit preservation watchdog organization.

The Chinese Theatre has been on the market since August 2009. Located at 6925 Hollywood Blvd., the theater, which opened in 1927, includes a concrete forecourt in which the hand and footprints of dozens of movie stars are preserved. The property is next door to the Hollywood & Highland Center -- where the Mann 6 is housed -- and is a key stop for tourists who frequent the boulevard. It will host the TCM Classic Film Festival, which kicks off Thursday night.

The sale does not include the land on which the Chinese Theatre is situated; real estate developer and investment firm CIM Group, owner of Hollywood & Highland, owns the land, having purchased it in 2008.
Warner and Viacom had been leasing the space that houses the Mann 6 theaters from CIM; Samaha and Kushner will assume that lease.
Warner and CIM declined to comment. Viacom and Mann did not immediately return calls seeking comment.

Henry V

  

Henry V is Shakespeare's most famous "war play," perhaps because it represents war in such a variety of ways and thereby tests whatever understanding of war we may bring to it. Some of the play glorifies war, especially the play’s Choruses and Henry's speeches urging his troops into battle: "Once more unto the breach, dear friends, once more, / Or close the wall up with our English dead!"

During this first engagement between the invading English army and the French at Harfleur, Henry tells his men that they can never be more truly and gloriously the sons of their fathers than in making war. The play's Chorus urges us to join the invasion by grappling our imaginations to the sterns of Henry's ships as they set sail for France, and then to join with the Chorus in praise of Henry on the eve of his greatest battle, Agincourt: "'Praise and glory on his head!" Repeatedly the Chorus glorifies the warlike king, calling him "the mirror," or paragon, "of all Christian kings" and "this star of England."

But when the Chorus is offstage we hear other voices of war that are far less alluring. We hear bishops conniving for war so that they can postpone a bill in Parliament that would heavily tax the Church's wealth. Then we hear soldiers in a tavern enthusiastic for war, not in the hope of winning glory, but in the expectation of reaping profits (“To suck, to suck, the very blood to suck”).

Even in the impressive speeches of Henry and his nobles threatening the French, there are many chilling references to the human cost of war, to "the widows' tears, the orphans' cries, / . . . the privèd maidens' groans" for dead combatants, as well as to the horrors awaiting the non-combatants: "the filthy and contagious clouds / Of heady murder, spoil," rape, and infanticide.

Scholars believe William Shakespeare wrote Henry V in 1599. It was first published as a quarto in 1600. Among Shakespeare’s sources for the play are Raphael Holinshed’sChronicles and an early play, The Famous Victories of Henry the Fifth.

Henry VI, Part 1

Henry VI, Part 1 is an uncompromising celebration of early English nationalism and imperialism. The play defines the English against the French, whom it degrades as scheming, effeminate, and willing to consort with the devil. It idealizes the English king Henry V for his successful conquest of much of France during the Hundred Years War. But Henry V has died just as the play begins, and leadership of the English cause in France has passed to Talbot, an indomitable, fierce, almost perpetually enraged, and therefore altogether masculine warrior hero. Yet Talbot is not as fortunate as Henry V. While all of France, we are told, shakes in terror at the name of Talbot, the French still refuse to yield. Opposed to the idealized Talbot are a number of other characters who fail to match him. One is the official leader of the French, Charles the Dauphin, whose status as a military hero suffers a blow very early in the play when he must yield a single combat to Joan La Pucelle, or Joan of Arc. She then becomes the captain of the French, showing admirable cunning and resourcefulness in devising strategy and remarkable boldness in carrying it out. She fulfills for the French her claims to have been chosen by the Virgin Mary as the chaste instrument of France’s liberation from the hated English invaders. However, for the English, her shrewdness and power issue from the practice of filthy witchcraft, and her pretensions to chastity mask a characteristically French sensuality. Also opposed to Talbot are many of the English, especially those who remain for the most part in England. They include Gloucester and Winchester, two bitter rivals more intent on defeating each other than the French. Gloucester, the Protector of the boy king Henry VI and therefore ruler of England, and Winchester, a bishop and cardinal, urge their servants on to brawl openly in the streets of London. Before their quarrel can be silenced, another breaks out between the Duke of Somerset and Richard Plantagent, soon to be powerful as Duke of York. Once in France, they and their followers seek royal permission to fight each other, rather than the French. The play demonstrates, especially from this point on, that the French owe their victory to the English defeat of themselves. Talbot and his son, despite their glorious self-sacrifice in the English military cause (presented to inspire imitation among all Englishmen), cannot prevail against the French, because the rest of the English nobility are intent on preying on each other in the service of their own ambitions. Henry VI, Part 1 may have been staged as early as 1592, when a play referred to as "Harey the vj" was performed several times. (The "vj" is equivalent to the Roman "VI.") It first appeared in print in 1623. Shakespeare apparently drew on several sources for the play; scholars believe his main reference was a history by Edward Hall, Union of the Two Noble and Illustre Families of Lancaster and York.

Henry VI, Part 2

Henry VI, Part 2 puts onstage a kind of story that was very popular in the years before Shakespeare began writing, a story of the fall, one after another, of men and women from positions of great power to their untimely deaths.

Such a pattern in this play was obvious to the publishers who first put a version of it into print in 1594. They chose not to call the play by the name of its king, as did the First Folio, and as we do. Instead they gave it the title The First part of the Contention betwixt the two famous Houses of York and Lancaster, with the death of the good Duke Humphrey: And the banishment and death of the Duke of Suffolke, and the Tragicall end of the proud Cardinall of Winchester, with the notable Rebellion of Iacke Cade: and the Duke of Yorkes first claim vnto the Crowne. This title, typical of the time in its length, indicates a reading of the play as the beginning of “First part” of a succession of catastrophes.

The first of those catastrophes afflicts “the good Duke Humphrey,” or the Duke of Gloucester, who at the beginning of the play is Lord Protector of England and therefore the most powerful man in the kingdom—the one on whom King Henry relies absolutely to dispense justice to all his subjects. Gloucester will be murdered, but only after his beloved Duchess has herself fallen, sent into exile through her own ambitions and the conspiracy of their enemies.

After Gloucester’s murder, as the title goes on to say, comes “the banishment and death of the Duke of Suffolke.” Another of the most powerful men in England, Suffolk was the noble who arranged King Henry’s marriage to Queen Margaret and who, as the queen’s lover, ruled England through the influence he exerted over the queen, who in turn prevailed over the king. But when Suffolk conspired with the “Cardinall of Winchester” to kill Gloucester, Suffolk was banished. In his newly vulnerable state, he became the victim of assassination.

“The Tragicall end of the proud Cardinall of Winchester” seems almost the result of Gloucester’s murder, as the Cardinal dies raving about his guilt and the punishment waiting for him in the next world.

The play shows that the fall of these English nobles and their ability to prey on each other come about through the weakness of their king. Uninterested in politics, King Henry sought a life of spiritual contemplation; almost all of his speeches reveal in their allusions to the Bible his otherworldly interests. Largely absent from deliberations of the affairs of state, King Henry left his royal family and aristocrats free to contend for power.

As the conclusion of the long title of the 1594 quarto reveals, however, the king's own liberty is thereby also put at risk, as first Jack Cade and then the Duke of York openly rise up against him. Henry VI, Part 2 keeps its audience in suspense about the ultimate fate of the king by ending at the beginning of the Wars of the Roses, which set the white rose of the Duke or York against the red rose of King Henry of the House of Lancaster. The outcome of these wars will be presented inHenry VI, Part 3.

Henry VIII

In Henry VIII , the last of his plays about English history, Shakespeare presents monarchy in a state of crisis.

In the play, noblemen are embattled with the enormously powerful Lord Chancellor Cardinal Wolsey, as both parties level charges of treason against each other almost indiscriminately. Wolsey, without the king’s knowledge, has taxed the people to the point of rebellion.

Yet the politics of the play are so subtle that the true cause of this crisis is not clear. In the case of the duke of Buckingham, for example, witnesses brought before Henry by Cardinal Wolsey claim that the duke, deceived by the prophecies of an evil monk, is conspiring to usurp Henry’s throne. Nonetheless, as Buckingham goes to his death for treason, he seems the innocent victim of suborned testimony.

Perhaps, then, the root of the crisis is Henry’s failure to recognize Wolsey’s exploitation of the king’s favor, which, we learn later, has enabled him to amass a huge fortune through extortion and to feed his own pride and spite. Or perhaps the crisis arises from the ambition of noblemen who would strip Henry and his heirs of the throne.

The monarchy also faces a succession crisis, for Henry is without a male heir. Though Henry’s queen, Katherine, has been pregnant many times, all but one of the pregnancies have resulted in miscarriages or in infants who died soon after birth. Worse, the single survivor is the girl Mary.

After meeting the young and beautiful Anne Bullen, one of Katherine’s ladies-in-waiting, Henry says that he is tormented by the suspicion that God has denied him a male heir because his marriage to Katherine—the widow of his brother—is invalid. The royal marriage begins to come apart.

Again the precise nature of the crisis put in question. Is Henry indeed experiencing a crisis of conscience about the sanctity of his marriage, or is he experiencing a crisis of desire provoked by the opportunity to take the young and beautiful Anne as a new wife and queen.

Whatever the ethics of Shakespeare’s Henry, Katherine’s integrity glows so splendidly in the play’s action and dialogue that her role has long been coveted by actors. She first takes the stage as the advocate for all the English people crushed by Wolsey’s oppressive taxes, and then she is properly suspicious, as Henry is not, of the motives of the witnesses who send Buckingham to his death.

Katharine's fierce opposition to Wolsey is repeatedly justified by the play’s depiction of the cardinal’s vices. When she is summoned to the church court that is deliberating the propriety of her marriage, her defense of her conduct as Henry’s wife is resounding in its eloquence. She has been admired for centuries by readers and playgoers alike.

Henry VIII was first performed in 1613, with some unanticipated results. During a performance on June 29, a cannon fired from the stage started a fire, burning the Globe to the ground. (No lives were reported lost, and a new Globe was soon constructed.) The play was first printed in the 1623 First Folio. Shakespeare's primary source for this history play is thought to be Raphael Holinshed's Chronicles.