For such a grand and imposing building the cinema has a diminutive ticket price for €2.50 you can spend a couple of hours transfixed, surrounded by a hundred years of cinematic history. Old, young, Spanish and foreign, you can’t pigeon-hole the typical audience member at the Cine Doré. The hustl showings in elpaso windows#Not only does the cinema feature in his 2002 film Hable con ella (Talk to Her), but he was the very first director to submit his six chosen films for the ‘Presented by.’ series, upon the Doré’s grand reopening in 1989.īy the time the two small ticket booth windows open at quarter past four in the afternoon, a queue stretches down the street. The cinema is championed by Madrid’s adopted son, the giant of modern Spanish cinema, Pedro Almodóvar. It restores, researches and conserves the film heritage of Spain including putting on frequent public screenings at the Cine Doré.Īccording the the current manager of the Cine Doré, Antonio Santamarina, the enduring appeal of the cinema is due to, “.its audience, who have ensured the Doré, as the permanent screening room of the Filmoteca Española, is not a cold museum of cinema, but a cinema that preserves its soul and is more alive than ever”. Since 1989 the Doré has been home to the Filmoteca Española, an official institution of the Spanish Ministry of Culture. The Cine Doré had its second grand reopening of the century in 1989, after extensive restoration under architect Javier Feduchi. In 1982, Madrid’s municipal council decided to take over the building as one of environmental and architectural interest. Almost thirty years later, in 1963 the Doré’s doors closed and would not reopen for another twenty years. That is until one day those horrors landed right in front of the screen, when a shell whizzed into the theatre. It was during its most recent restoration that the dash was dropped and the elegant French accent was added.ĭuring the Spanish Civil War, films at the Cine Doré offered Madrileños a brief respite from the horrors awaiting them outside. According to the writer Sanchez Dragó, the cinema’s original name was Cine DO-RE, most probably alluding to the first four musical notes. Nor was it named after French artist Gustave Doré as commonly thought. Christened ‘El Palacio de las pipas’ or The Palace of the Seeds, the cinema became a favourite hangout of the barrio.Ĭontrary to popular belief and the title of this article, the Cine Doré does not derive its name from Doré, the French word for golden. Carballo, the owner of the Cine Doré, filmed the most famous musical revues of the city and the film is the only still in existence that shows the revues typical of the era.Īrturo Carballo's 'Frivolinas', which premiered at the Cine Doré in 1926ĭespite the rip-roaring success of the 1920s, premieres began to dwindle and before long the Doré’s trade was in reruns, shown twice a day to locals who had a habit of chewing seeds while watching the film. The story of Granero, gored by a bull only three years previously, in 1922, was fresh in the minds of Madrileños, who flocked to watch the story retold on the big screen.Īnother successful premiere at the Doré was Arturo Carballo’s Frivolinas in 1926. Some of the Cine Doré’s most successful films of the period include Rafael Salvador’s 1925 documentary Gloria que mata (Glory that kills), about the death of legendary bull fighter Manuel Granero. Silent films were accompanied by an orchestra in the pit under the screen. The modernist style was in keeping with the Madrid architecture of the time and typical of the cinemas of this period.ĭuring the 1920s the cinema experienced a resurgence, a golden age of popularity that saw business boom and Madrileños flock through the Art Deco columns to discover a whole new world that lay beyond on the silver screen. On entering the cinema, or ‘salon’ in 1912, visitors would have marveled at the spacious screening room there was enough space for an audience of 1,250.Īs cinema captured the nation’s imagination the Cine Doré was renovated by acclaimed architect Crispulo Moro Cabeza and reopened, as it looks today, in 1923. It showcased the relatively newfangled invention of cinema, still in its infancy during the early twentieth century. One of Madrid’s very first cinemas, the Cine Doré opened at Calle Santa Isabel 3 in December 1912. The Cine Doré’s peach and white art deco facade clashes with the graffiti-daubed shutters of the surrounding shop fronts a cinephile’s elegant haven in a sea of gritty hustle and bustle at the northern point of Lavapiés. On a back street in Madrid, flanked on either side by covered markets, sits a hundred-year-old icon of the city.
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